Gega Paksashvili, Satisfaction, Acrylic, marker on canvas, 138x194 cm, 2021
2023
no. 1 Vogelstimmen (Johannes Birringer)
no. 2 Bird Voices (Johannes Birringer)
no.3
no. 4
no. 5
Research Materials for 2023 Performance Compostition
Exhibitions
VOGELFREI
Kunstentdeckungen in Privatgärten
Zentrum für Kunst und Natur e.V. (ZKN e.V.)
&
Einladung zum KunstTREFFpunkt Performance Festival -
20 Jahre KunstTREFFpunkt 2002 bis 2022
Seit 20 Jahren werden ortsspezifische und interaktive Performance Projekte an
öffentlichen Orten durchgeführt: in der Darmstädter Innenstadt,
Prinz Georgs Garten, vor der Centralstation, dem darmstadtium, dem Waldkunstpfad
bzw Waldkunstzentrum. Die Aktionen sind ein niederschwelliges Angebot an Passanten
als Zugang zur Kunst. Der KunstTREFFpunkt war 2002 das erste Performance Event
in Deutschland, dass ausschließlich Performances im öffentlichen
Raum durchführte.
Der Auslöser für das Projekt war die 5. Internationale Performance
Studies Conference an der Universität Mainz mit dem Institut für Theaterwissenschaft.
Das „KunstTREFFpunkt Festival“ ist eine Kooperation mit dem Verein
für Internationale Waldkunst e.V. und dem Zentrum für Performance
Studien. Es findet an Veranstaltungsorten in der ganzen Stadt mit ca. 10 internationalen
Performance KünstlerInnen statt, die analoge bzw. digitale Performances
durchführen.
Ausgangsort ist das Festivalzentrum im Int. Waldkunstzentrum, wo auch der „Digitale
KunstTREFFpunkt“ stattfindet. Das Rahmenprogramm mit Ausstellungen, Filmen,
Dokumentation, Performances, Gesprächen und Festival Cafe wird zur Hauptaktionszeit
vom 28.8. - 17.9.2023 angeboten. Für die KünstlerInnen besteht die
Möglichkeit zu anderen Zeiten des Jahres zu performen. Die Schader Stiftung
bietet ein Gespräch zum Thema Performance im öffentlichen Raum an
(geplant). Unsere Themen werden wie bisher die Nachhaltigkeit, der Wald, der
Klimawandel, Kunst und Essen, Community Art, Wasser aber auch sozialkritische,
nachdenkliche und anregende Ideen sein.
Die Dauer der Interaktionen beträgt 3-7 Tage. Die PerformerInnen treten
am Ort ihrer Wahl mit Menschen aller Altergruppen in Kontakt. Interaktion und
Kommunikation stehen im Mittelpunkt, ein gemeinsam erschaffenes Kunstwerk und
eine individuelle Kunsterfahrung ist das Ziel. Der Blick von außen ermöglicht
den Passanten neue Sichtweisen. Performancekunst ist eine effektive Methode
direkten Kontakt zum Publikum aufzunehmen. Themen der KünstlerInnen sind
Wahrnehmung von Kunst, der Umwelt, Dialoge und Selbstreflexion, dabei eröffnet
der „Digitale KunstTREFFpunkt“ Künstlern und Besuchern weitere
Dimensionen.
Durch digitale Zugangsmöglichkeiten von performativer Kunst wird diese
Auseinandersetzung im urbanen Raum möglich und erschließt neue Interessengruppen.
Die Interaktionen im öffentlichen Raum werden auf der digitalen KunstTREFFpunkt
Karte sichtbar sein, dort sind auch die bisherigen 16 KunstTREFFpunkte schon
eingetragen.
„KunstTREFFpunkt“
28.8. bis 17.9. 2023
Der „KunstTREFFpunkt“ ist eine Serie von bisher 16 Performance Projekten im öffentlichen Raum, die im Mai 2002 begann. Die jeweilige Dauer der Interaktionen beträgt drei bis sieben Tage. Bisher wurden 24 internationale Künstlerinnen und Künstler eingeladen, im städtischen Raum von Darmstadt (an einem Ort ihrer Wahl) oder auf dem Waldkunstpfad durch performative Arbeiten in Kontakt mit Menschen aller Altergruppen zu treten. Die Interaktion steht dabei im Mittelpunkt und ein gemeinsam erschaffenes Kunstwerk oder eine gemeinsame bzw. individuelle Kunsterfahrung ist das Ziel. Wichtig dabei ist der Blick von außen, der den Passanten neue Sichtweisen ermöglicht, (d.h. dass die KünstlerInnen möglichst aus verschiedenen Ländern oder zumindest aus anderen Regionen Deutschlands kommen sollen.). Performancekunst ist eine sehr effektive Methode direkten Kontakt mit dem Publikum aufzunehmen. Themen der bisher aus England, Finnland, Italien, Niederlande, USA und Portugal angereisten KünstlerInnen sind die Wahrnehmung ihrer Umwelt, der Dialog miteinander oder eine Selbstreflexion. Bisher haben jeweils 8 KünstlerInnen alleine bzw. als Künstlerpaare performt.
Management:: Ute Ritschel
Internationales Waldkunst Zentrum (IWZ)
Ludwigshöhstraße 137
64285 Darmstadt
Tel. +49-6151-7899537
www.waldkunst.com
+ + +
Im Osten nichts Neues
Gega Paksashvili, Satisfaction, Acrylic, marker on canvas,
138x194 cm, 2021
Opening – Tuesday, June 13, from 6 p.m., with multimedia
works by Gega Paksashvili, Kristina Bajilo, Alina Panasenko, Mensud Kec¹o, Esad
Puzic´, Gordana Novakovic´, Rastko Novakovic´ and Beatric¹e²
Bukantyte², as well as a fragment of a novel by Aka Mortschiladze (recited by
Irakli Rukhadze), with opening concert (Grigor Asmaryan, Artur Kurghinyan)
2nd concert, Wednesday, June 14, from 7 p.m. (music from Georgia
and Armenia, with Tamara Meshvelischvili, violin and vocals; Paul Gurti, piano;
Dali Zimmermann, vocals;
Artur Kurghinyan, violin; Grigory Meshvelishvili, Grigor Asmaryan, piano)
3rd concert, Thursday, June 15, from 7 p.m. (German composers,
with Max Bruch Trio)
Duration of the exhibition: June 13, 2023 – July 11,
2023
Johannisstrasse 3A, 66111 Saarbrücken
Gallery Puzic´ celebrates the opening of its new exhibition with multimedia works by various artists from Eastern Europe, combining the vernissage with a three-day music festival which takes place in the evenings of June 13th, 14th & 15th in the gallery rooms.
Im Osten nichts Neues puts an exclamation mark behind the questions
“Where is home,“ “Where is the war,“ “What red
line runs through the history of peoples,“ “What is a migration
background,“ “Is there a language of the sun,“ “What
does it mean to experience war“..
Kristina Bajilo, Jungle, oil on cavnas, 100x74 cm, 2018
The diverse works and performances of this artistic experiment of the gallery call into question human languages and forms of expression in every respect with regard to their possibilities and limits, in order to overcome the apparent contradiction (the East of the West?) that we encounter in communication or translation , i.e. the misunderstanding – Walter Benjamin once spoke of the “Aufgabe of the translator“ – that repeatedly stares us in the face.
The recently deceased Bosnian writer Dz¹evad Karahasan wrote during the siege
of Sarajevo and before the city was largely destroyed: "I fell silent
and felt an insane coldness, probably something in me had realized that a world
had been wiped out, the only one which I had known and inhabited" (The
Solace of the Night Sky).
Im Osten nichts Neues reminds one of the haunted, disturbed memory, but also
of umut (hope), perhaps of consolation, as well as macabre moods and black humor,
the will to survive. The works on display, particularly Gega Paksashvili's “Yellow”
series, speak to us in their own language; the photographs, graphic prints,
paintings and objects by Kristina Bajilo, Alina Panasenko, Mensud Kec¹o, and
Esad Puzic´ are complemented by the media installation by Gordana Novakovic´
and a film screening, Wormwood Maria, by Rastko Novakovic´ & Beatric¹e²
Bukantyte². A reading from Aka Mortschiladze's novel The Dogs of Paliaschvili
Street (translated by Irakli Rukhadze) is also part of the opening, as is the
extraordinary music concert program, aranged and conducted by Grigor Asmaryan
with guest musicians.
+ + +
Experimance
Sound Art Festival
13- 16 July, 2023
Including two artists presented at
Gallery Puzic´
(1)
Alan Affichard
Alternative tribology
Sound installation
Alternative tribology is an ongoing research that explores various phenomena
of frictions through a series of handmade electro-acoustic instruments. Bringing
together several attempts to measure forces of friction with and through sound,
these sound objects connected together, are activated by air pressure, electric
relay and vibratory processes, then amplified by microphones and hydrophones.
Inspired by visual forms from archeology and laboratory, the installation tries
to rethink the notion of instrument, using the mechanics of fluids, heat and
energy transfers as elements for sound composition.
Bio:
Alan Affichard is a French artist based in Berlin.
Through installations and performances, his practice focuses on sound not only
as a medium, but also as a method of inquiry. Experimenting with techniques
from various fields such as instrument making, traditional crafts, and computer
programming, he creates works that reveal acoustic dynamics as well as their
instabilities.
(2)
scenocosme
: Grégory Lasserre & Anaïs met den Ancxt
Phonofolium
Interactive and sonorous tree
Phonofolium is an interactive artwork with a living tree reacting to
the human touch by a sound, a voice. This tree «language» occurs
through touch and the close proximity of the spectators, thanks to their electrostatic
energy. The tree sings when the audience is touching or stroking lightly it.
In their artwork, the artists Scenocosme create hybrids between plants and digital
technology. Plants are natural sensors and are sensitive to various energy flows.
Digital technologies permit them to establish a relationship between plants
and sound. They display the effects of random data flow and plant interaction.
The data is modified as the spectator meanders around and touches the installation,
resulting in a random musical universe. Audience contacts with plants generate
sound effects and change in the texture of the sound. There is a specific vegetal
language through sonorous compositions. They signify a character, a behavior
having a feedback, an influence on the reaction, on the feeling and on the approach
of the spectator.
Mixing reality with imagination, Scenocosme offer a sensory experience that
encourages us to think about our invisible relationship with other living being.
Phonofolium let us know about their existence by a scream, a melody or an acoustical
vibration.
&
. 
Matières sensibles (Sensitive matters)
Sound Sculpture on wood / Interactive marquetry & Bio hacking
Matières sensibles (Sensitive matters) is a series of
sculptures made of very thin and delicate wood veneer sheets. Here the artists
use ash wood. These sheets of wood have distinct sonorous touch zones that follow
the natural veins of wood. The researches of Scenocosme have enabled them to
develop an artistic and technical process invisible and delicate.
A meticulous and invisible design work gives them the ability to define a musical
score spread over different areas of the wood. They have invented this process
of Bio hacking that they call «interactive marquetry».
Their wood sculptures produce sounds when the spectators touch them. They use
sounds to stimulate haptic and gestural behaviour. Thus, the design of these
sculptures looks like instruments which reveal by the touch various kind of
sounds. According to sculptures, the relation can be sonorous or at the same
time visual and sonorous.
Since many years, Scenocosme’s artists invent interactive works through
a singular process of hybridizations between natural elements and technology.
They create symbolic and sensorial relationships between the body and the environment
natural or social. These wood sculptures offer a sensory and intimate relationship
between the wood and the body of the viewer by revealing a sound memory in physical
contact with the matter. The electrostatic energy of the human body is the trigger
for this artwork. Interactive zones follow exactly the veins of wood.
This artwork has received
the Human Interface Award / Phaenomenale / Science & Art Festival / Phaeno
Science Center - Wolfsburg (Germany)
Bios:
The couple artists Gregory Lasserre and Anais met den Ancxt
work under the name Scenocosme.
They live in the Rhone-Alpes region in France.
Their singular artworks use diverse expressions: interactive installations,
visual art, digital art, sound art, collective performances etc.... Scenocosme
mix art and digital technology to find substances of dreams, poetry, sensitivity
and delicacy. These artists overturn various technologies in order to create
contemporary artworks. Their works came from possible hybridizations between
the technology and living world (plants, stones, water, wood, humans.,..) which
meeting points incite them to invent sensitive and poetic languages. The most
of their interactive artworks feel several various relationships between the
body and the environment. They can feel energetic variations of living beings
and design interactive stagings in which spectators share extraordinary sensory
experiences.
Their artworks are exhibited in numerous museums, contemporary art centres and
digital art festivals in the world
+ + +
Press Release for the Interaktionslabor Manifesto released in September 2014
download here (english) / hier herunterladen (deutsch)