SUMMER RESIDENCY 2019 BERLIN

Name: SUMMER RESIDENCY 2019 BERLIN — Transart Institute for Creative Research
Start: 2019-08-05T09:00:00-0600
End: 2019-08-24T17:00:00-0600

AUGUST 5 - 24
BERLIN (AND SURROUNDS)

Photos: Ilyn Wong

VENUES

SESSION ONE

Uferstudios
Badstr. 41a (Gate 1), Wedding, Berlin

SESSION TWO

The Institute for Endotic Resarch
TIER.space
Donaustr. 84, 12043 Berlin

Spike Berlin
Rosa-Luxemburg-Straße 45, Berlin

SESSION THREE

Field Kitchen Academy
Wüsten-Buchholz, Perleberg

FIELD KITCHEN ACADEMY

Field Kitchen Academy is a mobile project of GROUND e.V., that gathers artists and creative minds with experts around interdisciplinary topics and food. It aims at transcending the existing borders between research and practice, and beyond forms and formats with innovative tools and experiences on holistic knowing and thinking. Each edition of the Field Kitchen Academy is composed under a different concept that creates a lab for field research, experimentation, discussion, trial and fail, progression of knowledge, know how and creativity and artistic production. It aims at stimulating new areas and formats of investigations that will support artistic practice and creative thinking in a lab format.

Apart from being a lab, at the Field Kitchen Academy, kitchen is a symbol for overcoming the hierarchies in society. It stands out for an experience exchange and production platform where heated and open debates can take place.

2019 Edition of Field Kitchen Academy - SILENCE WITH THE CONSENT OF SOUND

For the duration of the project we will use the notion of silence in sound as a gateway to opening various sensory experiences. Silence is used as a “sound” component in sound art and music, which creates an aspect of empowering the work itself by making it stronger. Use of silence can accentuate the other frequencies, and at the same time sound might accentuate the silence further. Yet, silence in sound also creates a passage to other senses of the body. With silence, the journey with the sound enables quick shifts and glitches from auditory senses to the enhanced senses of sight, touch, smell and taste. The notion of silence withholds many charged discussions both from the performer’s and the listener’s perspective.

Workshops + Events

BECOMING-ANIMAL

Michael Bowdidge

Jacques Derrida suggests that “the gaze called ‘animal’ offers to my sight the abyssal limit of the Human” (2008, p.12). Similarly, Deleuze and Gauttari’s notion of ‘becoming animal’ seeks to shift the notion of the subject way from any notion of stability and into a zone of constant nomadic becoming which resists definition (after Bruns, 2007). Given the richness of the philosophical thought which notions of the animal have inspired, this three day course seeks to explore notions of the animal and the human and the way in which these concepts intertwine and inform each other, creatively and philosophically, and also to ask whether the deployment of the animal as a creature of philosophy mirrors its exploitation in the wider human sphere?

Drawing on texts by John Berger, Derrida, Gilles Deleuze and Felix Guattari, Cora Diamond, Donna Harraway and Ludwig Wittgenstein we will explore the various ways in which the animal, considered here as humanity’s Significant Other (after Harraway) informs and inflects what it means to be human. In doing so, we’ll also try to inhabit the Animal Other so that we gain a fresh perspective on the seemingly ever increasingly anthropocentric culture(s) we inhabit.

We’ll do this by undertaking daily individual and collaborative practical exercises interspersed with presentations and class discussions of relevant readings. We’ll be looking at and discussing works by a variety of artists who have engaged with notions of ‘the animal’ in their practice, including Joseph Beuys, Rosa Bonheur, Damian Hirst, Dennis Oppenheim, Meret Oppenheim and Carolee Schneemann.

Syllabus

EDITING SPACES

Lorenzo Sandoval & Benjamin Busch (The Institute for Endotic Research)

The Institute for Endotic Research (TIER) seeks to present a transdisciplinary approach that brings together art practice and writing. The French literary group Oulipo started to combine techniques from mathematics to create generative systems to facilitate the practice of writing. The way that they applying mathematics was through constraints: in a playful manners, for each piece there were a set of rules. Using these protocols, they were able to exercise the imagination and go beyond the self-imposed frame. In many cases, these games were directly related to the practice of space.

One of the meanings of the word publication is to make something public. If the relations between local and global are regarded as a text that can be read through contemporary art practices, a pertinent tactic would be to substitute the idea of exhibition with publication. This means to understand exhibitions as narrative machines, as expanded books that can also unfold a set of other possibilities such as cross-temporal approaches, choreography of bodies moving through the extensive idea of text and support structures.

Syllabus

NOTHING BREAKING THE LOSING (AT FIELD KITCHEN ACADEMY)

Juliana Hodkinsen

During this course, we will proceed from concepts of resonance and silence, working both with aspirations towards sustained states, ideals, and transcendence, and towards insufficiencies and the collapse of meaning that occur when silence breaks into fluid articulations. Creating and sharing experiences of resonance and silence in a participatory and social spirit, we will be creating social and sonic assemblages. Using hesitation as a radical disruptive narrative, we will work with constructing, decomposing and recomposing an initial performative score, Nothing breaking the losing, by Juliana Hodkinson. There will be lots of work with space and objects, and there will be a dark session, a movement session and an outdoor session (whatever the weather), a loud session, a quiet session, a very quiet session, and of course a silent session.

The outcome will be performed on August 23.

Course materials: Instruments of any kind are welcome, but instrumental or formal musical knowledge are not required, and there will be scope for all participants to work sonically with a range of objects and physical materials as well as spoken word and technologies of amplification.

Bio:
Juliana Hodkinson works with instruments, objects, electronics, text, voice and visual formats. Field recordings, foley, media samples and spoken word also figure in both her live and installation works. Hodkinson studied musicology and philosophy at King’s College Cambridge, and Japanese Studies at the University of Sheffield, and holds a PhD from the University of Copenhagen on the subject of silence in music and sound art. She has received major accolades such as the Carl Nielsen Prize, the Stuttgart Composition Prize, the Daiwa Anglo-.‐Japanese Foundation scholarship, and the Danish Arts Foundation 3-.‐year open working grant, and she has been composer-in-.‐residence with l’Orchestre Royal de Chambre de Mons and Odense Symphony Orchestra.

In 2013 Juliana Hodkinson curated Spor Festival, and in April 2014 she was guest resident at the University of Bogazici, Istanbul. She has received commissions from ensembles, festivals and arts organisations worldwide including Louisiana Museum of Modern Art, Interfilm Festival, Konzerthaus Berlin, Chamber Made Opera, Den Anden Opera, Speak Percussion, Operanord, Scenatet/

Spor Festival/MaerzMusik, Esbjerg Ensemble/Klangspuren, Ensemble KNM/Transmediale/the Nordic Embassies in Berlin, Südwestdeutsche Rundfunk, Westdeutsche Rundfunk/Wittener Tage für neue Kammermusik, Odense Symphony Orchestra, l’Orchestre Royal de Chambre de Mons, Zinc & Copper Works, Lydenskab and Haus der Kulturen der Welt.

http://www.julianahodkinson.net

Syllabus

ART GRANT CLINIC (AT FIELD KITCHEN ACADEMY)

Ece Pazarbasi

This is a crash course that will give you the main perspective and tools to make a competitive grant application. In this seminar you will be instructed step by step through the narrative structure of a grant application. Additionally, you will explore the ways of finding suitable international application calls for your project/artwork.

Syllabus

ROVING SESSIONS

ROVING SESSIONS are brief encounters between Transart MFA cohort-a berlin based artist or curator-and a site of their choice. The invited guest will propose a site to meet and will then host a hour-long visit/walk/derivé/discussion group or any other form of exchange they propose. The idea is to get us out of the classroom and into the world, sharing ideas and thinking in a more social, exploratory way and sharing a brief exchange with local practitioners.

ROVING SESSION #1

MAGIC MATERIALITY
WITH SUSAN PLOETZ AT THE FLOATING UNIVERSITY

Susan Ploetz’s recent work utilizes her inquiry into the material intelligence of the body and the healing that occurs by tuning into this as a site of internal/imaginational aesthetic experience, social relations and perceptual expansion. She has expanded her inquiry into our relation to the materials (and environment) around us, and is developing a fictional magic system around this. susanploetz.com

We will meet at the floating university to talk about some theory and text that have been inspiring me, and relate this to Floating University and the question of the personhood of non-human beings/ the environment. Students are then welcome to join in a workshop I will run at the Floating University afterwards.

Meeting Place: Floating University, Lilienthalstr, 10965 Berlin

Syllabus

ROVING SESSION #2

CURATOR GUIDED TOUR
WITH CATHRIN MAYER AT KW INSTITUTE FOR CONTEMPORARY ART

Anna Daučíková, Výchova dotykom (Upbringing by touch), 1996, Courtesy the artist — Anna Daučíková, *Výchova dotykom (Upbringing by touch)*, 1996, Courtesy the artist

KW Institute for Contemporary Art aims to approach the central questions of our times through the production, display, and dissemination of contemporary art. Since its inception more than 25 years ago, KW has established itself, not only as an institution, but also as a dynamic and lively space for progressive practices within the Berlin art scene, as well as in an international context. By means of exhibitions and various event formats, KW has aligned itself towards the current tendencies of the national and international art and cultural discourse, and has actively developed them on a collaborative level with artists, institutions, and by means of commissioned works. As an institution for contemporary art without a collection of its own, the team at KW maintains a high degree of flexibility in creating its programs and addressing its audience.

Meeting Place: KW Institute for Contemporary Art (Auguststraße 69, Berlin)

EXCURSIONS / EVENTS

STUDIO VISITS

Künstlerhaus Bethanien

The Künstlerhaus Bethanien is an international cultural centre in Berlin. An artist-in-residence programme with workspaces for professional artists and exhibition spaces, it is dedicated to the advancement of contemporary visual arts. As part of its residency scheme, it aims to establish a lively dialogue between artists from various backgrounds and disciplines, and the public at large. The focus of its manifold missions is the International Studio Programme, where artists from around the world conceive and present new projects with the help of its team.
Transart will visit a series of current artists-in-residence to view and discuss their current work.

www.bethanien.de/en/

THE GARDEN BRIDGE - SUMMER PARTY

Afternoon of performances, actions, guided walks and other events curated by Kinderhook & Caracas at Casa Isadora, pavilion by artist Sol Calero in the garden of the Brücke Museum.

With Casa Isadora, the artist Sol Calero (*1982 in Caracas, Venezuela) has built a pavilion in the garden of the Brücke- Museum in the form of a walk-in painting that is open to all visitors. In the design of the pavilion, Calero was inspired by the paintings and woodcuts of the artist group Brücke. She combines her unique visual language, which is informed by Latin American art and popular aesthetics, with references to the artist group’s explorations. The content of Casa Isadora ties in with the MUIM Institute (Modern Instruction in Painting), founded by Ernst Ludwig Kirchner and Max Pechstein in Berlin in 1911. Calero values collaborative work and is interested in the art school as a place of unorthodox learning from artists for artists.

Program includes works by: Ana Alenso, Kasia Fudakowski, Monika Grabuschnigg, Petrit Halilaj & Alvaro Urbano, Stephen Kent, Nuri Koerfer, Annika Rixen, STONEROSES Mirak Jamal and Santiago Taccetti
Performances:
Sea Urchin (Francesco Cavaliere & Leila Hassan)
Heatsick (Steven Warwick)

http://www.kinderhook-caracas.com/
Brücke Museum

PERFORMANCE (AT FIELD KITCHEN ACADEMY)

Choreomania / Performance by Emma Howes

Separate the tears from the water …

they will come back to haunt your trees.

The Dancing Plague of 1518 was a phenomenon of collective dancing mania that occurred in Strasbourg. The outbreak began when Mrs. Troffea began to dance fervently in the street. Her manic movements lasted somewhere between four and six days, but within a week thirty-four others had joined, and within a month over four-hundred people were taken by this torrential force. In an attempt to halt the epidemic, the government arranged for an orchestra as accompaniment to the movement. Their efforts failed, and eventually many people died, collapsing from heart attacks, strokes, or physical exhaustion. This dance epidemic happened in silence, yet most likely there was music in their minds. Contemporary performer Emma Howes will present a new piece by taking this historical event as her cue.

Concept: Emma Howes and Ece Pazarbaşı

Emma Waltraud Howes (CA/DE) works as a translator between movement and form. Her interdisciplinary works manifest as multiple reconfigurations of the body and space informed by her background in dance, performance theory, and the visual arts within the framework of a conceptual art practice. Her labour is guided by observations of gestures with a focus on the development of an expanded choreographic practice incorporating public interventions, kinaesthetic and architectural research, and an underlying drawing component in the form of graphic scores for performances as compositions representative of a stage in the development from concept and intention to depiction and effect.
Recent and upcoming solo presentations include: Scores for Daily Living, ZIL, Moscow (2019), The Nine Returns to the One, The Place, London and Centrum, Berlin (2018), dreiküchenhaus: Labour, Ritual, and Civilization, Hamburg (2018), Scores for Daily Living, Kunstmuseet Nord-Trøndelag, Namsos (2018). She has performed with and for: ‘Ten Days Six Nights’, Joan Jonas, Tate Tanks, London (2018); ‘Dynamis’, Georgia Sagri, Documenta14, Kassel (2017); ‘Liminals’, Jeremy Shaw, Venice Biennale (2017); ‘Symphony for a Missing Room’, Lundohl & Seitl, Martin-Gropius-Bau, Berlin (2016). Howes leads workshops for artist and dancers alike, including: Alive ... & then Some, Ateneu, Porto, and Martin-Gropius-Bau, Berlin (2018), and is currently working towards a lucid opera with Just In F Kennedy.

www.emmawaltraudhowes.com

PROGRAM SCHEDULE