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In the old secondary ports of Montevideo and Rostock, a paradigmatic characteristic manifests itself: the morphologies of these beautiful centuries-old cities with discreet, elegant architecture and steeped in history; new global ports are assembled on their edges in the Warnow and De La Plata rivers, mechanical monsters standardized by world freight traffic come in scene. This radical encounter between the global and the local appears materialized as a collision. Territorial issue that gives physical clues to the contradictions we inhabit as a new post-industrial and hyper-mercantile era. In 2021 we will place ourselves – understanding post-pandemic care as the new skin of the body – on the uncertain edges.

These porous and little calculated thicknesses are the ones that we want to be put into dialogue. We invited a group of soundartists from Germany and Uruguay to place their practices on these edges to share deep listening, walk together, and do reflection exercises.

Continue reading “Expeditions in Specific Territory Rostock-Montevideo”

The project was part of Radio Total. Festival of Visual Arts On Air, 4 – 12 September, 2021 in Gdansk, Poland and on air at 91,3 UKF.

The project CAUS is focused on the analysis of urban sound, regarding the information it contains about the city’s identity in past, present and future as well as in the social, environmental and global context. The analysis is carried out by a group of experts who will conduct investigations, theoretical and practical research and experiments.

Artists: Marcin Dymiter PL, Lukasz Pancewicz PL, Julie Myers UK/DE, Carsten Stabenow DE, Krzysztof Topolski PL, Franziska WindischDE/BE
Curator: Florian Tuercke DE/PL

Some of the observations are documented here >>>

Since 2015, the Beethoven foundation for art and culture of the federal city of Bonn has organized bonn hoeren – sonotopia, the European student competition for sound art installation. This is the world’s only endowed competition for students of sound art. The creation of a European prize for the promotion of young sound artists will give up-and-coming talents in the field of sound art both greater visibility and audibility in the public sphere.

The international residency and exchange project sonotopia – the sonic explorers will turn former Bonn prize winners into traveling researchers and sound art ambassadors.To open up the world for one’s self or to open up one’s self to the world – both processes commence with listening. Our perception of the world “out there” begins with listening, long before we are born. The act of listening is the foundation for every type of communication and social interaction. Both of the latter have to be learned. 6 young European sound artists will go for one month on project- and research resindencies to Tehran/Iran, Dakar/Senegal and Valparaiso/Chile (2 to each place) to work there together as a group with 2 young local artists and a local mentor. These groups will explore the cities from the position of listening. How do cities sound today? How different is listening in other cultures? In the focus of the project lays the artistic examination of urban phenomena from the sonic perspective, their interpretation and transformation with multiple artistic methods. In 2021 (initially planned for 2020 Beethoven anniversary year) all participants come together for a second residence in Bonn/Germany to meet the other groups, exchange their experiences and explore together a different city context. A final exhibition at Künstlerforum Bonn will present the results.

see website for details: www.sonicexplorers.net

The program is almost complete! >>>

Conferences, concert, roundtable / September 21 – 23, 2015
Oboro: 4001, rue Berri, # 301; Goethe-Institut: 1626, boul.St-Laurent, Montreal/Canada

The Goethe-Institut Montreal, Hexagram and DOCK Berlin unite forces to present a series of events exploring the relationship between sound, art and urban space.

Three evenings of public events are planned, including a sound walk by artist Nicolas Dion Buteau, presentations by curators Carsten Seiffarth and Carsten Stabenow on artistic platforms in Germany promoting the research, presentation and creation of sound works and the urban environment (bonn hoeren and Tuned City), the presentation of a listening map of Bonn by sonic artist Sam Auinger, a performance by Ernst Karel of a composition integrating both human and non-human voices emanating from an urban environment, and finally a roundtable on the transformation of urban sounds in the built environment.

In collaboration with the Goethe-Instituts of New York, Boston, Mexico, Sao Paolo and Montevideo.

12th – 22nd of june 2014

in the fifth year of bonn hoeren a large FESTIVAL project will take place from the 12th to the 22nd of june 2014, in which the results of the fundamental thematic research of the first four years will be condensed and developed further both artistically and discursively. around two concentrated weekends, bonn will be transformed into a vast platform for artistic production and presentation, discussion and intermediation of sound art and music in public spaces through a variety of formats. the city-wide event will present a series of newly commissioned site-specific works by renowned sound artists and an international symposium (18.-22.6.2014) extending the theoretical and practical discourse. students of architecture, music and sound art from diverse institutions will conduct investigations in various parts of the city and develop projects and perform on-site interventions. next to a series of concerts and site-specific performances, a big city symphony with hundreds of participants will be premiered in the city center of bonn on the 20th of june.

At CTM 2014, a special two-day Sound Exchange concert and performance programme at the HAU Hebbel am Ufer (HAU2) brings a selection of projects by younger-generation Eastern European artists working in resonance (or in contrast) with their pioneering counterparts.

The Sound Exchange exhibition in the Foyer of HAU2 provides further context by presenting individual artistic positions, regional groupings, and currents in Central and Eastern Europe’s experimental musical cultures from the 1960s to the present. Through various documents, images, and sounds, eight exemplary pioneers and their works are portrayed in regional and historical context, as are their underlying artistic processes and positions.

An afternoon programme regrouping lectures, a round-table discussion, and a specially-commissioned film programme focused on the late GDR underground scene that presents rare and never before seen film and video documents, gives the possibility for in-depth reflection and debate. Further examinations of musical developments elsewhere in the East and West will unfold throughout various other events within CTM 2014’s Discourse series.
Sound Exchange began its search for the roots and current state of experimental music culture in Central and Eastern Europe in 2010, pursuing commonalities and singularities found within these regions and discussing their relationship with the international history of experimental music. Aiming at rendering local lines of development visible again and encouraging artists to reconnect to these traditions, Sound Exchange produced a series of festivals, exhibitions and workshops in Poland, Slovakia, Estonia, Lithuania, Latvia, Hungary, Germany and the Czech Republic, in close collaboration with local initiatives in each country. CTM 2014 presents some of the findings and achievements of the extensive project through a special condensed programme at the festival, and links it into further dialogue with parallel developments in Russia and the West.

Check here for details >>>

Eight Site-Specific Audio Works for Smartphones / 1 – 31 May 2013 on air in Berlin

 

“Music from the Cloud” involves compositions and audio works by eight Berlin-based and international composers, sound artists and authors that are based on selected, significant cultural spots in Berlin and can only be heard at these locations via smartphone. The project is a contribution of the Akademie der Künste’s Music Section to the “Kultur:Stadt” exhibition (15 March – 26 May 2013) that transmits its thematic framework – the interaction of urban and cultural relationships – to acoustic experiences. It is one of the many “Music in the Cloud” events with which the Music Section offers a wide spectrum of the ways in which sound and urban space can interact artistically in this day and age. Sound installations and an audio room offer the opportunity from 8 – 19 May at the Akademie building on Hanseatenweg to explore the city from an aural perspective. Two concert evenings (17 / 18 May) address certain places and their aura and atmosphere in a unique way, and are augmented by lectures and discussions with experts and artists.

 

“Music from the Cloud” takes a step towards the active listener in very practical terms. It takes the term of the “cloud” seriously, which plays an ever larger role in the reception of music in our day and age. The works have exclusively been produced with this context in mind and are only available “on air” from 1 – 31 May 2013. They reflect historic, architectonic, allegoric, atmospheric and other particularities of the locations and connect the medial artistic experience with the real, concrete surroundings. Together with the architects’ network “raumlabor berlin”, independent cultural projects were selected that carry out social, sociocultural and artistic work and have “acquired” corresponding spaces (interior as well as exterior):

Tempelhofer Feld / Prinzessinnengärten Moritzplatz / Mellowpark / ExRotaprint / ZK/U Zentrum für Kunst und Urbanistik / DOCK 11 EDEN***** / RADIALSYSTEM V / Kotti-Shop among others. Projects at Kottbusser Tor.

 

The exact positioning of the audio works in public spaces is made possible by the radio aporee platform. A free application must be downloaded in order to receive the audio works by the eight participating artists at the respective locations. The works themselves are usually made up of multiple, spatially divided parts that can be heard by the listener while walking traversing the site in question. The GPS on a smartphone can allocate each work to its respective location by displaying the listener’s position as well as the audio work on a map on the mobile phone.

curated by Carsten Seiffarth

A project by “Music in the cloud”

http://www.adk.de/kulturstadt

 

Tuned City Brussels – co-organised by Q-O2, workspace for experimental music and sound art is starting in collaboration with Sint Lucas Architectuur, Erasmus Hogeschool RITS/Radio,Sint Lukas Transmedia, a.pass and La Cambre (ENSAV) option Espace Urbain, with a series of lecture-events, artistic presentations, mini-residencies, university projects and workshops over the first half year. (see PRE-EVENTS) Those will be followed by an international four day festival from June 27th-30th mixing a conference with artistic  realisations such as concerts, walks, installations and interventions in situ. Looking forward to see you in Brussels!

Subharchord – A Child Of The Golden Age
02. February / 12:00 / FUNKHAUS NALEPASTR. Nalepastraße 18-50 12459 Berlin

In an era so taken with recycling whatever it can lay its hands on – ideas, objects, aesthetics, … – notions of historical lineage, or true, “original” forms are lost, or almost instantly forgotten as soon as they appear. But this seemingly endless cycle may also generate a certain yearning for knowledge of the past, for notions of roots and timelines, which can lead to amazing discoveries; one of which is featured here.

Presented at the Funkhaus Nalepastrasse, home of the GDR National Broadcasting Corporation until 1990, “The Child of the Golden Age” tells the story of an old GDR synthesizer, the Subharchord, and weaves it into the present day, intermingling electronic music, cold-war politics, and the experimental music scene in Norway along the way.

Built in the 1960s in East Berlin, the Subharchord was an electronic sound generator ahead of its time, of which only 7 instruments were ever built. Based on the Mixturtrautonium, an instrument developed in the West by Oskar Sala, the Subharchord differs from conventional synthesizers in that it produces subharmonic sounds, or “undertones” of a given note, which, unlike the more familiar “overtones”, do not exist in nature. As nobody but Salas had mastered or played the Mixturtrautonium before his death, it seemed that the sound world of subharmonics was lost until the Subharchord resurfaced.

Thanks in part to the tireless work of sound art curator Carsten Seiffarth, who will be moderating the entire afternoon, the Subharchord is slowly coming into the limelight. The programme features performances by artists who have worked or are working with the instrument, including the world premiere of a commissioned piece by Biosphere + The Pitch, as well as a live audiovisual performance of “Kippschwingung” by Frank Bretschneider, and a playback of Frederic Rzewski’s 1965 Subharchord magnetic tape piece, “Zoologischer Garten”.

The afternoon begins with an exclusive preview and discussion of the upcoming “Subharchord – A Child of the Golden Age” documentary directed by Ina Pillat, who will also be recording the performances for the film. Furthermore, the Funkhaus Nalepastrasse cult studio, Hörspiel 2, will open its doors to the public especially for this event. The work and experimentation which took place in these studios is described in Der Raum ist das Kleid der Musik, a new book published by Gerhard Steinke, who led East Berlin’s “Labor für musikalisch-akustische Grenzprobleme” (Laboratory for musical and acoustic boundary issues) during the time the Subharchord was developed and built, and who will also be present to discuss his involvement with the development of this unique instrument. The event is rounded out by a roundtable discussion between Carsten Seiffarth, Frederic Rzewski, and Gerhard Steinke.

See details here: http://www.ctm-festival.de/festival/program/event/2013/02/02/subharchord_a_child_of_the_golden_age/

Carsten Seiffarth, Carsten Stabenow, Golo Föllmer (Hrsg.)
soundexchange. Experimenteller Musikkulturen Mittelosteuropas 1950-2010
400 S., Abb., br., deutsch/englisch, PFAU Verlag, Saarbrücken 2012

The texts in this book emanate from eight different countries and 16 different pens. They delineate a panorama of experimental arts and music in Central and Eastern Europe that demonstrates differentiated, regional and aesthetic differences, as well as structural and political commonalities. That many elements can only roughly be sketched is due to the wide stylistic and aesthetic breadth of these experimental cultures. The authors have explored the history of these cultures from different perspectives and with different focal points. For the first time, this research will be presented in context – with the developments in the neighbouring countries, in their examination of the West. If a conclusion were to be attempted, it would be that music was and is alive everywhere where the principle of the experimental stimulated an exchange: between musicians, between artistic genres, between styles and techniques. (Golo Föllmer)

SOUND EXCHANGE began its search for the roots and current state of experimental music culture in Central and Eastern Europe in 2011. The region has a lively, international network of musicians, cultures and festivals. Nonetheless, local traditions and their protagonists – especially the underground movements – have partially been forgotten since the period of transition started in 1989. SOUND EXCHANGE ensures that these traditions remain audible and visible, and positions them in the context of current developments in local music scenes.

The SOUND EXCHANGE FESTIVAL Chemnitz is the final station of the project, and takes place from 15 – 18 November 2012. It is organized by DOCK e. V. Berlin and the Goethe Institut, in collaboration with weltecho in Chemnitz, and is funded by the Federal Cultural Foundation.

Since August 2011, SOUND EXCHANGE DAYS has cooperated with a total of seven local festivals involving concerts, performances, workshops and a travelling documentary exhibition on the experimental music scene in Central and Eastern Europe. Musicians and artists from participating countries explored and interpreted not only works by experimental music pioneers, but also developed their own new projects in the spirit of the experimental underground from the period of the Iron Curtain. SOUND EXCHANGE stimulates the exchange between generations and countries, makes history audible relate historical developments to current movements in local music scenes.

Developed by artistic directors Carsten Seiffarth and Carsten Stabenow, together with co-curators from the respective countries and local scenes, the projects display a wide stylistic spectrum of experimental music culture: electronic sound experiments, Dadaist happenings, minimal music, Fluxus, experimental electroacoustic music, intermedia, graphic notations and real-time improvisation.

The most interesting concerts, performances and exhibitions to have been created in the past months and already presented in Krakow, Bratislava, Vilnius, Riga, Tallinn, Prague and Budapest will now be shown in a one-off display during the four-day SOUND EXCHANGE FESTIVAL in Chemnitz.

See the documentation of the whole SOUND EXCHANGE project here >>>

The project Klang Orte Berlin/Berlin Sonic Places – perspectives of acoustic city development was initiated by Peter Cusack in the frame of his Residency at The DAAD Artists-in-Berlin Program and explores our relationship with and the importance of sound in the urban context.
From June to September 2012 Berlin Sonic Spaces will illuminate the issues through talks, discussions and performances. In 3 one day events the perspectives of different interest groups groups – artists, architects/planners, sociologists, musicians, residents, administrators, local communities and the public – will be brought together for a lively dialogue on the city’s changing soundscape.
Three themed modules will be presented in three exemplary places – Pankow/Prenzlauer Berg, /Wasserstadt – Rummelsburg/Stralau and Tempelhof Airfield. They all explore the spatial and communicative potential of sound as a tool and a means of urban practice. A cross disciplinary dialogue will be built that traces out the complex relations and interactions of space-sound by presenting and testing new strategies, methods and possibilities of sound work within artistic and applied contexts.
The results of the Berlin research modules and the collaboration between Peter Cusack, Sam Auinger and students of UDK Sound Studies Berlin will be featured at Ars Electronica 2012 in Linz this September.

Klang Orte Berlin/Berlin Sonic Places continues the discourse started by by dock e.V. in cooperation with The DAAD Artists-in-Berlin Program.

CTM-Festival Berlin 2012 showing [intlink id=”672″ type=”page”]Irrational Computing[/intlink] by Ralf Baecker at Kunstraum Kreuzberg. Opening FRI 27.1.2012.

Ralf Baecker is also part of “THE CRYSTAL WORLD” a 6 day laboratory at Kunstraum Kreuzberg/Bethanien as part of CTM.12 – SPECTRAL  with Jonathan Kemp, Martin Howse, Ryan Jordan, and others.

The Sound Exchange projekt is starting in Krakow now, on our blog wewill document the whole project from now on.

(Foto: Roman März)

Some images of the opening of [intlink id=”672″ type=”page”]Irrational Computing[/intlink] by Ralf Baecker can be found on the page of the Schering Foundation.

Experimental Music Cultures in Central and Eastern Europe

SOUND EXCHANGE embarks on the search for the roots and present-day experimental music culture in Central and Eastern Europe, which has a lively internationally linked scene of musicians, artists and festivals. Local traditions and their protagonists have, however, partially been consigned to oblivion since the fall of the Iron Curtain in 1989. SOUND EXCHANGE wants to ensure that these traditions can be heard again and to link them to current developments in local music scenes.
Between November 2011 and November 2012, SOUND EXCHANGE DAYS will take place that are connected to local festivals in seven cities – Krakow, Bratislava, Tallinn, Vilnius, Budapest, Riga and Prague – with concerts, performances, workshops and a wandering exhibition on the experimental music scene in Central and Eastern Europe. Together with the co-curators on site, country-specific programmes were developed on topics such as electronic sound experiments, Dadaist happenings and New Wave, Minimal Music, Fluxus, Experimental Electro-Acoustic Music, Graphic Notations and Real-Time Improvisation. All programmes are presented in a bilateral exchange and in cooperation with local music festivals. SOUND EXCHANGE FESTIVAL CHEMNITZ will close the project in November 2012, and will bring together the programme modules from all participating countries in a five-day festival.

PROJECT START 11th november 2011
SOUND EXCHANGE DAY KRAKÓW

Continue reading “sound exchange start”

Opening: 27th October 2011, 7pm
Exhibition: 28th October – 17th December 2011, Mo-Sa 11am – 6pm, Admission is free

Schering Stiftung / Unter den Linden 32-34 / 10117 Berlin / Germany

IRRATIONAL COMPUTING by Ralf Baecker is an artistic test of material, esthetics and potentials of digital processes. The installation is based on semiconductor crystals – the basic commodity of information technology. The installation in the Project Space of the Ernst Schering Foundation consists of five interlinked modules that use the varied electrical and mechanical particularities and characteristics of crystals and minerals and, through their networking, form a kind of primitive macroscopic signal processor.
“Irrational Computing” is not supposed to “function” – its aim is to search for the poetic elements on the border between “accuracy” and “chaos” amplifying the mystic and magic side of these materials.
IRRATIONAL COMPUTING was developed during a three-month project residency, which was made possible by DOCK e.V. with support from the Ernst Schering Foundation.

related lecture program >>>

Continue reading “IRRATIONAL COMPUTING”

[intlink id=”144″ type=”page”]Inside the Tropospheric Laboratory[/intlink] by [intlink id=”465″ type=”page”]Agnes Meyer-Brandis[/intlink] just got a Honorary Mention at Ars Electronica 2011.

Für eine Projektresidenz in 2011 hat DOCK e.V. mit Unterstützung der Schering Stiftung den seit kurzem in Berlin lebenden Künstler Ralf Baecker eingeladen, ein neues Projekt zu entwickeln. Der ehemalige Absolvent der Kölner Kunsthochschule für Medien ist vor allem mit künstlerischen Arbeiten hervorgetreten, die auf interessante Weise eine Verbindung von Kunst und Wissenschaft aufweisen. In 2010 wa er Stipendiat des Oldenburger Edith-Ruß-Hauses für Medienkunst.

Sein neues künstlerisches Forschungsprojekt – “irrational computing” – untersucht und nutzt die unterschiedlichen Eigenschaften von Kristallen, Mineralien und anderen natürlichen Elementen und verbindet diese zu einer digitalen Signalverarbeitungsmaschine – er baut quasi aus diesen Materialien eine primitive / makroskopische CPU, die zentrale Verarbeitungseinheit eines Computers. Moderne Mikroprozessoren sind in ihrer Materialität längst nicht mehr erfassbar, extreme Miniaturisierung und Black-Box-Aufbau entziehen sich visueller Deutung. Baecker konzentriert sich in seiner neuen Arbeit auf die Umkehrung dieser Miniaturisierung und auf die Materialdimensionen und Qualitäten digitaler Vorgänge. Baeckers ästhetischer Ansatz ist es, ausschließlich rohe bzw. natürliche Elemente zu verwenden.

Aufgrund der unterschiedlichen elektrischen Eigenschaften der von ihm zu untersuchenden Materialien wie verstärken, gleichrichten, verdichten und filtern ist es ihm möglich, eine Art “Urprozessor” zu entwickeln. Zum Beispiel glühen oder leuchten Phosphor, Wolfram oder Siliziumkarbid bei Stromdurchfluss, oder man kann durch spezifische Modifikationen natürlich vorkommender Kristalle wie Germanium, Pyrit oder Silizium halbleitende Eigenschaften erzeugen.

Durch eine gezielte Verschaltung der Materialien und Teile seines “Versuchsaufbaus” entsteht eine prozessierende Collage, deren Output eine sich ständig ändernde Topographie aus glimmenden/leuchtenden Fragmenten bzw. Linien ist. Ralf Baecker wird aber auch punktuell Signale dieser Schaltung abnehmen und über Kopfhörer/Lautsprecher verstärkt wiedergeben. Der Betrachter wird so in die Lage versetzt, akustisch in die komplexen Vorgänge innerhalb eines Makroprozessors einzutauchen.

Das Projekt entspricht einer extremen Zoombewegung in die kleinsten “physikalischen” Einheiten digitaler Prozesse. An dieser Stelle ist es wichtig zu betonen, dass digitale Systeme in ihrer Funktion logisch und rational konzipiert sind. Jedoch beruht die unterste physikalische bzw. elektrotechnische Ebene (Kristalle mit halbleitenden Eigenschaften) auf Quantenmechanischen also statistischen bzw unvorhersehbaren Vorgängen. Die moderne Computertechnologie hat sozusagen das Chaotische gebändigt bzw. domestiziert. Durch diese Betrachtungsweise entsteht eine Lücke zwischen unseren Vorstellungsbildern digitaler Vorgänge  und der physikalischen Vorgänge.

“irrational computing” versucht an dieser Stelle das Gegenteil. Es werden sozusagen die chaotischen und zufälligen Qualitäten dieser Materialien verstärkt. Das Verhalten der zu bauenden Maschinen-Installation soll zwischen den beiden Polen “genau” und “chaotisch” changieren.

Die Ergebnisse von Baeckers künstlerischer Forschung werden in Form einer inszenierten Materialtopographie im Projektraum der Schering Stiftung  im Oktober bis Dezember 2011 erstmals präsentiert.

Cloudbusters – An exhibition with Edwin Deen and Agnes Meyer-Brandis
March. 12st. – May 8th. 2011, Hague, Netherland

+ performance:
MAKING CLOUDS or ON THE ABSENCE OF WEIGHT
a contemporary wanderkino performance
March 20th 2011 at 8 pm

[intlink id=”465″ type=”post” target=”_self”]Agnes Meyer-Brandis[/intlink] -[intlink id=”144″ type=”post” target=”_self”] INSIDE THE TROPOSPHERIC LABORATORY [/intlink]- an exhibition
NOW on display in Cologne, De, from Oct. 20th. – Dec.5th 2010 at glasmoog

[intlink id=”467″ type=”post” target=”_self”]Herwig Weisers[/intlink] [intlink id=”146″ type=”post” target=”_self”]Lucid Phantom Messenger[/intlink] is presented from 7th Oktober – 7th November 2010 at the Biennial for art and technology Trondheim gezeigt

[intlink id=”462″ type=”post” target=”_self”]Julien Mairs[/intlink] [intlink id=”148″ type=”post” target=”_self”]memory cone[/intlink] was just shown at the Poznan Mediations Biennale.
With his Memory Cone, Julien Maire invites us first of all to explore the nature of the grain in the image, and question it’s apparent motionlesness. The installation functions as a laboratory for probing the material qualities from a mediated image.
The status of the image in Memory Cone can neither be described as a photograph, nor a slide, nor video- or filmstilll. A video-image without pixels? A quietly vibrating photograph? The projection on the white paper-fragments seems neither purely digital nor analogue. To a simple opposition, Julien Maire prefers a conflation, or hybridisation. A construct a kind of discretely disorientating electronic composite. In Memory Cone, the combination of visual sources provokes the awareness of different generations of images. When participating in this heuristic process, the viewer automatically turns into a media-archeologist. /Edwin Carels / extract of the catalogue matter and memory Woodstreet Galleries/

Memory Cone have been initiated by DOCK Berlin e.V. and produce by STUK Leuven (artefact) and Group T

TESLA media-art-laboratory turned a palace into a laboratory – for three years the podewils’sche palais close to berlin’s alexanderplatz was a central place for media arts. the house quickly became an open meeting place for both established and young artists, providing a platform for the development of production processes, joint projects and partnerships. it offered a discussion space for public contemplation and artistic reflection on contemporary art. the relationship between art and science, between the old and the new, analogue and digital media were researched and debated. this book documents the work of tesla from 2005 to 2007 through the presentation of selected artistic projects, through listings of all events and artists involved, as well as through personal reports by resident artists about their experiences at tesla.

raster-noton’s signal (olaf bender/frank bretschneider/carsten nicolai) took part at tesla with their wardenclyffe project in 2006:

the engineer nikola tesla established a “world system” on the us american east coast (wardenclyffe, long island), a never-completed installation of transmission masts intended to open the aether to a world-encompassing communication and energy system. “wardenclyffe” is a session project between pact systems (mark peljhan/aljosa abrahamsberg, slovenia) and raster-noton’s signal (olaf bender/frank bretschneider/carsten nicolai, germany). “wardenclyffe” was brought to life in 1997 in the shadow of the documenta x. the collective has since been experimenting on tesla’s visionary interconnectedness under musical conditions in selected locations.

the book (224 pages, 210 photos, colour, english/german) was published by alexander verlag berlin and comes with a cd containing the last life session of signal/pact systems’ wardenclyffe project.

order from:
Alexander Verlag
TESLA

general public, Schönhauser Alle 167c, 10435 Berlin
Opening Date: Thursday, July 22, 2010, 8 p.m.
Dates: July 23 + 24, 2010, 2 – 8 p.m.

[intlink id=”467″ type=”post”]Herwig Weiser[/intlink] shows first results of his project residency at Dock-Berlin e.V. which toke place at the General Public studio in february/march 2010.
He will give an inside of his working process on the way to his new installation [intlink id=”146″ type=”post”]Lucid Phantom Messenger[/intlink].
This short-exhibition will show a video-documentation on the poject and drawings of the experimentation setup.

The installation Lucid Phantom Messenger presents a setting that reminds us of a scientific laboratory in which the cold cobalt lighting and clean perspex surfaces distance us from what we’d love to submerge in. The work departs from the expressionism of action painting, in which materials are liberated from a servile function towards representation and become transformed into abstract gestures and shapes of sculptural painting. The tension between technical and organic elements, between the known and the unknown, between systematic analysis and free associations that grow in our brains as if imitating the process we see before us – all these juxtapositions are combined here to form a most unique experience.

(Foto: Roman Maerz)

The documentation of the projects Cloud-Core-Scanner – Inside the Tropospheric Laboratory (exhibition) and MAKING CLOUDS or ON THE ABSENCE OF WEIGHT (performance) by [intlink id=”465″ type=”post”]Agnes Meyer-Brandis[/intlink] are online now.

exhibition: www.ffur.de/tropos
performance: www.ffur.de/wanderkino

open studio: Agnes Meyer-Brandis
Saturday, 12.12.2009, 3-6 pm, Klosterstraße 44 in
Berlin-Mitte, Subway U2 Station Klosterstraße

Starting point is an artistic project under the condition of weightlessness, entitled “Cloud-Core-Scanner”. The experiment participated in a microgravity generating flight manoeuvre, that is usually restricted to scientific interests and was executed in collaboration with the DLR ( German Aerospace Centre).

A little video impression from [intlink id=”8″ type=”post” target=”_self”]DOCK-PLATFORM[/intlink] – the discursive format of DOCK on november 20-21 2009 can be found

DOCK-PLATFORM – the discursive format of DOCK will take of from 20 – 21 November 2009 at general public Berlin.