after a week in Artist-in-Residence at Insel Hombroich/Rakentenstation in May 2019, I proudly presented Klangsondagen für Thomas Kling at Neues Kunstraum Düsseldorf and Academy of Media Arts Cologne with my Colleges Matthias Muche (trombon), Nicola Hein (guitar & electronics), Christian Reiner (voice) and Mathias Neuenhofer & me working on the live video level.
on Bifurcations, Combinatorial Thinking and Space Production
Since 2005 I have been working with the colombian artist – Juan Orozco as Telefante, exploring with the language of live cinema, the improvisation and the speculative in medial spectacles by appropriating a a kind of (new)media archeology.
The following lines are a re creation of texts that I wrote live in three audiovisual improvisations done in Tokyo , Seoul and Kuala Lumpur between the 13th and 27th of February 2018 creating a collage of thoughts around the unknown, the speculative and the production of knowledge:
The work of the writer Thomas Kling has left its mark on
German literature and set new standards in many areas. In his texts, Kling
often emphasizes the tonal dimension of language through the omission of
vowels, the use of different dialects, the conscious accumulation of chains of
sounds, and a special kind of performance without dissolving the semantics of
language. He also did groundbreaking work on the communication of music/text
and the musicality of poetic language.
For KLANGSONDAGEN the trombone guitar duo Matthias
Muche/Nicola L. Hein, the Viennese vocal artist Christian Reiner and the video
artists Luis Negrón van Grieken and Matthias Neuenhofer have processed texts
from Thomas Kling’s work (in the sense of the “language
installation”) visually/digital, musically and vocally and developed them
into musical-spatial compositions.
These place the intimate interlocking of text, music,
language and image at the centre of the work, thereby throwing completely new
perspectives on the communication of music, image and language and the works of
Kling used here.
The rehearsals will take place in the architect Raimund
Abraham’s architecturally highly interesting building, in the immediate
vicinity of the Thomas Kling Archive at the Hombroich rocket station in Neuss,
where an additional performance will be presented on 10 October 2019.
UnStumm is a project for improvised film and music (Echtzeitfilm) for cross-disciplinary and crosscultural collaboration between filmmakers, video artists and musicians from Germany and other countries. The project is organized and curated by video artist Claudia Schmitz and guitarist/soundartist Nicola L. Hein.
The cooperation partners from Colombia are: Bogotá: Universidad de los Andes, Mapa Teatro, Manizales: Universidad de Caldas, Rogelio Salmona University Cultural Center, Medellín: Museo De Arte Moderno, Santa Marta: Museo Bolivariano de Arte contemporáneo
It aims to create an environment of cultural and creative exchange, where a common complex artistic language is invented and used to communicate narratives, textures, colliding, combining, attracting worlds of sight and sound. The group of eight artists will work together in two different groups for three days to create an audiovisual performance that explores multidisciplinary improvisation as well as structure and narrative. The resulting artworks reflect on the themes of interculturality, cultural identity, cross cultural communication, the history of artistic thought (in different cultures) and many other philosophical topoi. The concert encompasses two Echtzeit-movies, which are improvised by a group alongside a conceptual composition that has been worked out during the rehearsals. Every group presents a piece that is in between 40-50 minutes long.
In a play of identities between Professor Negrón (creator of the TV show Monte su Cauchos Goodyear in the 50’s) and Luis Negrón as the author of the piece, recreate this installation a document by mixing real events with the subjective vision of the same author, by creatinga place where found materials collide with personal insights of the artist and therefore reflecting likewise the complexity between TV, dictatorship and modernity in the Venezuela of the 50s.
curated by Andres Jurado
Ana Maria Montenegro
Óscar Moreno Escárraga
Adriana Rojas Pretelt
Luis Negrón van Grieken
Santiago Díaz Escamilla
Die KHM veranstaltet in Zusammenarbeit mit der UNAL, Partneruniversität in Bogota, Kolumbien, ein Symposium zur Rolle der Künstler und Filmemacher, mit Fragen nach deren gesellschaftlicher Verantwortung und den Möglichkeiten von Interventionen in einem komplexen gesellschaftlichen Drama vor dem Hintergrund imperialistischer Geschichte, Globalisierung, Narration und aktueller nationaler und internationaler Politik.
Wie steht es um den bewaffneten Konflikt in Kolumbien?
Kann der heutige Umgang miteinander der am jahrzehntelangen Konflikt Beteiligten als Blaupause für zahlreiche andere große bewaffnete Konflikte weltweit herhalten?
Das Symposium POST-KONFLIKT soll Vorträge, Screenings, Performances und Installationen zusammenbringen, um einen Raum zur Diskussion zu schaffen.
Mit Gästen aus der Kunstfakultät der Universidad Nacional de Colombia / Bogotá und weiteren Referent*Innen wird somit die Komplexität dieser spannenden und schwierigen Zeit vor und nach den ersten erfolgreichen Friedensverhandlungen durchleuchtet.
6-7. Februar 2018
10.00 – 19.00 Symposium
19:30 – 23.00 Ausstellungseröffnung in Glasmoog / Archipel
If, to define our species, we strictly follow what history and prehistory present to us as a constant characteristic of man and intelligence, we would not speak of man as Homo sapiens, but as Homo faber. Henri BergsonThe project Technology we are seeks to resituate the relationship between Homo faber and the world, leaving the colonial narrative and inventing, or rediscovering, other imaginaries and practices.
“The human is the animal that makes tools (faber), which uses technology – it is not the only one on earth, but the most prolific – while thought (sapiens) is a capacity of many beings, even plants. For that reason, authors such as Hannah Arendt or Henri Bergson consider the name Homo faber more appropriate than Homo Sapiens for the species.Today, what for millennia was of common good or natural magic, has become unbalanced, becoming a voracious machine that is ending with the cultural and biological diversity of our planet, facing this new colonialism, art proposes strategies of subversion: other uses of technology that point to spaces of imaginative and formal autonomy, to hi / low tech, to ancestrofuturism and to collectivity as relationship and story. ”
The audiovisual installation TELEFANTE, by Juan Orozco and Luis Negroón, connects different times and geographies through the meeting of old and contemporary technologies in a cardboard box
“We need to decolonise and heal our technologies. Healing is resistance.” Tabita Rezaire
after being part of the academic staff of Academy of Media Arts Cologne for several semesters I was lucky to work together on the last seminar at the Academy with my colleagues Daniel Burkhardt and Christian Faubel. The paradox title of Film Without Film was a strategy to explore the idea of what happens after reducing Film to it’s essences – avoiding the black box approaches form cameras, recording devices, computers and player machines – The Seminar Film Ohne Film (without) aimed to reflect on which strategies we could use to explore the human perception, the act of observation itself, but also performative aspects of sound in film was founded in quite very different but rich projects – developed to be shown after one semester discussion, conferences and production.
Agustina Andreoletti, Manuel Boden, Friedrich Boell, Beatriz Malgenia Cortes, Paul Leo, Florian Liesenfeld, Dawid Liftinger , Andreas Niegl , Marko Salapura, Camilo Sandoval, Hye Young Sin, Nikolai Szymanski, Seongmin Yuk, Karen Zimmermann
Performance-Lecture: Expanded Powerpoint
at Filmwinter Festival 2018
with Daniel Burkhardt and Christian Faubel and Luis Negron van Grieken //
Sa, 10 .02.20 18, 17 Uhr, Kunstbezirk at the 31. Stuttgarter Filmwinter
By these means I see Film without Film actually also in this universe of singularities and anomalies. We generate a mask to cover, that later become the face. To create our own vocabulary is to create our reality. Hacking the language. Doing films without film is dealing with this search of singularities…
Film _without _ Film is a quest.
**Film without Film is thinking, but with smile in your face**
**Film ohne Film ist Denken, aber mit einem Lächeln im Gesicht.**