November 9. 2nd International Encounter of Objects and Walls

Saturday, November 9th, 17:00
2nd International Encounter of Objects and Walls. Screenings, interventions and reggaeton as critical responses to contemporary walls.
Objects Before and After the Wall, Part 4

For the final presentation of Objects Before and After the Wall at TIER, a collaboration with Tlaxcala 3 in Mexico City, we will present the 2nd International Encounter of Objects and Walls. Tlaxcala 3 and the Institute for Endotic Research made an open invitation to creators, participants in the study circle: Objects before and after the wall and anyone who felt affinity with this research, to investigate and present contemporary walls by making a critical cross between: investigated walls / objects before and after of the wall / landscapes and scenarios of the wall / key concepts. This, by reconstructing their contexts of production, consolidation, hardening; the ways in which their control mechanisms have materialized, embodied, and assumed “natural” through a diversity of everyday and extraordinary devices.

Presenting a wall for this Encounter also implies an observation position: specific contexts and conjunctures, partial views, provisional reflections. Whoever presents objects narrates, activates and / or performs their stories, what they “have to say” in the present. This Encounter incorporates experimentation and chance as part of collective research. Encounter as a synonym for meeting or appointment (or blind date), coincidence, finding and dialogue of multiple voices.—> https://ceclirevista.com/2019/10/04/invitacion-2do-encuentro-internacional-de-objetos-y-muros-de-tlaxcala-3/

With collaborations by:

Adriana Salazar, Alí Cotero, Camilo Castaño, Clara Bolívar, Víctor Navarro, Alberto Pacheco Benites, Alejandra Aragón, Ana Iram, Iris Díaz, Maire Reyes, Marcia Santos, Nayeli Hernández, Olga Guerra, Paloma Galaviz, Alejandra Tashko, Hitzamo Beltrán, Juan David Polo, Ana María Garzón Mantilla, Giulianna Zambrano, Sofía Acosta, Andrea Carrillo, Juan Antonio del Monte, Beatriz Millón, Centro de Estudios de Arte Anticomunista, Casa Vidrio, Catrileo + Carrión, Daniela Medina Poch, Daniel Aguilar Ruvalcaba, Diana Buitrón, Lorena Tabares, Diana Cantarey, Donají Marcial, Elizabeth Mejía, Emmanuel Rosas, Mitzi Castillo, Enrique López Llamas, Fiamma Montezemolo, Francisco González Castro, German Paley, Irene Trejo, Javier Anaya, José Luis Benavides, Kriss Reyes, Marisol García Walls, Miguel Fernández de Castro, oro oro oro, Tomás Villalobos Moreno y Yorely Valero

Venues for the Encounter:

Art Office, Santa Cruz de la Sierra, Bolivia
Casa CentroX16, Ciudad Juárez, México
Casa Vidrio,  Guadalajara, México
Deslave, Tijuana, México
Global Center for Advanced Studies, South American Collective + Centro de Estudios de Cosas Lindas e Inútiles, Santiago de Chile, Chile
Khora, Quito, Ecuador
Maleza Proyectos, Bogotá, Colombia
No-Automático, Monterrey, México
Supplement Projects, Miami, EUA
The Institute for Endotic Research, Berlín, Alemania
Tlaxcala 3, Ciudad de México, México

Objects Before and After The Wall
This project analyzes the wall as an object from different angles: thirty years after the fall of the Berlin Wall, twenty-five years after the signing of the North American Free Trade Agreement and in the geopolitical framework that requires research in Mexico it’s border condition with Central America and with the United States. The wall as an ideological space and the relationship between objects and walls. The notion of the liminal, the crack, the border and other possible unfoldings.
This event is part of a collaboration between Tlaxcala 3 in Mexico City, The Institute for Endotic Research and Berlin Art Prize. Objects Before and After the Wall is a collaboration between Tlaxcala 3 in Mexico City and The Institute for Endotic Research in Berlin. It has the 2019 sponsorship of the Fundación Jumex Arte Contemporéneo for theoretical and curatorial research.




  November 5. Editing Spaces, Part 5: Mattin

Tuesday, November 5, 19:00
Mattin
Editing Spaces, Part 5

Mattin

How could this score be performed?

An improvised music that takes sharing the widespread inner effects of malevolence in contemporary society as a starting point. But this sharing will not bring harmony for a couple of hours. No unity, or, if you want, at most unity in fragmentation.

However, through interruption of logical expectations, the social room will be edited.

In order to understand forms of the individual mental state of noise, one needs to get deep into the general lack of coherence and its appearances. And perform it.

No one knows what breakdown will bring.

Mattin is an artist from Bilbao – living in Berlin – working with noise and improvisation. His work seeks to address the social and economic structures of experimental sonic artistic production through live performance, recordings and writing. Using a conceptual approach, he aims to question the nature and parameters of improvisation, specifically the relationship between the idea of ”freedom” and constant innovation that it traditionally implies, and the established conventions of improvisation as a genre. Mattin considers improvisation not only as an interaction between performers and instruments, but as a situation involving all the elements that constitute a concert situation, including the audience and the social and architectural space. He tries to expose the stereotypical relation between active performer and passive audience, producing a sense of strangeness and alienation that disturbs this relationship. He has recently completed a PhD at the University of the Basque Country under the supervision of Ray Brassier and Josu Rekalde. Along with Anthony Iles they edited the book Noise & Capitalism in 2009. In 2012 CAC Brétigny and Tuamaturgia published Uconsitituted Praxis, a book collecting his writing plus interviews and reviews from performances that he has been part of. Both books are available online. Mattin took part in documenta14 in Athens and Kassel in 2017.

www.mattin.org

Editing Spaces
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.

The work of the artists/curators invited to Editing Space develops from translations from texts to installations, from transitions between the written and the performative.

With: Discoteca Flaming Star, Alicia Kopf, Josep Maynou, Mattin and Laura Vallés

Supported by the program PICE of Acción Cultural Española




  November 1. Daydreamers. Encounter with Stephen Kent and Elisa Rusca

Friday, November 1st, 20:00
Daydreamers
Encounter with Stephen Kent and Elisa Rusca

This first Daydreamers Night is the official launch of LOCATION III and a gathering of all the 51 living, international artists involved so far in the ongoing Daydreamers project, which was initiated in 2017 by Stephen Kent and Elisa Rusca.
Daydreamers is both an online platform and a series of off-line interventions aiming to unearth the possibilities of semantic correlations between different spaces and the objects shown within them. Once a year, a location is chosen to be parasitized by the works of 15-20 artists. The action takes places over a short stay, during which the artworks are placed and photographed using the visual paradigm of online rental apartments platforms’ advertising shots. Every new location feeds the daydreamers’ website virtual catalogues.
Three different spaces coexist: the locations’ rooms; their digital representations; the online apparatus hosting the website. If we start to consider the simultaneity of these three universes, the semantic status of the objects placed in them becomes ambiguous, interrogating the value of the artwork and its relation with the space where it is perceived. While addressing these and other questions, this event is an offline informal encounter presenting the globality of the Daydreamers project and its possible future blossoming.

www.daydreamers.biz

LOCATION III artists:

Heba Y. Amin, Maxim Brandt, Sol Calero, Sigrid Espelien, Jake Kent, Christopher Kline, Oliver Laric, Milda Lambertaité and Amelia Prazak, Erica Mahinay, Marta Margnetti, Malgorzata Mirga-Tas, Anders Ruhwald, Lorenzo Sandoval, Chi-Tsung Wu.

Previous locations’ artists:

Mads Andreassen, Patrick Armstrong, Martin Backes, Ben&Sebastian, Veronica Brovall, Pavel Büchler, Slawomir Elsner, Sophie Erlund, Wojciech Fangor, Ektor Garcia, Jon P. Geiger, Mia Goyette, Daniel Hauptmann, Anders Holen, Nadira Husain, GM Keaton, Maja Kitajewska, Maximilian Kirmse, James Krone, Lindsay Lawson, Josep Maynou, Ryan McLaughlin, Nicholas Norris, Andrew Thomas Parry, Anna Margrethe Pedersen​, Margherita Pevere, Bernhard Rappold, Luka Rayski, Jim Ricks, Muhannad Shono, Paul DD Smith / Agnes Scherer, Camilla Steinum, Elisa Storelli, Aiko Tezuka, Ulrich Vogl, Stephen Wilks.

Stephen Kent is an American artist based in Berlin. He is represented by Philipp Haverkampf Galerie.
Ph.D candidate at Goldsmiths, University of London, Elisa Rusca is a writer and curator.




  October 31. Discoteca Flaming Star. Editing Spaces, Part 4

Thursday, October 31, 19:00
Discoteca Flaming Star
Editing Spaces, Part 4

A Tier-Banner (or a new Banner for Tier) and the screening of a collection of funny and glam and sexy and sad short films by Discoteca Flaming Star, made between 2002 and 2019.

Discoteca Flaming Star is an interdisciplinary collaborative art group, a group of people who use songs and other forms of oral expression, understanding them as a personal response to historical events and social and political facts.

Through conceptual, visual and musical transfers, they create performances, sculptures, drawings, stages and situations whose foremost intention is to question and challenge the memory of the public, transforming old desires and finding invented pasts, or pasts which never occurred. DFS is the place where the oracle speaks through the non-chosen. DFS is a love letter written in the present continuous, a love letter to thousands of artists. They exploit their knowledge and lack of knowledge, working slowly, inspired by Anita Berber, Warhol’s wig, ghosts with no home, Rita McBride ’s „Arena“, Gregg Bordowitz , Mary Shelley , Karl Valentin & Lisl Karlstadt, the Vienna Group , Alvaro, Joey Arias and David Reed ’s paintings and dialogues. DFS present wonderful songs of love, consumption, fervour and feminism, carpets that help to cross burning bridges, fragile essays as drawings, and things that go together even though they shouldn’t…They act directly in the gap between action and documentation, generating and finding documents that can be used to articulate strange tongues and languages that incite action and argument.

Cristina Gómez Barrio and Wolfgang Mayer have been the base of Discoteca Flaming Star since 1998.

Editing Spaces
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.

The work of the artists/curators invited to Editing Space develops from translations from texts to installations, from transitions between the written and the performative.

With: Discoteca Flaming Star, Alicia Kopf, Josep Maynou, Mattin and Laura Vallés

Supported by the program PICE of Acción Cultural Española




  October 23. Clearances. Reading by Manuela Koelke and screening of Harun Farocki’s The Leading Role (1994). Objects Before and After the Wall, Part 3

Wednesday, October 23, 19:00
Clearances. Reading by Manuela Koelke and screening of Harun Farocki’s The Leading Role (1994).
Objects Before and After the Wall, Part 3

For the third part of Objects Before and After the Wall at TIER, a collaboration with Tlaxcala 3 in Mexico City, Manuela Koelke will investigate her experiences of East Berlin, and we will screen Harun Farocki’s film The Leading Role (1994). Both works reflect on the role subjective experiences and conflicting media narratives play in the capture, remembrance and re-writing of the fall of the Berlin Wall.

In her reading, Manuela Koelke revisits her childhood experience of growing up in East Berlin before and after the fall of the wall in November 1989, which brought about a sudden change of appearances, people disappearing, the economy crumbling, ideologies shifting, socialized land and goods being privatized, and new commodities flooding the East. But what really changed, from whose perspective? How do the subjective micro-stories of those who lived through these events relate to the state-sanctioned and media-driven narrative, then as now? How is the conflict between personal and collective affectedness to be understood, considering walls both within and outside? This foray into memories will question the value of being persuaded by any one perspective, whether personal or collective, and instead emphasize the need to make up one’s own mind, not to uncritically believe what the media claims to be true, and to find one’s own answers by relating to motivations other than one’s own.

Five years after the fall of the wall, Harun Farocki’s film The Leading Role (1994) delivers a montage film of media footage, produced by East and West German television crews at that time trying, for days on end, to get an emblematic image which would crystallize the event. In the attempt to define this ‘absent image’, “[…] this material shows the extent to which the collective conscience was affected by the event, as well as all the efforts made to repress the trauma” (Harun Farocki).

Manuela Koelke, born 1981 in East Berlin, works as an architect, writer and translator and is based in Berlin. Her work examines contradictions in planning practices, forms of self-organization, spatial justice and anarchist theory and practice at the interface of posthumanist and decolonial knowledge and production of space. Her PhD at the European Graduate School investigates the notion and meaning of non-planning—the negation of any form of planningfrom the angle of philosophy, theology and political theory. Recent publications include „Leben ohne Eigentum. Die „Bodenlosigkeit“ anarchistischer Siedlerbewegungen“ in Architektur auf gemeinsamem Boden. Positionen und Modelle zur Bodenfrage (Lars Müller Publishers 2019, edited by Florian Hertweck), Ontic Flows: From Digital Humanities to Posthumanities (Atropos Press 2016, edited together with Matt Bernico) and Radical Standard – for the Implementation of Spatial Justice in Urban Planning and Design (2012, TU Braunschweig). She is part of the team translating the Revolutionary Writings, Vol. IV, V & VI of the Complete Works of Rosa Luxemburg (Verso, forthcoming, edited by Peter Hudis et al.), most of which are published in English for the first time.

Harun Farocki, was born in 1944 in Nový Jicin (Neutitschein), at that time Sudetengau, today Czech Republic. 1966–1968: Admission to the just opened Berlin Film Adacemy, DFFB. 1974–1984: author and editor of the magazine Filmkritik, Munich. 1998–1999: Speaking about Godard / Von Godard sprechen, New York / Berlin (Together with Kaja Silverman). 1993–1999: Visiting Professor at the University of California, Berkeley. Since 1966: more than 100 productions for Television or Cinema, including children’s TV, documentary films, essay films, story films. Since 1996: various solo and group exhibitions in Museums and Galleries. 2007: participation at documenta 12 with Deep Play. Since 2004: Visiting Professor; 2006–2011 full Professorship at the Academy of Art, Vienna. 2011–2014 long-term project Labour in a Single Shot, together with Antje Ehmann. Farocki passed away July 30, 2014 near Berlin.

Objects Before and After The Wall
This project analyzes the wall as an object from different angles: thirty years after the fall of the Berlin Wall, twenty-five years after the signing of the North American Free Trade Agreement and in the geopolitical framework that requires research in Mexico it’s border condition with Central America and with the United States. The wall as an ideological space and the relationship between objects and walls. The notion of the liminal, the crack, the border and other possible unfoldings.
This event is part of a collaboration between Tlaxcala 3 in Mexico City, The Institute for Endotic Research and Berlin Art Prize. Objects Before and After the Wall is a collaboration between Tlaxcala 3 in Mexico City and The Institute for Endotic Research in Berlin. It has the 2019 sponsorship of the Fundación Jumex Arte Contemporéneo for theoretical and curatorial research.




  October 21. The Institute for Endotic Research’s yoga series. Instructed by Lynhan Balatbat-Helbock

Monday, October 21, 19:00. Space is limited to 12 participants
The Institute for Endotic Research’s yoga series
Instructed by Lynhan Balatbat-Helbock

We are very much looking forward to welcome you to the first TIER yoga session this season:

Drop by for a slow and grounding Hatha-Vinyasa experience.
We will start with simple breath (pranayama) exercises and after a long warm up we will move from different asanas (poses) to synchronise our breath with the movements.
Come and play with your patience, strength and flexibility, you´ll be rewarded with a generous generous cool down.
Expect mindful hands-on and gentle assists.

– the class will be held in English, all levels are welcome.

Space is limited to 12 participants, please kindly rsvp via: lynhanbalatbat@gmail.com

Suggested donation of 5-10€




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