January 25 and 26. Infratekture, collaboration with transmediale. With: Luís Berríos-Negrón, Mariechen Danz, Isabel Lewis, Patricia Reed, Daniel Salomon and Emilija Škarnulytė
18:30 doors, 19:00 start: The ‘Unambitious Stripper’ with Isabel Lewis
**For workshop RSVP to firstname.lastname@example.org. Space is limited. Last spots given on first come, first served basis**
20:00: Introduction to ‘Wardian Table’ by Luís Berríos-Negrón
20:30: Screening by Mariechen Danz amid installed artworks
19:00: Performance by Daniel Salomon
19:30: Introduction to ‘Incommensurate States’ by Patricia Reed
20:00: Screening by Emilija Škarnulytė
Where are the fluxes of affect to be located when thinking them as infrastructure?
The Institute for Endotic Research (TIER) proposes a constellation of words as an extension of that question, inspired by the transmediale Study Circle ‘Affective Infrastructures’. This constellation is drawn from Infratekture, a made-up word which mirrors the blurry edges of possible affects. We take the prefix Infra-, meaning below but also within, to think about Perec’s Infraordinary and Duchamp’s Inframince. And we place it alongside the Proto-Indo-European root *teks-, the root of text, textile, techne, technique, tectonic, architecture, hypertext, pretext, context and texture. With this constellation, we chart a course through the invisible links between the words, on the hazy map of affect.
Our approach with The Institute for Endotic Research sees the space as a text that is constantly written and rewritten, edited and reconfigured. Every intervention responds to the status quo of the space and transforms it. We invite artists, architects, and other practitioners to create interventions in the space, while we also produce our own architectural devices to give texture to the space. Both serve as a common infrastructure for the recombination of relations among people and objects. We ask the artists and researchers who are part of ‘Infratekture’ to respond to this context when applying their technique as part of a collectively unraveling text.
‘Infratekture’ will present works in the form of a two-evening event. It will be composed of a series of performances supported by interventions (both new and existing). The performances will explore notions related with the composition of the social body through the invention of its organs, its nourishment and its textures. This social body-text is readable and editable: it is the result of the accumulation of layers of socio-technical conceptualizations, as well as the affective infrastructures that bind them together. The necessary invisibility of the connections within and between the many words inside Infratekture will be used as a metaphorical device to explore affect.
Artists invited to Infratekture: Luis Berríos-Negrón, Mariechen Danz, Isabel Lewis, Patricia Reed, Daniel Salomon, Emilija Škarnulytė.
With existing interventions by: Ana Alenso, Plating Concrete (Miguel Prados Sánchez and Pablo Ramón Benitez), Sofia Lomba, Sara Pereira.
Luís Berríos-Negrón will introduce the ‘Wardian Table’, that was produced to serve as prop for the re-enactment of ‘Metalogue: A Crème de Menthe, a Rusty Nail. Why Intransitive?’ as the core performance of Memory #02 for the ANARCHIVE at TIER.space.
Mariechen Danz’s approach to a nonlinear historiography of both geographical and anatomical charts will be installed at TIER.space, as a way to question systems of knowledge production.
Isabel Lewis will present an iteration of her workshop titled ‘Unambitious Stripper’, which will use ideas and techniques related to movement for participants to reach a personal inner space by figuratively removing layers of social constructs and identity.
Patricia Reed will present the artwork ‘Incommensurate States’, where a camera maps the contours of the entire world in a loop, moving along the path of all nation-state borders following the logic of the ‘traveling salesman’.
Daniel Salomon will share his guts with the audience in the form of a long sausage based on his daily food intake.
Emilija Škarnulytė’s film and video work examining geologically transformed spaces of legacy and existing regimes of power will establish a visual continuity between concrete infrastructures and the haze of affect that animates them.
A cooperation between transmediale and The Institute for Endotic Research. Supported by the Senate Department for Culture and Europe.
Tuesday, 8 January 2019 from 19:00-21:00
The Institute for Endotic Research yoga series with Lynhan Balatbat
The free play consists in 5 acts:
1: Hoş geldiniz
2: ات َك ْلنا منه على ُخ ص ا تحاد قوة
3: Hez dekeyt legel ma bireqsî?
5: शि – shakti flow
– Hoş geldiniz
Wednesday, January 8th, 19:00. RSVP requested.
In this first session we would like to introduce the series with a welcoming class and start the year with a new moon initiation followed by a mindful yoga practice.
(hoş geldiniz: “your arrival is lovely”)
– ات َك ْلنا منه على ُخ ص ا تحاد قوة (date tbc)
“unity is power” – for the second mini workshop in this series we transcend from tiny entities like breath, slow movements, to broader units. Here we will set the focus on connectivity, in and around us.
– Hez dekeyt legel ma bireqsî? (date tbc)
“would you like to dance with me?” – Spring will be celebrated in playful standing asanas, dynamic postures and space for free play.
– месечина (full moon ritual & yoga session)
Saturday, May 18th, 18:00. RSVP requested
We initiate this session with a ritual dedicated to the grounding and nourishing qualities of the end of the moon cycle. The full moon is a time of brightness, where the moon reflects fully the light of the sun— it is a time where consciousness and unconsciousness are in accord and in perfect reflection of one another.
– shakti flow: (date tbc)
Shakti is the creative energy of the universe, anything that has Shakti is alive, luminous and desirable. It ́s the essence of vibrant health, feeling good in your own skin and feeling that your life has meaning and value. In this last session we will talk about the feminine cosmic energy in us, the primordial forces it represents and are thought to move in us and through the entire universe.
Suggested donation between 5-10€
Please RSVP to reserve a spot as the space is limited to 12 mats maximum: email@example.com
Lynhan Balatbat-Helbock is a curator and researcher at S A V V Y Contemporary Berlin and is part of the participatory archive project Colonial Neighbours. She received her MA in Postcolonial Cultures and Global Policy at Goldsmiths University of London and moved to Berlin in 2013. In her work within the permanent collection of SAVVY Contemporary she looks for colonial traces that are manifested in our present. The collaborative archive dedicates itself to discussing silenced histories and to the decanonization of the Western gaze through objects and the stories behind them. In close collaboration with artists, initiatives and activists, the archive is activated through hybrid forms of practice. In 2017 she assisted the management for the documenta14 radio program – Every Time a Ear di Soun, SAVVY Funk in Berlin. Lynhan supported the artist Bouchra Khalili with several projects and exhibitions designed most recently the production of Agnieszka Polska ś new commission for the Germany’s National Gallery Prize show in the Hamburger Bahnhof in Berlin (September 2018 – March 2019). Lynhan received her 200-hour Yoga Alliance teaching certification through Spirit Yoga Berlin (Patricia Thielemann) and has participated in numerous workshops with Matthew Cohen, Lin Min, Max Strom and Krishnataki (Sunshine House Greece). In her own practice and teaching she seeks a more grounding momentum, the healing power of touch and creating the space to balance our hectic daily hustle.
Together we will play records, talk and listen to versions of the work we have done and will do. The session will be somewhere amongst a spiral retelling and its planetary reverberations, an echo without a cause, a thunder-strike and its soundwave riding the ionosphere, a protest refrain, a knock warning, a Palestinian radio jingle, a dub, a peri-acoustics, a cease and desist siren, a new year’s broadcast. Tune in, stop by.
Link to the first broadcast: https://soundcloud.com/user-854660269-405465536/radio-earth-hold-colonial-voice
Radio Earth Hold is organised by Rachel Dedman, Lorde Selys and Arjuna Neuman, commissioned as a collateral project of Qalandiya International, and supported by the Serpentine Galleries.
It traces echoes between the anti-occupation movement in Palestine and anti-racism movements in the North American context. It examines British Mandate radio as a colonial instrument in Palestine, and Israeli control of Palestinian telecommunications as part of the architecture of occupation. It connects these to the birth of Mni Wiconi during the Standing Rock protests, radical midwifery practices, and the acousmatics of sound in the womb.
Broadening beyond political struggle to the phenomenon of ‘natural radio’, Radio Earth Hold’s research addresses how electromagnetic radiation functions at a bigger-than-planetary scale. How might natural radio and acousmatic sound—reverb without a cause, or echo without a source—offer a model for reorganising relationships between the individuals and the world? What solidarity emerges from the recognition of our participation in the transmission of planetary sound?
Radio Earth Hold is commissioned as part of the collateral program of Qalandiya International IV, and supported by the Serpentine Galleries, London.
Louis Henderson is a filmmaker who is currently trying to find new ways of working with people to address and question our current global condition defined by racial capitalism and ever-present histories of the European colonial project. The working method is archaeological. Henderson has shown his work at places such as; Rotterdam International Film Festival, Doc Lisboa, CPH:DOX, New York Film Festival, The Contour Biennial, The Kiev Biennial, The Centre Pompidou, SAVVY Contemporary, The Gene Siskell Film Centre, Gasworks and Tate Britain. His work is in the public collection of the Centre National des Arts Plastiques, France and is distributed by Lux (UK) and Video Data Bank (USA).
Monday, December 17, 19:00
Hands.on.matter: Fermentation and Kombucha feat. Alanna Lynch and Lena Ganswindt
Bimonthly program organized by Sandra Nicoline Nielsen and Tim van der Loo
On the 17th of December we invite you to a anti-capitalistic celebration of Christmas by bringing our hands on diy production of fermentation and kombucha. The event consists of a presentation by the Berlin Art Prize 2018 awarded artist Alanna Lynch, who invites us into her fascinating universe of bio-materials. The talk is followed by a workshop facilitated by Tim van der Loo and Sandra Nielsen where we together make candy from scoby.
The event will also display an exposition by Irina Hefner showing the design process of a kombucha shirt, Lena Ganswindt showing samples of kombucha as a textile material in different colors and shapes, including some of the works by Alanna Lynch.
HANDS.ON.MATTER is an explorative collective of multidisciplinary creatives focusing on the matter of material by a questioning of resources, consumption, sustainability and culture through a bimonthly series of talks, workshops and expositions.
PHILOSOPHY: Hands.on.matter believes in taking a step back and rediscovering the kosmos of matter one material at the time, zooming in on compositions and zooming out on flows. The aspiration is to build new structures and (re)discover designs for a more sustainable and circular future. Hands.on.matter seeks to host thought provoking and desirable templates in the interdisciplinary field between design, art and architecture in the context of everyday life. Hereby Hands.on.matter invites local residents, entrepreneurs, artists and designers to participate.
ALLANA LYNCH: Alanna Lynch (b.1978) is a Canadian artist and researcher based in Berlin. She works with living organisms, biological materials and performance, examining the politics of affect and questions of agency. She explores the aesthetics of disgust and fear, with a focus on embodied knowledge and non-conscious forces. Working with difference, the visceral body and with ideas of contagion and care, she combines past studies in biology and psychology with experiences in activism. This shapes her perspectives, coming from art and science as well as from privileged and more marginal positions. She has exhibited and performed internationally and she is a founding member of the artist collective Scent Club Berlin. She was awarded the 2018 Berlin Art Prize.
LENA GANSWINDT: Lena Ganswindt is a textile design engineer with a focus on material design that is fully ecological and biodegradable. She graduated from Hochschule Niederrhein in Textile Design-Engineering in 2016 and is currently doing her master project in the course Textile and Surface Design at Kunsthochschule Weißensee. In her project she works with bacterial cellulose and experiences how designers co-perfom with living materials.
TIM VAN DER LOO: Tim van der Loo (co-founder of H.O.M) is an experimental multidisciplinary designer located in Berlin where he is working in between the fields of textile, furniture and illustration. He studied at the Design Academy Eindhoven were he graduated in 2016 and is currently doing a master in Textile and Surface design at Kunsthochschule Weißensee Berlin. His work engages with sustainable material, contrast, and tactility to generate playful objects
SANDRA NICOLINE NIELSEN: Sandra Nicoline Nielsen (co-founder of H.O.M) is a Techno-Anthropologist (Msc.) from Aalborg University, Denmark. She explores how socio-material practices supports transitions into new economies, and has in her Master’s thesis been working with social structures of Circular Economy in Berlin.
Wednesday, December 5, 19:00
Between Pages A Publication
Encounter with Zahra Rashid
In October 2018, Zahra Rashid exhibited at Künstlerhaus Bethanien after 10 months of practice in a studio there.
Through Between Pages A Publication, Zahra Rashid will share that experience in a conversation with Zoya Honarmand.
Zahra Rashid (b.1987 in Tehran, Iran) mainly works with drawing. Lately, she has been practicing reproduction and multiple representations through different mediums.
Rashid earned a BA in Visual Communication from Tehran University of Art in 2012 and completed her MFA studies in Medium and Material Based Art at the Oslo National Academy of the Arts in 2015. She participated in Künstlerhaus Bethanien International Studio Program in 2018 supported by Office for Contemporary Art Norway.
Sunday, December 2, 17:00 (doors), 17:30 (start)
Encounter with Emilija Škarnulytė
Emilija Škarnulytė (b. 1987) lives and works in Berlin and Tromsø.
Emilija has been making films and videos for the last ten years mostly in places where contemporary political issues are staged, and in particular, issues between human and nonhuman worlds. Škarnulytė investigates the shifting boundaries between documentary and fiction, between ecological and cosmic forces: feeling out all kinds of nonhuman and posthuman scales, in the depths of space and time.
Škarnulytė has an MA from Tromsø Academy of Contemporary Art, based above the Arctic Circle. Most recently she was shortlisted for the Future Generation Art Prize 2019 and was awarded prizes including the Kino der Kunst Project Award, Munich (2017); Spare Bank Foundation DNB Artist Award (2017), and the National Lithuanian Art Prize for Young Artist (2016). Škarnulytė is also a founder of Polar Film Lab, a collective for 16mm analogue film practice located in Tromsø, Norway. She has upcoming shows: 1st Toronto Biennial of Art, Canada; 95% of the Universe is Missing, Science Gallery, London, UK.
Recent solo shows include: Mirror Matter, Künstlerhaus Bethanien, Berlin (2017); Manifold, Podium, Oslo (2017); QSO Lens, CAC, Vilnius (2015). She participated in the Riga International Biennial of Contemporary Art RIBOCA (2018); the Baltic Pavilion for the 15th Venice Biennale of Architecture (2016) and Universe in Universes, w. Como Clube, 31st São Paulo Biennial (2014). Her work has recently appeared in film festivals and group shows such as: Hyperobjects, Ballroom Marfa, Texas (2018); The Future is Certain; It’s the Past Which Is Unpredictable, Blaffer Art Museum, Houston (2018); Bold Tendencies, London (2018); On Earth, Structure and Sadness, Serpentine Galleries (2018), If These Stones Could Sing, Kadist, San Francisco (2018); Baltic Pavilion, AA and RIBA, London (2018); Directing the Real: Artists’ Film and Video in the 2010s, Passerelle Centre d’art contemporain, Brest (2018); Ex-ante, Artspace, Auckland (2017); The Future is Certain, Calvert 22 Foundation, London (2017); Agency of Living Organisms, Tabakalera Center for Contemporary Art, San Sebastian (2016); Random Rapid Heartbeats, Kunsthalle Tallinn (2016); International Film Festival Rotterdam (2015); Artists’ Film International – Season 7, Whitechapel Gallery, London (2015) and International Short Film Festival OBERHAUSEN, International Competition (2013).