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€




  October 17. Museum of Care. Encounter with Lotte Løvholm

Thursday, October 17, 19:00
Museum of Care
Encounter with Lotte Løvholm

How are museums vehicles for nation state building? And how are artists? ‘Museum of Care’ looks at a forgotten collection of artworks in Malmö Konstmuseum. The museum located in Southern Sweden received a donation from private donor Oscar Elmquist in 1939 with the purpose of establishing a ‘Latvian collection’ at the museum. Seven months later Latvia was first occupied by the Soviet Army, then Nazi Germany, and finally underwent 45 years of Soviet occupation. Many Latvians fled and in 1947 the museum exhibited Latvian exile artists and more artworks were added to the “Latvian collection”. The collection was on permanent display until 1958 and was then taken down and forgotten. ‘Museum of Care’ connects this collection of 45 Latvian artworks with Lotte Løvholm’s own family story in Latvia with her grandmother fleeing Latvia to Denmark and never talking about her home country.

Lotte Løvholm is an independent curator and editor from Copenhagen. She is the curator of ‘Le Soin des Possible / The Care of the Possible’ at 1.1 in Basel, ‘AUTO FLT AP OFF’ at X and Beyond in Copenhagen and ‘Algoritm’ at Kunsthal Aarhus. She holds a BA in Theatre Research and Performance Studies from the University of Copenhagen (2010), an MA in Modern Culture from the University of Copenhagen (2014) and graduated from the curatorial programme at Konstfack in Stockholm, CuratorLab (18/19). Previously she has been a curatorial assistant at Arken – Museum of Modern Art, research assistant for Maria Lind and Cecilia Widenheim at Malmö Konstmuseum, and from 2014-2017 she was the curatorial assistant to Solvej Ovesen and Bonaventure Ndikung in Berlin. She writes articles for exhibition catalogs and art journals including Kunstkritik, kunsten.nu and Peripeti Journal. She is the editor of publications ‘Say It Loud!’ (2016), ‘Marronage’ (2017), ‘Museum of Care’ (2019) and ‘The Care of the Possible’ (2019). Currently she is editing ‘Algorithm’ with Anne Kølbæk Iversen from Aarhus University as part of Contemporary Condition’s series, published by Sternberg Press.




  October 16. Josep Maynou: TIME. Editing Spaces, Part 3

Wednesday, October 16, 19:00
Josep Maynou: TIME
Editing Spaces, Part 3

Josep Maynou’s multidisciplinary approach is both performative and object based. It comes together as a form of contemporary storytelling, a fictional take on everyday life in the form of humorous ideas that expand onto his objects. The sculptures he makes are at once illustrations of these ideas, as much as they are props and stages where the narrative takes place. Maynou uses common domestic materials and practical tools that are often discarded or hidden to create anthropomorphous utensils. His projects are scenarios for action that allow both functionality and absurdity at the same time.

For his performance at TIER, Maynou will present TIME, a show set on a stage designed by the artist with some of the recurrent artefacts in his work that guide and provide a score for the live event. TIME is at once a performance, a song and a movie script: based on a hypothetical film about a graffiti artist who opens portals on the walls, it takes the word time as a form and plays with all its connotations in Maynou’s emblematic humorous act.

Josep Maynou (Barcelona, 1980) lives and works between Paris and Berlin. He studied Fine Arts at the University of Barcelona, Faculta de Belas Artes Porto in Porto and Middlesex University in London. His recent solo shows include To bow at the beginning not at the end (Collection Born, Munich), Leisure (Bombon Projects, Barcelona 2017), Thing1, Thing2 (Broken Dimanche, Berlin 2017), Things: To do (Beverly’s, NYC 2017) or The Ninja from Marrackech (Galerie Suvi Lehtinen, Berlin 2015).  His work has been shown at group exhibitions such as Swamp Horses (Spirit Vessel, Espinavessa, 2019), Alpina huus
(Le Commun, Geneve 2017), How to do things (Lehman&Silva, Porto 2017), My body doesnt like summer (Haverkampf Gallery, Berlin 2018), Black Garden (Galería Louis 21, Palma de Mallorca 2018), Hunter of worlds (SALTS Basel 2018); and art fairs such as Arco Lisboa, Code Art Fair Copenhague, and Sunday Art Fair London (2018). His most recent performances include Pane Per Poveri (Laatrac, 14th Documenta, Athens 2017, Making Public Program (Fundació Tapies, Barcelona 2017) and Material Art fair (Mexico City 2016).

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 5. The making of a historiographical sculpture: an onstage documental exhibition of CCADDASM. Encounter with Rolando Hernández

Saturday, October 5, 19:00
The making of a historiographical sculpture: an onstage documental exhibition of CCADDASM
Encounter with Rolando Hérnandez

The making of a historiographical sculpture: an onstage documental exhibition of CCADDASM (Centro de Creación, Archivo y Difusión de Documentos de Arte Sonoro en México) will take as main characters some of the documents this institution has created/gathered through the last 4 years. This onstage documental exhibition will talk about some of the conceptual tools used to analyse and create an alternate historiography. In the hour and 30 minutes of duration we will see the different events/manifestations of sound practices that can take us back and forth from the XVIth Century to the XXIst Century in a nonlinear trip.

Rolando Hernández’s practice takes different tools from archive research, curatorship, writing, composition and art production. Since 2013 he is co-director and co-curator of Umbral, a project space and festival which gathers practices interested in sound experimentation. Since 2015 he runs the artistic institution CCADDASM (Centro de Creación Archivo y Difusión de Documentos de Arte Sonoro en México) which has created different projects to create an alternate historiography of sound practices in Mexico. As a composer, his work Topializ was studied for the PHD thesis “Componer la duración de la experiencia musical” from Santiago Astaburuaga and published by Marginal Frequency. He has been awarded with the first latinoamerican residency Tsonami Arte Sonoro/Casaplan for his criticised project Basuraleza Muerta Viva. He also received a merit scholarship to assist to the Curatorial Intensive of ICI (Independent Curators International) in Alumnos47 (MX City). His work has been published and presented at places, presses and labels like: Gauss PDF, Caduc, Theme Park for Ear, Impulsive Habitat, Tsonami Arte Sonoro, Festival CuatroXCuatro, Labor Sonor, FotoPhono, Fonoteca Nacional, Cha`ak`abb Paaxil/Multiple Tap, among others.




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