January 10 & 17. Between The Beginning of Sense and The Chaos of Feeling: A Multispecies Banquet with Luiza Prado de O. Martins
January 10 & January 17, 19:00
Between The Beginning of Sense and The Chaos of Feeling:
A Multispecies Banquet with Luiza Prado de O. Martins
Space is limited, RSVP requested
The foundations of coloniality and capitalism have always hinged on the construction of scarcity: in order for wealth to exist, so too must poverty. In order for some to be satisfied, others must be eaten. In order for some to live, some must die. In the context of the current climate emergency, scarcity has become a defining, tangible circumstance in the lives of those on the margins of a world scarred by colonial wounds; those who bear the weight of the West’s quest for endless economic growth. In parallel to this production of scarcity, colonial-capitalist structures also produce a perception of excess, directed precisely at those whose bodies and lives are framed as exploitable resources in the quest for the accumulation of wealth. Those for whom food, water, land, shelter, care, affection, and dignity will not be afforded; those whose fertilities must, ostensibly, be strictly managed, for the benefit of the entire world’s population. Thus, the uncomfortable reality of the West’s perpetual hunger for disposable goods, exploitable bodies, and natural resources — all key factors in the ongoing crisis — remains un- or under-examined.
In two instalments of this ongoing series, artist Luiza Prado invites guests — particularly those belonging to marginalized communities — to partake in meals consisting traditional Brazilian dishes prepared with plant-based ingredients that lead a double life: they are known food sources, whilst also being used in herbal preparations meant to induce fertility and lust. Approaching the preparation and sharing of a meal as a form of collective performance, this work means to critically interrogate the rhetoric associating environmental degradation with overpopulation in the context of the current climate emergency; and to dare to imagine the sharing of abundance as a form of radical, decolonizing care and future-making.
This series is presented by Luiza Pado de O. Martins as part of her residency at TIER, In Weaving Shared Soil. It is also part of a research she has been developing within the framework of the Vilém Flusser Residency for Artistic Research, a cooperation between the Vilém Flusser Archive at Berlin University of the Arts (UdK) and transmediale, festival for art and digital culture Berlin.
Space is limited to 20 participants per session.
Please RSVP with your name and preferred date (January 10th or 17th) to: theinstituteforendoticresearch@gmail.com
Photos by Benjamin Busch
January 9. Audre Lorde — The Berlin Years 1984 to 1992 (2012). With Dagmar Schultz and Ika Hügel-Marshall
Thursday, January 9, 19:00
Audre Lorde — The Berlin Years 1984 to 1992 (2012)
With Dagmar Schultz (Director) and Ika Hügel-Marshall (Script co-writer)
Audre Lorde’s incisive, often-angry, but always brilliant writings and speeches defined and inspired the US-American feminist, lesbian, African-American, and Women-of-Color movements of the 1970s and 1980s. Audre Lorde – the Berlin Years 1984 to 1992 documents an untold chapter of Lorde’s life: her influence on the German political and cultural scene during a decade of profound social change. The film explores the importance of Lorde’s legacy, as she encouraged Afro-Germans—who, at that time, had no name or space for themselves—to make themselves visible within a culture that until then had kept them isolated and silent. It chronicles Lorde’s empowerment of Afro-German women to write and to publish, as she challenged white women to acknowledge the significance of their white privilege and to deal with difference in constructive ways. Previously unreleased archive material as well as present-day interviews explore the lasting influence of Lorde’s ideas on Germany and the impact of her work and personality. For the first time, Dagmar Schultz’s personal archival video- and audio-recordings reveal a significant part of the private Audre Lorde as well as her agenda—to rouse Afro-Germans to recognize each other. 2012 marked the 20-year anniversary of Audre Lorde’s passing.
The screening will be followed by a Q&A with director and screenwriter Dagmar Schultz, as well as co-author Ika Hügel-Marshall — friends and collaborators of Audre Lorde during her years in Berlin.
Dagmar Schultz is a German sociologist, filmmaker, publisher and professor. She has taught seminars on issues related to women’s studies, race, immigration, and class at Columbia College Chicago, Freie Universität Berlin, State University of New York, and Alice Solomon Hochschule. In 1974, she established together with a few fellow campaigners Orlanda Verlag, a book publishing house specialized on feminist literature, and a feminist women’s health center.
Ika Hügel-Marshall is a German artist and psychological consultant with an intercultural focus. Intense colored graphics and the imaginative processing of finds from wood are her specialty. In 1998, she published the autobiographical novel “Invisible Woman: Growing Up Black in Germany” about her life as a daughter of a Black officer from the United States army and a white German woman through Orlanda Verlag.
This screening is presented by Luiza Pado de O. Martins as part of her residency at TIER, In Weaving Shared Soil.
In Weaving Shared Soil
In this long-term project, TIER will become home to a small garden of plants traditionally used in Latin American and Northern European herbal medicine as aphrodisiacs and fertility enhancers. In promoting this encounter between distinct onto-epistemological traditions, the garden means to nurture discussions around matters of decolonisation, care and affect, the production of scarcity under capitalism, and the control of reproductive technologies.
Luiza Prado de O. Martins is an artist and researcher whose work engages with material and visual culture through the lenses of decolonial and queer theories. She is particularly interested in technologies and practices related to fertility and contraception, and their entanglements with colonial hierarchies of gender, race, ethnicity, class, and nationality. Her current artistic research project, titled “A Topography of Excesses,” examines the transmission of indigenous and folk knowledges about herbal reproductive medicine in Brazil as a decolonising practice of radical care.
December 6. Playing Cities. An encounter with Llorenç Barber
Friday, December 6, 19:00
Playing Cities
An encounter with Llorenç Barber
Llorenç Barber (Aielo de Malferit, 1948) is a Spanish musician, composer, theorist, musicologist and sound artist. One of the first to introduce musical minimalism to Spain and creator of proposals such as «plurifocal music» («city concerts», «naumaquias», «concerts of the senses», «itinerant concerts», etc); as well as textual music, improvisation and construction of experimental instruments. As cultural activist, he has created numerous festivals (Ensems, Festival de la Libre Expresión Sonora del Aula de Mñusica de la Complutense, Paralelo Madrid-Otras Músicas, Nits d’Aielo i Art, La Festa de la Boca), ensembles (Actum Taller de Música Mundana, Flatus Vocis Trio, Triángulo, Irregularis Daniel Charles Orchestra, Trio Tría ), and even a new award “Cura Castillejo” for honor outrageous artistic proposals.Since the 1980’s he has been an active participant in the group Audio Art Symposium, whose long years of activities culminated in the creation of KLANGKUNST/SONAMBIENTE-1996 in Berlin, making him the most active Spanish promoter of European Sound Art. In 2017 he shared with Carlos Santos the Prize for First edition Valencian Musicians Prize.
This evening, we will also introduce the third stage of Kanako Ishii‘s intervention “Re-Landscape” in the TIER window. Kanako Ishii is a Japanese visual artist born in Tokyo who spent her early childhood in Frankfurt am Main. Since 2012 she is based in Berlin. Ishii has held solo exhibitions at Künstlerhaus Bethanien (2018), Japanese-German Center Berlin (2015), Goethe-Institut Tokyo (2014), among others. “Re-Landscape” is a long-term curtain project by Kanako Ishii that captures memories of views from windows that change as time goes on, through processes such as urban development, natural disaster, war damage or leaving one’s own place. In her ongoing intervention at The Institute for Endotic Research, Ishii’s curtains will be layered one after another in the storefront window to represent the four seasons. It is developed through a walk based on research about the neighborhood, especially regarding the history of the Bohemian refugees who fled to Rixdorf in the 18th century, and will eventually become a situated visual archive.
December 1. Presentation of Agathe Bauer
Sunday, December 1, 19:00
Presentation of Agathe Bauer
‘Issue Zero: Picking Up Promises’ features contributions by: Gabriela Acha, [{“CIBELLE”(CAVALLI}BASTOS)], Lynn Hershman Leeson, Romy Kießling, Markues, Luzie Meyer, Maru Mushtrieva, Claudia Pagès, Ruth Wolf-Rehfeldt, Miriam Stoney, Christine Sun Kim, Eric Winkler, Miriam Yammad, Anna Zett.
The title of publication series ‘Agathe Bauer’ stands for a broadly misheard hook “I’ve got the power” from a German 1990 Eurodance hit ‘The Power’ by the band Snap!. The hook that turned the song into a hit, came from Jocelyn Brown’s track ‘Love’s Gonna Get You’, but neither her name nor the track appear in the credits. And, here is where Agathe Bauer comes in – a mysterious being who acquires agency through the homophonic misinterpretation of the main hook “I’ve got the power”. In ‘Issue Zero: Picking Up Promises’ Agathe has an agenda. Nothing could be as it would have been, but she is here to trace the sources of how it has become. Agathe Bauer is here to analyse the capacity of misinterpretation to unveil asymmetric power structures in knowledge systems and by tuning into the social-political, cultural and aesthetic dimension of it.
Conceptualised and edited by Gabriela Acha, Romy Kießling, Maru Mushtrieva. Graphic design: Timur Akhmetov. Published by TLTRPreß.
Instagram: https://www.instagram.com/_
Pre-orders for a special price: https://shop.tltr.biz/product/
As part of the launch, there will be readings and performances by [{“CIBELLE”(CAVALLI}BASTOS)], Eric Winkler and Anna Zett.
Born 1981 in Berlin, Erik Winkler studied Fine Arts at Kunsthochschule Weissensee Berlin and Bezalel Academy of Fine Arts, Jerusalem.
Winkler works with protocols related to specific contexts such as fashion, mixing those with one another in an apparently nonsensical twist. This twist happens as certain symbolics of power structures and social behaviours are decontextualised and performed in a brand new way. For instance uniforms, symbolising authority, whose regular understanding is hacked through colourful patterns and prints associated with opposite more festive and friendly connotations. Very often Winkler develops his work as interventions in public space, through graffiti for instance, also twisting meanings of already existing statements. Through his work Winkler questions rhetorics of authority, power relations (chronology missing–will add later in the day) and authorship.
Anna Zett is an artist and writer, born in Leipzig, living in Berlin. Once trained in theory, she is now trying to link past and future using screen, voice, story and performance. Zett’s work has been presented at museums, galleries, film festivals, universities and broadcast on public radio. Besides she is currently co-hosting the participatory dance show Copy&Dance based at Hebbel am Ufer, Berlin. Sometimes Anna Zett’s work is a celebration of the brain –and the terror of depending on the brain– and other times, it is an acceptance of failure. In her words, her films, writings and performative actions, deal with “the problem of dialogue and the promise of communication”. From performing fights-boxing sessions to researching dinosaur bones in remote spots of the United States, her scope of interests is quite wide, dealing mainly with misunderstood narratives, which have become therefore structures of power and colonial domination.
[{“CIBELLE”(CAVALLI}BASTOS)] (born Cibelle Cavalli Bastos in São Paulo, Brazil, 1978) is a visual artist and musician based in London, Berlin and São Paulo. They graduated in 2015 from the Royal College of Art in London. [{“CIBELLE”(CAVALLI}BASTOS)] has released four music albums and has performed and presented work in venues such as Martin-Gropius-Bau Berlin, Museo Reina Sofia Madrid, ICA London, Carnegie Hall New York, Serpentine Marathon, 28th and 31st São Paulo Biennial among others. [{“CIBELLE”(CAVALLI}BASTOS)] has a conceptual, expanded field and interdisciplinary practice that includes thought production, performance, sound art, video, painting, sculpture and installation. Currently operating daily through social media stories under @aevtarperform, researching intrapolitics and devising nanopolitics through deprogramming self/ID of societal malware at a personal and collective level, their work addresses the deconstruction and formation of identities and what stands in between the self and presence as our multi-selves interact with each other and our surroundings. #deprogramming
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.
Photos by Benjamin Busch
November 5. Editing Spaces, Part 5: Mattin
Tuesday, November 5, 19:00
Mattin
Editing Spaces, Part 5
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
Photos by Benjamin Busch
