April 11, 12 and 13, 19:00-21:00 daily
XOIR vocal workshop series by Colin Self
Limited spaces, please RSVP via link
XOIR (previously XHOIR) is a non-utilitarian vocal workshop led by Colin Self focused on alternative modalities of group singing. Rooted in somatic research and experimentation, the goal of Xoir is to foster a generative environment for individuals to connect with voice and vocality on an individual and collective level.
Xoir is open to anyone interested in exploring their voice as a tool for learning or re-posturing a new relationship to singing and listening. Prior participation in choral or vocal practices is not required, but any prior experience with listening and engaging experimentally in a musical or studio practice is encouraged. Xoir works with a logic of being “autonomous together” and points into ancient and futuristic logics of ungovernable modalities of community organizing.
More info: http://colin-self.com/xoir
The workshops are donation-based, suggested 5-15 € per day
Limited spaces, RSVP here: https://forms.gle/EDfH6YvbX7PYHhnx7
Colin Self is an artist, composer and choreographer based in New York and Berlin. He creates music and performance pieces designed to expand consciousness, trouble binaries and play with the boundaries of perception. Self works with a broad range of communities using voices, bodies, and computers as tools to interface with biological and technological software.
Self is a teacher at New York University’s Clive Davis Institute in Berlin and has presented work at The Dutch National Opera, HAU Berlin, The New Museum, MoMA PS1, The Kitchen NYC and Issue Project Room, among many international festivals and venues. He is a Rhizome Commission Grant recipient for his video project ClumpTV, and a Queer Art Mentorship Fellow. He served as an Eyebeam Resident in 2016 and a resident fellow at Etopia for FUGA in Zaragoza, Spain in 2018. He is a co-founder of the New York City queer performance collective Chez Deep and The Radical Diva Grant. He received his MFA in music and sound from Bard’s Milton Avery Graduate School of the Arts.
In his practice, Self works across media with many collaborators. He has made music for various choreographers, including a score with Miguel Gutierrez for Jen Rosenblit and Simone Aughterlony’s Everything Fits in the Room. He works closely with Holly Herndon (4AD), and since 2015 has performed as one third of the Holly Herndon trio, including their tour as direct support for Radiohead. He has also served as the vocalist for electronic duo Amnesia Scanner (PAN). Additionally, Self runs XOIR, an international non-utilitarian vocal workshop focused on alternative modalities of group singing.
April 7. Screening of Handsworth Songs (1986) by the Black Audio Film Collective. Encounter with Louis Henderson and Kodwo Eshun
Sunday, April 7, 17:00
Screening of Handsworth Songs (1986) by the Black Audio Film Collective
Encounter with Louis Henderson and Kodwo Eshun
As a continuation of the research project “The ensemble of the senses and the ensemble of the social” Louis Henderson invites Kodwo Eshun to TIER to be in conversation about the film Handsworth Songs.
Handsworth Songs is a richly-layered documentary representing the hopes and dreams of post-war black British people in the light of the civil disturbances of the 1980s. It engages with Britain’s colonial past, public and private memories, and the struggles of race and class. The title refers to the riots in Handsworth, Birmingham during September 1985. The soundtrack is influenced by reggae, punk and the post-industrial noise movement.
Henderson and Eshun will discuss the role that the BAFC played in advent of a black industrial postpunk culture in the UK in the 1980s, bringing the film and its sound/image-tracks into relation with the music of Test Department, Throbbing Gristle, Jah Shaka and The Pop Group for example. They will discuss the film as an industrial-dub collage made in resistance to the racist police state of Margaret Thatcher’s Britain.
More about Handsworth Songs here: https://lux.org.uk/work/handsworth-songs
Handsworth Songs is being screened thanks to the kind permission of David Lawson.
The Black Audio Film Collective (BAFC), founded in 1982 and active until 1998, comprised seven Black British and diaspora multimedia artists and film makers: John Akomfrah, Lina Gopaul, Avril Johnson, Reece Auguiste, Trevor Mathison, Edward George and Claire Joseph. Joseph left in 1985 and was replaced by David Lawson. The group initially came together as students at Portsmouth Polytechnic (their backgrounds included sociology, fine art and psychology), and after graduation relocated to Hackney in east London.
Kodwo Eshun is a British-Ghanaian writer, theorist and filmmaker. He studied English Literature (BA Hons, MA Hons) at University College, Oxford University, and Romanticism and Modernism MA Hons at Southampton University. He currently teaches on the MA in Contemporary Art Theory in the Department of Visual Cultures at Goldsmiths College, University of London, and at CCC Research Master Program of the Visual Arts Department at HEAD (Geneva School of Art and Design). He is also a member of The Otolith Group: founded in 2002 by Anjalika Sagar and Kodwo Eshun, the Otolith Group creates films, installations, and performances that are driven by extensive research into the histories of science fiction and the legacies of transnationalism.
Louis Henderson is a filmmaker who is 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. Interested in exploring the sonic space of images, his work aims to develop an archaeological method in cinema, listening to the echoes and spirals of the stratigraphic. Since 2017, Henderson has been working within the artist group The Living and the Dead Ensemble. Based between Haiti and France, they focus on theatre, song, slam, poetry and cinema. His work is distributed by LUX and Video Data Bank.
Tuesday, March 19, 19:00
How to process Social Dissonance?
Encounter with Mattin
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.
Saturday, March 16, 18:00–21:00
Hand to mouth
Ayami Awazuhara and Elia Nurvista
For a one evening event at TIER, Elia Nurvista and Ayami Awazuhara invite the audience to share their thought through foods, how eating habits or the basic nourishment of one’s own culture travels as a body travels.
A hand of someone, large, small, bold, thin or boney is different and individual. A hand has temperature and sensory function, and the skin and lines on the palm shows how we have aged. Not only thinking of where the food is from, from a field to mouth through a marketplace and kitchen, who has touched the food? Who shared the warmth of their hands with the food you just ate?
Ayami shares her two recipes that use fermentation. There will be a demonstration and tasting of pickles in wheat bran and gazpacho with left over rice water. Fermentation as an alternative clock of endurance, she shares the idea of food as medicinal usage for both body and mind.
Elia questions the invisible structure of food preparation and how it is related with domestic work and the activity of caring, usually taken for granted as a wife/woman/mother’s job in the family. She will prepare some home/soul food from Indonesia in the kitchen, which is considered a private space but whose integral activity of cooking will be projected into the public space at TIER. Through this event, she intends to discuss hospitality and invisible labour, both in daily life in the art scene.
Ayami Awazuhara looks for the consequences of hybrid cultural appropriation and transitional processes in the everyday and omnipresent.
A stone, or an orange can become a starting point for a reflection on systems of classification as well as their impact on the design of our world of experience. This practice results in installations, artist’s books, videos and photographs as well as in performances and sound pieces by means of which Awazuhara introduces the phenomena considered into communicative situations, thereby altering the phenomena themselves.
Elia Nurvista (*1983 Yogyakarta, Indonesia) is a young Indonesian artist whose practice focuses on food production and distribution and its broader social and historical implications. Food in various forms — from the planting of crops, to the act of eating and the sharing of recipes — are Nurvista’s entry point to exploring issues of economics, labour, politics, culture and gender. Her practice is also concerned with the intersection between food and commodities, and their relationship to colonialism, economic and political power, and status. She runs Bakudapan, a food study group that undertakes community and research projects, and her social research forms the background of her individual projects, presented through mixed media installations, food workshops and group discussion. Her previous installations use a range of materials from crystalline sugar sculptures to sacks of rice, often incorporating video or mural painting and an element of audience interaction. She lives and works in Yogyakarta, Indonesia.
Thursday, March 14, 19:00
Encounter with Discoteca Flaming Star
We will talk about poetry, landscape, monsters and rehearsing for unknown futures.
The talk will be interrupted by the performance Vampire-Thrillogy.
Cristina Gómez Barrio: Born 1973 in the Alhambra, Spain. Studied in Madrid, Munich, Berlin and did the Whitney ISP in NYC. She works with drawing, studies the color white in performance, takes photographs and dreams.
Wolfgang Mayer: Born 1967 in Wertach, Allgäu, in Germany as the illegitimate child of Bonnie Tyler and Klaus Kinski. He studied at the Academy in Munich, at Bar d´O in NYC and with Ron Clark at the Whitney ISP. He works primarly with drawing, shimmering dust,video and performance.
Together they have been working as the foundation of Discoteca Flaming Star, an interdisciplinary artistic and collaborative performance project since 1998. Discoteca Flaming Star aims to be a mental space that all kinds of artists can enter to play with different paths for contemporary aesthetic praxis, searching for its limits and avoiding processes of formalization, creating spaces for experiments and displaced memories.
The work has been shown at numerous venues including Artists Space, Whitney Museum, The Kitchen, NYC; MUMOK, TBA21, Vienna; HKW, n.b.k., Basso, KW in Berlin, Ojo Atomico, CA2M, Madrid, WHW, Zagreb, Tate Modern, London, De Appel, Ellen de Bruijne Projects, Amsterdam and Kunstmuseum in Stuttgart
They work and live currently in Berlin.
Wednesday, March 13,19:00. Space is limited to 12 participants
The Institute for Endotic Research’s yoga series
The Institute for Endotic Research invites you for an interim March session of the yoga series:
slow movements, to broader units. Here we will set the focus on connectivity, in and around us.
– Honour thy lineage honour thy self. (13/03/2019)
This interim session will start with a short meditation practice. The slow and mindful Hatha-Vinyasa class will end with a small open gathering for further exchange.
donation based class.
limited amount of mats available, please write us a message in case you need one.
Please RSVP to reserve a spot as the space is limited to 12 mats maximum: theinstituteforendoticresearch
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.