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.

  September 20. Berlin Art Prize: Garden Reading – Highrise Reading. Sophie Jung and Min-Wei Ting. Read by Susie Meyer

Friday, September 20, 20:00
Berlin Art Prize: Garden Reading – Highrise Reading
Sophie Jung and Min-Wei Ting. Read by Susie Meyer

A highrise housing project in Singapore is the protagonist in Min-Wei Ting’s film I’m Coming Up. During the screening of this slow walk through the building, texts and poems by various authors will be read, combining Ting’s poetic images with thoughts of other times and other places linked by the same life in a highrise building. Followed by a screening of Ting’s film You’re Dead to Me, in which a garden plays the leading role.
Read by Susie Meyer.
In English, French, and German

About Susie Meyer:
Susie Meyer is a German actress based in Berlin

Organized by Berlin Art Prize

  September 10. Sung Tieu, with a text contribution by Karen Fiss. Objects Before and After the Wall, Part 2

Tuesday, September 10, 19:00

How does the presence of a wall change the status of the things and the people on each side of it? Approaching this question, artist Sung Tieu reads the text written by Karen Fiss about her work.

Sung Tieu, born 1987 in Hai Duong, Vietnam is an artist based between Berlin and London. Her artistic practice spans installations, performances and public interventions. Forthcoming institutional solo exhibitions include Haus der Kunst and Nottingham Contemporary (both 2020), forthcoming group exhibitions include the David Roberts Foundation (2019) and Prague Biennale (2020), forthcoming performances include Tate Modern. She is part of several art collectives, among them TROI OI, Asia Art Activism, The Forest Curriculum and East London Cable.

Her work takes place at the intersection of transnational movement, global capitalism and the cultural incursions of dematerialised art traditions. Her practice contends with issues of social class divide through the lens of her personal narratives and cultural membership.

Karen Fiss is a writer and curator whose current research examines nation branding in relation to the neoliberal mechanisms of globalization in the contemporary art world and its accompanying exhibition economies. In particular, she focuses on how citizenship and historical memory are commodified and visually produced in postcolonial contexts.  Her past curatorial projects include Necessary Force: Art in a Police State (Art Museum of the University of New Mexico, Albuquerque, 2015, co-curated with Kym Pinder) and El cine de 1930. Flores azules en un paisaje catastrófico (Museo Reina Sofia, Madrid 2012). She is author of Grand Illusion: The Third Reich, the Paris Exposition, and the Cultural Seduction of France (University of Chicago Press, 2010), co-author of World’s Fairs on the Eve of War: Science, Technology and Modernity 1937-1942 (University of Pittsburg Press, 2015; with Robert Kargon, et al), and co-editor of Discourses: Conversations in Postmodern Art and Culture (with Russell Ferguson et al, MIT Press, 1990). She also contributes articles to a range of magazines on contemporary art, design and architecture. Fiss received her PhD from Yale University and her BA from Brown University. She is professor of Visual Studies and Graduate Fine Arts at the California College of the Arts, San Francisco. Prior to academic teaching, she worked in the curatorial departments of the Institute of Contemporary Arts, London, and the New Museum in New York City.

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.
The sixth Berlin Art Prize is supported by the Hauptstadtkulturfonds

  August 31. Berlin Art Prize: Opening Min-Wei Ting, Curated by Berlin Art Prize

Saturday, August 31, 18:00 – 22:00
Berlin Art Prize: Opening
Min-Wei Ting
Curated by Berlin Art Prize

Exhibition: September 1-27
Visiting hours: Thursdays to Sundays from 12 to 6 PM

Using slow, tranquil camera movements, filmmaker Min-Wei Ting (b. 1976, Singapore) traverses the city. His lens runs over concrete, infrastructure, and people, as if they were all objects on the metropolis’ assembly line. Yet, in the rigid rhythm of architecture and space, which are reflective of a regimenting power in Min-Wei Ting’s work, moments of the uncontrolled break through: bird calls trill over the hum of ventilation systems, greenery proliferates in the clearings between skyscrapers, people lose themselves in the crowds.

If for Nothing Else than for Sunday (2019) is a cinematic passage through Singapore’s Little India District. Twice, at different times of day, Min-Wei Ting follows the same route with the camera: during the calm that announces dawn and in the midst of a Sunday evening’s hustle and bustle, when large groups of South Asian migrant workers gather in the quarter. Ting interweaves the two shots, drawing attention to the gestures, actions, lights, and sounds that are sometimes there and sometimes not, giving the space a life of its own.

In Hampshire Road (2019), Min-Wei Ting allows his camera to trail along a single building in Singapore for seven minutes. At the Little India bus terminal, guest workers wait in a seemingly endless line at night for their shuttle back to the sleeping quarters outside the city. While the lens measures the length of the building, it increasingly detects how the architecture socially separates, monitors, and controls those that are waiting.

If for Nothing Else than for Sunday
2019
Single channel HD video with stereo audio
39 minutes 35 seconds
Hampshire Road
2019
Single channel HD video with stereo audio
7 minutes 4 seconds

The Berlin Art Prize was created in 2013 by four Berlin cultural producers to establish an award for Berlin’s artists beyond the art world economy. The concept is simple yet singular: The prize is open to all artists living in Berlin for six months or longer, names and careers are not taken into account, art is the only thing that matters. The prize functions as a subversive cover version of existing art prizes and offers an alternative structure with which art in Berlin can be appreciated, interpreted, and made public.
The sixth Berlin Art Prize is supported by the Hauptstadtkulturfonds

This year the Berlin Art Prize is hosted by 9 different project spaces, and TIER is happy to be one of them. Please join us for the opening on Saturday the 31st of September. The exhibition itself will run from 1 – 27 September, and can be visited Thursdays to Sundays from 12 to 6 PM.