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).
Wednesday, November 21, 19:00
Encounter with Maayan Strauss
The Container Artist Residency—a program that invites artists to work on board cargo ships along international trade routes, and The Service Room, a kitchen showroom-like infrastructure, designed to serve as a platform for communal service exchange, are two projects that Maayan Strauss will present in this encounter. Both explore quotidian infrastructures (of different scales and domains), creating new platforms by shifting familiar formats. Through the appropriation of space and the use of existing resources, the global network of maritime transport becomes a place for an artist studio, and the commercial design showroom is activated to become a shared facility—emulating the domestic modern kitchen interaction in the public sphere, to facilitate communal forms of professional exchanges.
Briefly tracing the emergence of these projects from previous installation, sculpture and video works, Strauss will discuss their evolution as a result of practical concerns, the consideration of contemporary artistic practice in itself and ultimately, the re-imagining of the constructs of art-making, their possibilities, and restraints.
Accompanying the encounter/presentation, an installation of new photographic work by the artist will be on view in the space. Underlying the approach to everyday life and their facilitation, the piece depicts the constant flow of objects, their consumption and exchange, as both fuel and subject matter.
Maayan Strauss is a multidisciplinary artist and architect based in New York and Berlin. Her practice examines commerce, infrastructures, and labor while reflecting on the conditions of contemporary artistic production. She is the founder and director of Container Artist Residency, a program that invites artists to work onboard cargo ships, conceived as a distributed artwork in the form of an institution and spatial intervention. The culmination of the project’s first edition was recently shown at Para Site in Hong Kong, with artwork by the seven participating artists-in-residence. She is the founder of Sushi Bar Gallery in Brooklyn (2013-2017) and is serving as an editor at Art Handler, a magazine dedicated to the behind-the-scenes practices of the art world. Recently, she realized the first chapter of her project The Service Room as an artist-in-residence at Recess, New York.
Strauss received her MFA in photography from Yale School of Art and a B.Arch degree from Bezalel Academy of Art and Design in Jerusalem. She has exhibited in museums and galleries internationally, including The Herzliya Museum of Contemporary Art; The Israel Museum in Jerusalem; The Haifa Museum of Art; Para Site, Hong Kong; Recess, New York; Storefront for Art and Architecture, New York; Andrea Meislin Gallery and Louis B. James Gallery in New York; Shenzhen Biennale for Urbanism/Architecture. Previously, she was head designer for artist James Turrell, leading work on major retrospectives at the Guggenheim Museum in New York, the Los Angeles County Museum of Art, and the Museum of Fine Arts, Houston.
Thursday, November 1, 19:00, RSVP requested
Sacred Serpent Sessions: The soul is quickened in her grave, the peacock’s tail shimmered
Encounter with Lauryn Youden
Through lecture and guided meditation with accompanying music by Dylan Spencer-Davidson this ritual provides its participants the opportunity to learn and engage with the fifth operation of alchemy, Fermentation. Like the chemical process of the same name, it is a two-stepped process that begins with Putrefaction, the rotting and decay of a material, followed by fermentation, the growth of new life – this metaphorically referring to a dual process of ego death and the following resurrection of the soul.
Samhain, celebrated between Oct 31st and November 1st, is the celtic new year and festival of the dead. It is believed to be a liminal time, when the veil thins between this world and the Otherworld and this boundary can be more easily crossed by living beings, supernatural beings and the dead. Therefore, it is the time of the year to not only honor those who have passed but to also meditate on death itself; to come to terms with the mortality of our physical bodies, and to consider what death not only means to us personally but also on a communal, cultural and metaphysical level.
The lecture and meditation will follow with time for open discussion and conversation. Water kefir will be served.
Please RSVP to reserve a spot. Space is limited. theinstituteforendoticresearch
This event is kindly supported by the Canadian Embassy in Berlin.
Sacred Serpent Sessions: The soul is quickened in her grave, the peacock’s tail shimmered is a special Samhainian iteration of the alchemic ritual performed by Lauryn Youden previously at Very Project Space, Berlin as part of the exhibition Digesture.
Lauryn Youden (b.1989 Vancouver) is a Canadian artist based in Berlin. Her practice is a methodology of performative ceremonies. The objects, installation and writings found in her work are both traces left behind from these actions as well as tools for providing self-care. These derive from Youden’s lifelong research in and navigation through modern Western medicine and alternative healing practices for the treatment of her own mental illnesses. By publicly presenting her personal experiences, and an active and engaged feminist lens on the history of medicine and care, Youden’s work inevitably illuminates repressed, marginalized and forgotten practices and knowledge in medicine and care. As delicate and vulnerable as Youden’s visual language may seem, it is ultimately political at its foundation, questioning the loss of knowledge in our society. Youden was awarded the Berlin Art Prize in 2016 and is co-director of the project space Ashley Berlin.
Recent exhibitions and performances include: Group Therapy at the Frye Art Museum, Seattle (USA), You Say I for me at Stedelijk Museum, Amsterdam (NL) as part of the symposium Concerning the Spiritual in Art, Paradiso, Amsterdam (NL); 5X5X5 at Manifesta 12, Palermo (IT); May the Bridges I burn light the way at Exile, Berlin; Digesture at Very Project Space, Berlin (DE); Well::ness Bad::ass Festival by Orga Orga at Kunstverein Speyer, Speyer (DE); I am large, I contain Multitudes at Galerie Wedding, Berlin (DE); Beneath the Salt at Kinderhook & Caracas, Berlin (DE); Sacred Serpent Sessions with Reflektor-M, Frankfurt (DE); Silent Empire at Funkhaus Berlin, Berlin (DE); Salon Ghol at Galerie Noah Klink, Berlin (DE); This will never finish at Support, London (CA); and Dream Pool at Pushmi Pullyo, Toronto (CA).
Monday, October 29, 19:00
Stone Soup served by Daniel Salomon & intro to ‘Infratekture’ by TIER
Stone Soup based on transmediale Study Circles working group meeting
Where are the fluxes of affect to be located when thinking them as infrastructure?
The Institute for Endotic Research proposes a constellation of words as an extension of that question, proposed by the transmediale Study Circle ‘Affective Infrastructures’. This constellation is drawn from Infratekture, a made-up word to mirror the blurry edges of possible affects. We take hold of 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 etymological mother of text, textile, techne, technique, tectonic, architecture, hypertext, pretext, context and texture. With this constellation, we sketch a fractured chart to navigate the hazy map of affect.
Daniel Salomon is a visual artist working with food. Through sense-awakening pop-up dinners, workshops, lecture-performances and installations, his aim is to question who we are as individuals and as groups with food as starting point.
Food as the source of nutrients to stay alive and healthy. Food as identity, as what we were given from our upbringing and what we will transmit to our children. Food as the best entry to understand another culture. Food we share around the same table. Food as a daily creative practice. Food as pleasure.
But also the lack of food. The bad food. The toxic food. Malnutrition because of poverty, or because of bad habits. Food as social marker. Obscene consumerism. Eating disorders. Addictions. Healthy diet fundamentalism. Intensive farming, animal abuse and so on.
Daniel is currently working on a series of dishes reflecting upon the great impact humans have on the planet and how likely it is it will bring us to the collapse of the world as we know it. Among other topics the plates talk about climate change, the oil peak, the exhaustion of resources, our financial system, geopolitics, inequalities, polluted oceans, drinking water, biodiversity and more. This project will take form in a series of dinners and a cook book.
Daniel has been a fellow at Akademie Schloss Solitude and the Delfina Art foundation.
The encounter happens in cooperation with transmediale festival. It is the first event of a program which explores new forms of studying, learning and doing. With direct reference to transmediale 2019, it focuses on cultural emergence and emphasizes the affective capacities of artistic practices, methodologies and pedagogies that can assist in building a space of mutual knowledge and shared experience. As part of this endeavor, transmediale also inaugurates the ‘Study Circles’ format, that is working groups who come together before, during and after the festival. The Study Circle members working on Affective Infrastructures will be joining this introductory event for TIER’s program ‘Infratekture’, having had the first kick off meeting on the same date.
The Study Circles Partner Program is a collaboration with transmediale, supported by the Senate Department for Culture and Europe.