Monday, October 15, 19:00
Hands.on.matter: Mycelium and mushrooms. feat. Jessica Langley
Bimonthly program organized by Sandra Nicoline Nielsen and Tim van der Loo

This event will take place at TIER.space and starts with the launch of the event series Hands.on.matter (Sandra Nicoline Nielsen, DK & Tim van der Loo, NL).

^^ Interdisciplinary artist and amateur mycologist Jessica Langley (Colorado, US) presents her work with mushrooms as material input in paper production and shares some of her insights into mycelial properties.

^^^ We will put our hands on mycelium by doing a workshop on how to easily grow our own mushroom culture from the mushrooms we buy in supermarkets. We will provide the needed material.

^^^^ Mushroom snacks will be served as part of the event.

Hands.on.matter is an explorative collective of multidisciplinary creatives focusing on the matter of material through a questioning of resources, consumption, sustainability and culture by generating bimonthly series of expositions, talks and workshops. Hands.on.matter believes in taking a step back and rediscovering the kosmos of matter. We will be building new structures by searching deeper into the essence of material, zooming in on compositions and zooming out on flows. We will discover how design for a more sustainable and circular future can be rediscovered. Hands.on.matter seeks to host thought provoking and desirable templates for design, art and architecture, in the context of everyday life by including local residents like neighbours, entrepreneurs, artists and designers. Every event will be composed of an assembly of expert presentations, hands-on workshops, design showcases as well as refreshments within the given topic of the month. On the 15th of October we will celebrate the decay followed by autumn’s coming by bringing our hands on mushrooms and mycelium. This will be the building block for discovering new materials, forms of assembly, autonomous cultivation and taste.

Jessica Langley (b. 1981, USA) is an interdisciplinary artist whose work considers how cultural symbols of nature and certain representations of landscape are experienced both directly and through the mediated and sublimated image. Using foraged materials, fresco, digital print, sculpture, and collage she is exploring abstraction as a form which dehumanizes place and investigating how the analogous dichotomy of abstraction/representation and the objective/subjective perspectives complicate this relationship. Langley has recently relocated to Colorado where she is the treasurer of the Pikes Peak Mycological Society. She has exhibited her work internationally in such cities as Belfast, Berlin, Mexico City, New York, Reykjavík, and Santa Cruz, as well as being featured in the Pittsburgh Biennial and the Queens International. She has been an artist-in-residence in numerous programs including Skaftfell Center of Visual Art in Iceland, Askeaton Contemporary Art in Ireland, the SPACES World Artist Program in Cleveland, and the Digital Painting Atelier at OCAD-U in Toronto. She was a recipient of the J. William Fulbright Scholarship and the Leifur Eiriksson Foundation Scholarship for research in Iceland, and she earned her MFA from Virginia Commonwealth University in 2008. She is an amateur mycologist, and her artwork and writings have been published in the New York Mycological Society Newsletter, New American Paintings, NPR, Hyperallergic, and Temporary Art Review. She is co-founder of Ortega y Gasset Projects, an artist-run-gallery in Brooklyn, NY; The Stephen and George Laundry Line, a project space in Queens, NY; and The Yard, a site for public art in Colorado Springs.

Tim van der Loo (b. 1991) is an experimental multi disciplinary 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 (b. 1988) 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 here in Berlin.

Friday, October 12, 20:30
Undoubtedly problematic
Private screening with Luiza Folegatti, Marzia Jamili/Brittany Nugent, Solomon Mekonen and Laura Na

This screening program is curated by new Visual Anthropology graduates from the Freie Universität. The MA program especially raises questions about problems in representation of culture, what global digitalization means for cultures and societies and the significance of ethnographic films and photography for Social and Cultural Anthropology.

What should be the primacy of an ethical response from visual media and research in a time where everything is in flux, where demagogues take center stage and the role of the media is undoubtedly problematic. Visual Anthropology can serve as a proposition for not only documenting the world and depicting lived experience, but for modelling and envision futures and raising new questions. Self-reflexivity and collaborative methods lie in the core of the field, and the films are interwoven by these approaches in four hybrid pieces, that brings subjects like gender, performativity, belonging, racialized identity and decolonization to the forefront.

Please note this is a private screening, which requires a personal invitation. Please contact us for more information.

Thursday, September 27, 19:00
Luis Berríos-Negrón
Anarchive: memory #02  ‘A Crème de Menthe, a Rusty Nail. Why Intransitive?’

…will be an open reenactment and collective planting. I have asked performance artist Callum Harper to reenact with me a dialogue between video artist Paul Ryan and anthropologist Gregory Bateson. In doing so, we will then review with you the moment where Ryan and Bateson come to discuss Ryan’s notion of ‘intransitivity’, one I feel presents significant possibilities for ‘art as research’. We will set the enactment around a table I will be installing with Lorenzo and Ben (co-directors of TIER), using some existing materials and props from previous exhibitions by Lorenzo and TIER. The ‘intransitive table’ will become another social pedestal where, during the reenactment, we will plant seeds and cutlings of medicinal plants (datura, rosemary, brugmansia) harvested in the ANARCHIVE and place them unto the table. The table will therefore become a sort of ‘wardian case’ for new plants to be be incubated and grown at TIER to be later transplanted back to the ANARCHIVE in Denmark by caravan in the summer of 2019.

In regards to ANARCHIVEJacques Derrida states in Archive Fever that — “If repetition is thus inscribed at the heart of the future to come, one must also import here, in the same stroke, the death drive, the violence of forgetting, superrepression (suppression and repression), the anarchive, in short, the possibility of putting to death the very thing, whatever its name, which carries the law in its tradition: the archon of the archive, the table, what carries the table and who carries the table, the subjectile, the substrate, and the subject of the law.”

I take forth this dimension of memory proposed by Derrida to be one of a series of works dedicated to the deposition of ‘greenhouse’, as display of natural history, and as superstructure to secure food and survival. Following works such as Earthscore Specularium (2015), Looming Greenhouse (2014), and Immediate Archæologies Two (2008), ANARCHIVE takes the form of a medicinal garden that I am growing in collaboration with my partner, curator Maria Kamilla Larsen and our daughter Freia Pilar from Aug.2018 to Oct.2019 in Denmark. ANARCHIVE, is about questioning the future of natural history. It is about forgetting and remembering global warming as spectral and physical trauma. It is not about dissociating an innovative future of ‘greenhouse’, but about remediating the superreppressed colonial memory within the greenhouse: as traumatic experiences we never lived nor desired; strengthening biodiversity; and resisting the counter-intuitive counter-intelligence that is now amongst us. ANARCHIVE is the final component of my doctoral work at Konstfack / KTH titled ‘Breathtaking Greenhouse Parastructures’ to be disputed and published in the fall of 2019.

Luis Berríos-Negrón (Puerto Rico, 1971*) explores unforeseen forms and forces of global warming through ‘social pedestals’. Most recent exhibitions include ‘Impasse Finesse Neverness’ (Museum of Ethnography and Archeology of Bahia, 2017), ‘Collapsed Greenhouse’ at ‘Undisciplinary Learning’ (District, Berlin, 2016) and ‘Earthscore Specularium’ (Färgfabriken Konsthal, Stockholm, 2015). Previous exhibitions include the 3rd Biennial of Art of Bahia (2014), the 10th São Paulo Biennial for Architecture (2013), as core-collaborator with Paul Ryan at Documenta13 (2012), and “Future Archive” at the Neuer Berliner Kunstverein (2012). He is the founder of the Anxious Prop art collective and the Paramodular environmental design group. He is doctoral candidate and tutor at Konstfack and KTH Royal Institute of Technology, holds a Bachelor of Fine Art from Parsons New School, and a Master of Architecture from M.I.T. Berríos-Negrón lives and works between Copenhagen, Stockholm, and Berlin.

Callum Harper (Australia, 1993) works with notions around LGBT culture, and combines discourse around reality and online life to create dialogue around the disparate differences of communication IRL vs URL. Primarily working with text, video and performance, Harper travels to varied destinations of contrasting political values toward LGBT citizens, and internalises locals opinions and his personal experiences on acceptance and daily life. The amalgamation of this collected experiential information and research data informs the medium and personal responses to experiences within differing contexts. Harper holds a Bachelor of Fine Arts from Monash University in Caulfield, Australia, and a Master of Fine Arts from Konstfack in Stockholm, Sweden. http://callumharper.squarespace.com/

‘OUTCOMES of Anarchive: memory #01 Herlev DK (2018)

Like Yeah…’ by Callum Harper (2015)

Immediate Archaeologies Two’ Dresden DE (2008)

Tear do Terreiro / Looming Greenhouse Salvador da Bahia BRA (2014)

Earthscore Specularium Färgfabriken Stockholm SE (2015)

Collapsed Greenhouse District Berlin DE (2016)

Impasse Finesse Neverness Salvador da Bahia BRA (2017)

Wednesday, September 26, 16:30-18:00
Encounter with Bisagra
Tangent to their project Fashion Week at Kinderhook & Caracas (22.09–20.10)

Bisagra is a platform that functions as a meeting point in the fragmented world of the visual arts in Lima, creating connections between its different manifestations, as well as other areas of research and creation. Heir to the previous experiences of some of its members on collective work, Bisagra seeks to embrace and circulate ideas, projects and experiments that share our interest in flexible exchanges with a critical and humorous spirit.

Bisagra is a project of Andrés Pereira Paz, Eliana Otta, Florencia Portocarrero, Iosu Aramburu, Juan Diego Tobalina and Miguel A. López.

If you would like to know more information about Fashion Week please visit: www.kinderhook-caracas.com

Tuesday, September 25, from 18:00
Elymus Repens at Bar Babette
With contribution by TIER.space

A proposal by Lucile Bouvard

Silva Agostini, Sarah Ancelle Schönfeld (Very) — Kathrin Sonntag
Benjamin Busch, Lorenzo Sandoval (TIER.space) — Alice Morey
Susanne Kriemann (ABA) — Graham Kelly
Adrien Missika (Belo Campo) — Sâadane Afif
Lin May Saeed (Center) — Emmanuelle Castellan
Maik Schierloh (Autocenter) — Marie Reinert
Hagen Schümann (Åplus) — Philip Newcombe

End of September, Bar Babette will have to leave its legendary building on Karl-Marx-Allee. Over its 15 years of existence, it has become an institution and a gathering place for the many crossing communities of Berlin’s art scene.

In this phase of change and transition, the exhibition Elymus Repens pays a homage to Bar Babette’s relentless artistic activism and furthermore to the vivacity and diversity of Berlin’s off-space flora. The show will gather Berlin-based artists, who have created spaces to initiate dialogues and give visibility to the works of other artists. It will focus on their works as well as on their role as curators, initiators or art activists. Each of them are solicited to invite another artist, who they have previously shown or want to show.

Reflecting the permanent disappearance and growth of off spaces and a selective view, the selection presented includes new and long-established initiatives, as well as former off spaces that have played an important role in the development of the city’s art scene.

Bar Babette
Karl-Marx-Allee 36
10178 Berlin

Saturday, September 1, 20:20-22:30 Berlin Time
1st International Encounter of Objects Without People
Live stream from Biquini Wax EPS (Mexico City)

TIER.space will be showing a video live stream of the 1st International Encounter of Objects Without People, from 20:20 Berlin Time. We are joining an array of spaces syndicating the Spanish-language broadcast (English translations will be available).

For the following information in Spanish, please visit: http://portavoz.tv/biquini-wax-eps-presenta-el-1er-encuentro-internacional-de-objetos-sin-personas/

The twenty-five objects will be found Saturday, September 1 at Biquini Wax EPS, an interdependent laboratory located in Mexico City. The objects will be presented as part of a collective research around the political stories of the objects. This meeting will be broadcast live at independent spaces in Berlin, Bogotá, Buenos Aires, Guatemala City, Guadalajara, Monterrey, Quito, Santiago de Chile and Tijuana.

Biquini Wax EPS operates a Temple of Subcritical Studies, composed of a series of study and reading circles on contemporary art, in which different matters related to art are discussed. During the months of June and July of 2018, Clara Bolívar and Biquini Wax EPS coordinated the study and reading circle entitled Political History of Objects.

During the nine sessions, the participants read and discussed philosophers, artists and writers who thought and conceptualized the objects from several angles; all of them developed their work throughout the 20th century. The readings allowed to trace the objects’ links between Mexico, Europe and Latin America. Walter Benjamin, Georges Perec, Cecilia Vicuña, John Berger, Sophie Calle, Bruno Latour, Melquiades Herrera, Patricio Pron, Artie Vierkant and Hito Steyerl accompanied the thoughts surrounding the objects. The sessions also included special guests who accompanied the readings: the sociologist Irene Álvarez, the historian Omar Olivares, the artist Juan Obando and the group of subcritical studies, the Yacuzis (with the curators Julio García Murillo and Roselin Rodríguez).

The circle, free and open to the public, had as its only requirement that the participants chose an object that they would investigate over two months. The object allowed different profiles to converge for those whom it is a topic of fundamental reflection: artists, curators, cultural managers, designers, architects and philosophers. The attendees thus participated in a collective investigation based on the following objects: bench, clay block, concrete block, masking tape, bed, chewing gum, skull, spoon, plastic dinosaur, Elegua, balloon, found IDs, syringe, book, sandpaper, light, bread doll, shovel, paper, umbrella, belly button lint, philosopher’s stone, toy gun, laser gun and chair.

This circle already had its first results; the intellectual and affective bonds began and continue to be woven between collaborators, national and international spaces where it will be transmitted. Spaces that will be open to receive the public are: Deslave (Tijuana), Casa Vidrio y Paos GDL (Guadalajara), NoAutomático (Monterrey), MANIFESTO – space (Guatemala City, Guatemala), Maleza proyectos (Bogotá, Colombia), Escuela C.A.P.A. (Santiago de Chile, Chile), 1st Small Art Salon of Buenos Aires (Argentina), Khôra (Quito, Ecuador) and The Institute for Endotic Research (Berlin, Germany).

For more details about the program and spaces (in Spanish), please visit: www.somoslosobjetos.com

Biquini Wax EPS is an interdependent laboratory located in Mexico City. Exhibitions of contemporary art, poetry encounters and discussions on economics, philosophy, aesthetics, politics, art history and other bioalchemical invocations are held. Four hundred people, a turtle and an alien work together as a team.

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