romantikberlin

science of presence. activities and micropolitics of love and hate. fight discrimination. stay anti. love music.

[romantikberlin]

Repulsion, a physicality of touch

– a tactile research, text work, and body activation manual by romantikberlin © 2019

In physics, touch is impossible. Contact mediates and prevents itself only by electromagnetic repulsion. This work is about seeing repulsion as touch and touch as repulsion. A theoretical exploration of the term, a fictional examination of its replacement, and hands-on subversive aesthetics.

(Photo: Beate Kaulitz)

[romantikberlin]

Martial Arts in the Museum: Hidden Agency ∞OS Summer Camp and Open Space for Somatosensory Practice

© Nailya Bikmurzina

© Nailya Bikmurzina

© Pedro Jardim

Focusing on the experiential modes of the human body, somatosensory practice, material manifestations of affect and its linguistic actualisations, we set up the Hidden Agency, a speculative hybrid entity between shadow organisation, summer training camp, and open space for physical practice in Gropius Bau museum Berlin.

Ask for the place behind the tea room.

For 2 month, Hidden Agency will become a place for exploring the abstract through physical exercise and corporeal experience, including the study of material/discursive intra-actions and reciprocal connections.

∞OS is an open-source bodymind operating system based on translating various theoretical frameworks into physical practice in order to learn through direct experience and to transfer knowledge between different domains. The collective body-based practice becomes a medium and a playground for experiential understanding of images, concepts and ideas.

Hidden Agency organised by Christin Bolte, Daniela Schmidtke, and Dmitry Paranyushkin, with individual sessions being led by alternate members and guests: Ana Gzirishvili, Björn Eichhorn, Christin Bolte, Daniela Schmidtke, Diego Agulló, Dmitry Paranyushkin, Lea Uría, Maru Mushtrieva, Pedro Jardim, Verónica Mota and others.

Part of the exhibition Welt ohne Außen – Immersive Spaces since the 1960s

With Cibelle Cavalli Bastos, Larry Bell, Laura Burns, Renée Coulombe, Lou Drago, Fernanda Farah, Ed Fornieles Studios & Omsk Social Club, Lucio Fontana & Nanda Vigo, Peter Frost and the group Le Frau, Cyprien Gaillard, Dorota Gawęda & Eglė Kulbokaitė (Young Girl Reading Group), Wolfgang Georgsdorf, Dominique Gonzalez-Foerster, Stefanie Görisch, Jeppe Hein, Michael Helland, Hidden Agency ∞OS and guests, Carsten Höller, Josh Johnson, Ana Jordão, just in f kennedy, Lea Kieffer with Angela Schubot & Rocio Marano, Dambi Kim, Isabel Lewis, Matthew Lutz-Kinoy, Ángela Muñoz Martínez, Susan Ploetz, Thomas Proksch, Tabita Rezaire, Xavier Le Roy, Maria Francesca Scaroni & Mieko Suzuki, Chris Scherer, Scent Club Berlin, Tino Sehgal, Colin Self, Coral Short & Jean P\'ark, Iv Shri, Claire Vivianne Sobottke, Jessy Tuddenham, two-women-machine-show & Jonathan Bonnici, Doug Wheeler, Helga Wretman, XenoEntities Network

Curators: Tino Sehgal and Thomas Oberender Associate curator: Annika Kuhlmann Workshops: concept & programme: Isabel Lewis

As part of the programme Immersion.

Spontaneous attendance is possible and welcome. (Limited capacities, admission subject to availability.)

Dates:

Wed 13 Jun 2018, 16:00 - 19:00

Thu 14 Jun 2018, 16:00 - 19:00

Sat 16 Jun 2018, 11:00 - 14:00

Wed 20 Jun 2018, 16:00 - 19:00

Thu 21 Jun 2018, 16:00 - 19:00

Sat 23 Jun 2018, 11:00 - 14:00

Wed 27 Jun 2018, 16:00 - 19:00

Thu 28 Jun 2018, 16:00 - 19:00

Sat 30 Jun 2018, 11:00 - 14:00

Wed 04 Jul 2018, 16:00 - 19:00

Thu 05 Jul 2018, 16:00 - 19:00

Sat 07 Jul 2018, 11:00 - 14:00

Wed 11 Jul 2018, 16:00 - 19:00

Thu 12 Jul 2018, 16:00 - 19:00

Sat 14 Jul 2018, 11:00 - 14:00

Wed 18 Jul 2018, 16:00 - 19:00

Thu 19 Jul 2018, 16:00 - 19:00

Sat 21 Jul 2018, 11:00 - 14:00

Wed 25 Jul 2018, 16:00 - 19:00

Thu 26 Jul 2018, 16:00 - 19:00

Sat 28 Jul 2018, 11:00 - 14:00

Wed 01 Aug 2018, 16:00 - 19:00

Thu 02 Aug 2018, 16:00 - 19:00

Sat 04 Aug 2018, 11:00 - 14:00

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[romantikberlin]

One stone drops into two ponds (at the same time) – They were on the verge of a kind of change

(c) Christin Bolte

Space-directed entities superimposing one over another, yet vary inescapably. Sculptural elements, video, sound, and body form syndicates in unstable constellations. The studio is under suspicion of isolating the self from an outside - as well as being a place of common cause. In a fragile community, artists explore a studio as an open field. In ever-changing situations, the formats of installation, performance and lecture interfere with one another and they question their own contours. Corporeal phenomena disrupt boundary lines, test potentials of the transient and unravel the actuality of perceptual limits. Their unconditional cohesion is confidence in the certainty of instability. Together for themselves it is about nothing less than reality or – the impossibility of this. Not one but many.

With Amanda Elena Conrad, Beate Kaulitz, Ramona Cidej, Romina Sylvia Achatz, The Hum. Curated by Christin Bolte.

Opening: Thursday 14 September 7 to 11 pm / Fr, 15 to Sun 17 September, 1 pm to 11 pm, continuous performances / Closing: Sunday 17 September 6 pm with The Hum

Amanda Elena Conrad is a Berlin based visual artists. She studied Fine Art Sculpture at the Alanus University of Art and Social Science in Bonn, Germany, and graduated in 2008 with a BA (hons) in Fine Art Sculpture from the National College of Art and Design, Dublin, Ireland. The city scape and its inhabitants are often the sujet of her work. In her current research she has gathered traces and occurrences of instability. She is merging subtle and intimate portraits with the physical remnants of actions. Her work manifests itself as constellations of sculptural elements, video – and sound.

Beate Kaulitz is dancer, builder and spiritual rationalist. The body as the place of hyper-relationality, transformation and battlefield of action is conducting her interest in the extension of human identity through the engagement with other, non-human bodies. She is a member of the research- and performance collective Under Construction based in Salzburg and initiator of Blue Fields of Red.

Romina Sylvia Achatz is an author and performer. Her main interest is The Politics of the body. She recently returned from Tokyo, where she researched on The Thought Of The Outside in the dance of Ko Murobushi. For this show she will give multiple lecture performances and discuss the concept of The Outside with the audience.

Ramona Cidej thinks in the areas of political philosophy, language philosophy and aesthetics, and is the author of lyrical texts. She is currently working on speech act theories, materialization processes, and resistance of bodies. In the studio, she will deal with the ‚Un'-saturated and the intervals of the ’In/Between’. How to feed the space, how will the space be fed?

The Hum is a spatial sound collective from Berlin focussed on low frequency and drone.

Info: http://www.berlinartweek.de/en/programme/calendar/detail/event/one-stone-drops-into-two-ponds-they-were-on-the-verge-of-a-kind-of-change/

Documentation, resource, information, dates: https://onestonedrops.tumblr.com/

[romantikberlin]

A Tribute to Mata Hari: The Feminist The World Wasn't Ready For (a text and a dj set for Utopian Realities – 100 Years of Now with Alexandra Kollontai)

Mata Hari on the day of her arrest, 13-2-1917. Not named. Scan from a magazine, caption said it's in the collection of Fries Museum, Leeuwarden.

France, Vincennes. Outside in a field in front of a hill. On a gloomy and bitter cold morning in 1917. Unbound and without a blindfold a woman stands in front of this hill in an elegant black dress. The woman is calm and serene. A few seconds later she is executed by just one strike – twelve shots were aimed at her. Silently and slowly she sinks to her knees and falls down forward. The suspected double agent with the alias H21 is the middle-class Dutch mother of two children, Margaretha Geertruida Zelle. Margareta Geertruida Zelle, Marguerite Campbell, Lady Gretha MacLeod and finally Mata Hari. Who lived out Alexandra Kollontai’s glass of water theory to the fullest if not she? According to this theory, sex should be as natural as drinking a glass of water. Pleasure Politics. As a courtesan and professional erotic dancer Zelle’s chosen strategy of representation was seduction and playing with her audience’s colonial fantasies. Her stay in Java provided her with the material for this. Less sober and somewhat more ominous than her literary contemporary Kollontai, Zelle, performing as “Mata Hari”, or the “Eye of the Day” (or the sun), skilfully played with the power of the gaze and of projection to fulfil the longing for independence burning deep inside her.

A hundred years ago, revising your own biography or reinventing yourself over and over again was not quite as simple as drinking a glass of water. Nonetheless, despite having no training as a dancer, Mata Hari managed to become a star on Europe’s most glamourous stages. She celebrated Salomé as her ancestor, inspired the academic expressionist dancer Mary Wigman and at the age of 36 got an audition at Sergei Diaghilev’s elite troupe, the legendary “Ballets Russes.” The Mata Hari phenomena has retained its mythological power generations after her death. Today there are dozens of photos in the internet, plus innumerable variations on M.G. Zelle’s self-invented biography.

https://soundcloud.com/ultraviolett_dj/sets/thema

The soundtrack to the film “How Mata Hari Lost Her Head and Found Her Body” serves as the aesthetics starting point for record collector, text worker, and DJ Ultraviolett. For her homage to Mata Hari Ultraviolett uses Karen Barad’s philosophical methodological framework of “agential realism” to enter a world in which time, matter, origin and effect intertwine and overlap. Projection, reflection, diffraction: “M.G. Zelle’s translocal entanglements diffracted through blacklight”. Musical pieces from all time periods collide with traces of sound, interact and combine without ever becoming singular. Not one but many. Ancestors, contemporaries, heirs and new role models all become voices in a new way to read Mata Hari’s spectacular complexities.

(Text: Christin Bolte)

German original text:

Frankreich 1917, Vincennes, an einem eiskalten wie düsterem Morgen, draussen auf einem Feld, vor einem Eishügel. Weder mit verbundenen Augen, noch gefesselt steht eine Frau in eleganter, schwarzer Kleidung. Sie ist ganz ruhig und still. Einige Sekunden später wird sie mit nur einem treffenden von zwölf auf sie zielenden Schüssen hingerichtet. Sie sinkt ganz langsam auf ihre Knie und fällt vorn über. Sie gibt keinen Laut von sich. Die vermeintliche Doppelagentin mit dem Decknamen H 21 ist die niederländische, aus der Mittelschicht stammende, zweifache Mutter Margaretha Geertruida Zelle. Wer, wenn nicht sie lebte Alexandra Kollontais Glass-Wasser-Theorie in vollen Zügen. Lieben, wie ein Glas Wasser trinken  – oder eben Vodka! Pleasure Politics. Als Kurtisane und professionelle Laientänzerin wählte Zelle die Verführung und das Spiel mit den kolonialen Phantasmen ihres Publikums als Strategie der Repräsentation. Ihr jahrelanger Aufenthalt in Java lieferte ihr das Material dafür. Weniger nüchtern und verhängnisvoller als ihre literarische Zeitgenossin Kollontai, spielte Zelle als Mata Hari, als Auge des Tages (jav. Sonne), gekonnt mit der Macht des Blickes und der Projektion, um ihren tief in ihr brennenden Wunsch nach Unabhängigkeit zu erfüllen.

Margareta Geertruida Zelle, Marguerite Campbell, Lady Gretha MacLeod und schließlich Mata Hari. Die eigene Biografie zu entwerfen oder sich gar immer wieder neu zu erfinden, war vor hundert Jahren nicht so leicht, wie ein Glas Wasser zu trinken. Trotzdem schaffte Mata Hari es, als niemals ausgebildete Tänzerin zum Jet-Set Bühnenstar Europas. Sie pries Salomé als Ahnin, inspirierte die akademische Ausdruckstänzerin Mary Wigman und erhielt mit stolzen 36 Jahren eine Audienz bei Sergej Djagilews Elitekader, dem legendären Ballet Russes. Nackt trat sie nie auf. Als Mythos hat Mata Hari nach ihrem Tod Generationen inspiriert. Heute finden wir Fotos im Internet verschiedenste Variationen und Interpretationen M.G. Zelles selbstinszenierten Biografie. Entsteht die Realität nicht immer zusammen mit der sie beobachtende Instanz?

Margaretha Geertruida Zelles Leichnahm wurde seziert und ihr Kopf in Wachs konserviert. Im Jahr 2000 verzeichnete das Musée Dupuytren in Paris den Schwund ihres mummifizierten Kopfes. Es wird gesagt, ihr Kopf wurde Studierenden als Unterrichtsmaterial zur Verfügung gestellt - und dann im Müll entsorgt.

Für die Teilchenphysikerin Karen Barad gibt es keine Auslöschen von Ereignissen sondern nur ständige Rekonfigurierungen von Raum, Zeit und Materie. Das Universum lagert die Erinnerung eines jeden Momentes, es ist selbst die Erinnerung aller sich überlagernder Materialisierungen. Sogar Moleküle und Teilchen erinnern sich, was ihnen passiert ist, das was wir unbelebt nennen ist in der Realität doch sehr leibhaftig und lebendig.

https://soundcloud.com/ultraviolett_dj/sets/thema

Der Soundtrack zu dem Film‚ How Mata Hari Lost Her Head and Found Her Body‘ von Julian Lynch dient Ultraviolett als ästhetischer Ausgangspunkt. In ihrer kuratorischen Projektreihe The Hum untersucht Ultraviolett sonst erlebnisbezogene Parameter von Phänomenen an der Schnittstellle von Sound und Tanz. Für die Hommage á Mata Hari begibt sich Ultraviolett über Karen Barads philosophischen Methodenrahmen des Agential Realism in eine Welt in der Zeit, Materie, Ursache und Wirkung durcheinanderwirbeln und sich überlagern. Projektion, Reflektion, Diffraktion: „M.G. Zelle’s translocal entanglements diffracted through blacklight“. In ihrem Bruch wird das Spezifische jeder materiellen Verwicklung deutlich. Musikalische Stücke aus allen Zeitebenen prallen auf Soundspuren, intra-agieren miteiander, verquicken sich ohne jemals ein Einzelnes zu werden. Nicht Eine sondern Viele. Ahninnen, Zeitgenossinen, Erbinnen und neue Role Models werden Teile einer neuen Lesart von Marta Haris spektatulären Verwicklungen.

[romantikberlin]

Pillow talking, differently

Janos Brückner: Not Good (found graffiti at the exhibition 'Geschichte der Klinik für Psychiatrie an der Charité' in Klinik für Psychiatrie und Psychotherapie Charité Mitte), 2017

18th January to February 5th @ngbk, Berlin 

With works by: Hasan Aksaygın (in Kollaboration mit Yener Bayramoğlu), János Brückner, Tina Griffith, Gözde Güngör, Carsten Lisecki, Maria de Sande, Ultraviolett und Hanwen Zhang. Initiated by Lisa Glauer.

Visual signs pointing to a strict hierarchical demarcation between knowledge of medical experts, with its historically shaped aspiration to objectivity and universality and the subjective experience of human beings that move through that space. The artists dealt with the question of how physical and semantic boundaries interact with bodies moving through this space. The artists explored the location via movement exercises and performative talks. 

This exhibition at ngbk Berlin features the result of collective and individual explorations and talks spilling back into the space and terrain. 

A presentation within the cooperation of Berlin University of Arts with The Charité hospital (GedenkOrt, Science and Responsibility) at neue Gesellschaft für bildende Kunst, Berlin, Germany.

[romantikberlin]

Kaitlyn Aurelia Smith & Suzanne Ciani: Constantly Working

Kaitlyn Aurelia Smith and Suzanne Ciani come from two different generations. If there's one thing that connects them however, it's the Buchla synthesizer.

We interviewed ‘the‘ Ciani and Kaitlyn Aurelia Smith!!!

Kaitlyn Aurelia Smith and Suzanne Ciani come from very different generations, but if that’s one thing that unites the two composers it’s their preferred instrument. The Buchla was developed at the same time when Robert Moog started producing the synthesizer that would be introduced to the world through a curious but nonetheless immensly successful record, Wendy Carlos‘ Switched-On Bach. Two synthesizers, two different philosophies: While the Moog tried to convey the feel and practicality of a keyboard-based instrument, the Buchla was a completely new instrument intended for completely new music.

Speaking metaphorically, what is then electricity to you while  you are making sound with the Buchla or another synthesizer? KS: That is one of my favourite things to think about when I am making music. When I first learned it, that was on a 100, which I am sure Suzanne has also played. SC: Yes. KS: At least with the one I was playing, the impedance level was just not really haunting in at this time. You could really feel these pulses of electricity. If I turned on the light switch, you could hear the difference and depending on what monitors I was using, I could hear the pumping of electricity. It feels like this live force and that is something that I first started to relate to and I come back to that thought a lot. It sounds abstract but it is my personal relationship with it. SC: Also, for me the underlying electricity is an actual source of stability. The  consistent cycling, the perfect rhythmic pulsing is something that I think has a subliminal comfort and allows us to feel secure and relaxed. KS: Oh, that is so interesting. I like that.

Full interview here.

The “Sunergy” documentary:

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A vinyl DJ set we like a lot.

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We just talked to the voice of...

[romantikberlin]

Vogue Is Not For You: Deciding Whom We Give Our Art To

I began voguing as a sixteen year old high school student. Still struggling with what it meant to be gay and Black, learning of the ballroom scene both relieved me and ignited within me whole new p…

must read

[romantikberlin]

“made to escape detection on the open sea” top secret seagoing vessel Sea Shadow hiding The Hum from Sonár 2016. Locator spells held at Magia Roja H.Q., Barcelona (June 18th only!)

[romantikberlin]

Chez Mieke b2b Ultraviolett djing w/ Ogoya Nengo & The Dodo Women’s Group!

Wednesday May, 18th Ogoya Nengo & The Dodo Women’s Group (KEN) LIVE | Honest Jon's Records/TAL // Janek Schaefer (UK) LIVE | audiOh!/Dekorder Decks: Chez Mieke (ACUD MACHT NEU) & Ultraviolett Rawmentak (The Hum)

https://soundcloud.com/singingwells/sets/ogoya-nengo

https://soundcloud.com/chez-mieke

http://soundcloud.com/ultraviolett_dj

@Musikbrauerei Prenzlauer Berg Greifswalder Strasse 23a in 10407 Berlin Doors 20:00 | Shows 21:00 | Admission 8 Euro Read and listen: http://goo.gl/i54ggH

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Auditions. Residencies. Festivals. Workshops. Internships.

Deadline June 15, 2016

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German nationalists uprising. Mykkie Blanco doing nazi country. Can’t say with words how much we love you <3

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Body sound

[romantikberlin]

Drone bomb me Blow me from the mountains And into the sea Blow me from the side of the mountain Blow my head off Explode my crystal guts Lay my purple on the grass Let me be the first I’m not so innocent Let me be the one The one that you choose from above After all, I’m partly to blame

[romantikberlin]

“The strangest thing about “Drone Bomb Me,” the first track on Anohni’s début solo album, “Hopelessness,” isn’t the fact that it’s written from the perspective of a young Afghan girl, looking up at the sky, waiting for death... http://www.newyorker.com/magazine/2016/05/02/hopelessness-by-anohni

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Stevie Wonder’s The Secret Life Of Plants!

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Offen Music

Listen to Offen Music | SoundCloud is an audio platform that lets you listen to what you love and share the sounds you create.

label by Dj and record-guru Vladimir Ivkovic