Apr 18, 2014

Wolf & Fortschritte play Future-Pop

At  Altes Finanzamt, 
21h, 19/04
Schönstedtstraße 7, Berlin

Join us for an extraordinary evening of sonic explorations and social chattering. A one and only event celebrating the joy of uniqueness.

Pedro Lopes   

[turntables, self-pressed records, modified needles, percussive objects]

Pedro Lopes is a resident musician in Berlin, with a vast curriculum of collaborations with people such as Reinhold Friedl, Dj Sniff, Carlos Zíngaro, Gabriel Ferrandini, Pedro Sousa, and many others; furthermore, its a path enriched by radio art works displayed at Transmediale, Serralves Foundation, or  Goethe Institut. 
"Pedro makes of his instrument, the turntable, a vessel for a experimentation discourse, of analogue tone, often recurring to amplifiers, DIY pressed records, modified needles and percussive objects. Pedro Lopes is one the most interesting and innovative representatives of the exploratory music of Portugal. [Rescaldo Festival 2013]" More about Pedro's music at plopesmusic.levelup.webfactional.com.

Bruno Pernadas 

[Electric Guitar, Electronics, Keyboards]

Bruno started studying classical guitar when he was 13 years old. Some years after, he graduated from the Jazz Course at the Hot Clube of Portugal (HCP) and from the Jazz Music Course at the Lisbon's Politechnical University (ESML). Throughout this period he studied with Pedro Moreira, João Moreira, Afonso Pais, Sérgio Azevedo, Lars Arens and Vasco Mendonça, to name a few. He also took part in workshops and masterclasses with: ESML Jazz Orchestra, Carlos Barreto, Instituto Piaget's Big Band, John Taylor, Lee Konitz, San Francisco Jazz Collective, Pete Rende, Ohad Talmor, Ben Monder and David Binney. Bruno is also a leader of “When we left Paris – Jazz Ensemble”, since 2008, and of "Julie & The Carjackers", together with João Correia. Alongside he has been performing a solo act entitled “L’appartement”. He composed and performed for theatrical acts such as the ones of the new circus company “Ferloscardo”, and Cláudia Varejão and Pedro Gil's “Às vezes as luzes apagam-se”. Finally, he has just recently published the album “How can we be joyful in a world full of knowledge”. 
More info at www.brunopernadas.com 

Apr 9, 2014

Choregraphed Transparency

Exhibition by Santiago Taccetti and Lorenzo Sandoval.

Opening 15th of April, 19:00
15th  - 24th of April

It is mainly invisible walls made of crystal that define most of the spaces where our bureaucratic fluxes inhabit: tax offices, shopping malls, airports or banks. For a long time we have known them as non-places, they are the epitome of the architecture of transparency. These transit spaces represent in their very glass construction what is supposed to be hidden. In a way comparable to what happened with the appearance of credit cards and the ongoing disappearance of money as a physical object, today a similar process is happening with the representation of the infrastructures of power. On the transparent walls are some floating corporative logos as the customer care person is always within our sight. While one does not perceive the symmetry of power as it happened before, the architecture of transparency pushes our steps in a stealthy fashion. This transparency hides the rules of our regulated lives in its own immateriality.

In this exposed nothingness, we individuals are choreographed through the perverse management of our desire, very well described by Byung-Chul Han. In this mechanic conception of all movements, synchronized once more by an interior panopticon composed in our time by of a digital substance, it would seem that the gestures of defiance are the ones that propose a disruption in this machinery.


With the support of:

Gabriela Acha
and John Holten

Mar 6, 2014

Shirin Sabahi - Muted Fanfare for the Shy

***Thursday, March 6th 2014, 8 p.m.

Shirin Sabahi - Muted Fanfare for the Shy

Vernissage with sound performance by Bill Dietz, played by Héctor Rey (violin) and Rishin Singh (trombone)
Exhibition continues until March 28th (visit possible by appointment)

Title of the exhibition by Farnoosh Fathi

The exhibition contains a film from a greenhouse and a film prop of sorts. Of sorts as not having been built to be in the film, the prop is made after the shooting and based on an object in the film. Displayed under the same roof this time but separately in other occasions, both works stem from an interest in how objects gain importance and sway between their function and their worth.

Jan 29, 2014

Tag der Kosmonauten

Friday, January 31st 2014

"Tag der Kosmonauten"
Abigail Sanders - french horn
Manuel Miethe - soprano saxophone
Adam Goodwin - double bass


Thomas Rohrer- rabeca, soprano saxophone
Johannes Bergmark- amplified objects, saw, constructions etc.
Anna Kaluza - alto saxophone
Stephan Bleier - double bass


Doors open at 21.00 h
Set 1 starts at 21.30 h


Jan 2, 2014

Online / Offline. Encoding Everyday Life for Vorspeil Transmediale.

Online / Offline. Encoding Everyday Life
for Vorspeil Transmediale.

22nd  - 28th of January

Opening 22nd of January, 19:00
Performances start at 19:00

Constant Dullaart, Jodi, Nuria Güell, Sophia Le Fraga, Lindsay Lawson, Eilis Macdonald,
Sam Smith and Kandis Williams.

Lindsay Lawson
Sophia Lefraga

Curated by Lorenzo Sandoval
In the recently abundant texts about cartography, we sometimes find references to the tale Borges´ Del Rigor de la Ciencia which narrates the past existence of a map, which scale was 1:1 with the Empire. We would like to propose as a reflecting element to this story another fiction by the same author: Funes the Memorist, which outlines a map in the same scale, not of the land but of the memory. It speaks of a map of time, which simultaneously serves as an (quasi) infinite archive of variations and possibilities. The main character takes a whole day to remember a day in its totality. Furthermore, he is able to enunciate, applying a game of association, every remembrance he has. In effect, Funes not only remembered every leaf from every tree from every hill, but each time he had perceived or imagined them.
Instead of the term “surf” used in the Anglo-Saxon world, in Spanish one started to apply “navigate” as a verb for describing the circulation trough the Internet. In spite of its aquatic relation, this different perspective appeared when the Internet became popular in the Spanish-speaking world, where the first widely used browser was Netscape Navigator. It lost the browser battle when Microsoft introduced the Internet Explorer, since the latter was always included in the operative system commonly used at the time. Later, Netscape liberated the code, which led to the emergence of Mozilla.
This inaccurate Spanish translation, stemming from the term “to navigate” instead of “to surf”, places the net hopelessly in a metaphoric position that brings it together with the idea of the cartography by way of navigation. If the term “to explore” had become popular due to the Microsoft browser, it could have generated a similar correlation. In fact, the internet is commonly represented in the form of a map. One could say, that there is a continuity within the history of maps and their usage. Therefore, their logic goes far beyond the mere circulation through the sources of information, the net creates a continued extension of the  domain; a colonization of life´s spaces.
This can be observed in the areas of use, which exceed the personal and the work space: email, social networks, desktop in the cloud, pornography, dating sites, maps, video servers and a large etcetera that amplifies, dominates and codifies the spheres of communication, emotion and action. And beyond this doppelgänger we find the physical reality: mobile devices, cable networks that cross the oceans and the applicable legal environment specific to  each of the countries in which they are located.
This set of techniques composes a digital skin over the space and the body, constituting a virtual and physical infrastructure of control, but also of affect, an emotional bureaucracy built of technological prostheses.
This project proposes an analysis of how those technologies are introduced in the everyday life, change the configuration of relationships and encode our perception of the world.

Nov 27, 2013

I Have My Thoughts To Entertain Me

Vernissage Friday, November 29th, 7 p.m.

I Have My Thoughts To Entertain Me is the second video work in a series-in-progress Hypernative, consisting of reflections regarding people’s need for knowledge and affiliation to own culture and history. Hypernative examines how identity and the sense of belonging occurs, appears and is inherited and transformed into new shapes through generations.

Diane and Marlene Halverson live on the family farm outside Northfield, Minnesota. We meet them as they look back at their father’s life, his meeting with Norway and his ancestors’ history. Norway was throughout his life presented as urlandet (= fatherland), amazing and beautiful, but unreachable. When the opportunity for a visit came he could not deal with the experience as something real. He would later look back on the journey as a dream.

#1: Reverse History portrays two Norwegian-American sisters’ relationship with their late father and their cultural origin. Prod. 2012

# 2: I Have My Thoughts To Entertain Me is a video portrait of Erik Halverson, the sisters’ father. The portrait consists of moving images collected from the family farm outside Northfield, USA. Prod. 2013

#3: Untitled is a video portrait of the sisters mother. Expected prod. 2014.

Hypernative is a collaboration between Regine Osbakk and Line Anda Dalmar.