Programme 2007 - Archive 2007
December 02 -16, „Newsletter: Tableau Newsletter: Tableau Hôtels dans la guerre– The Hotel Lobbies“ – exhibition with flashfilms by Paola Yacoub and Michel Lasserre
Opening Sunday, Dezember 02, 8 pm
Opening hours: Thursday 6–8 pm, Saturday and Sunday 4–6 pm
The Newsletter Project is exploring the existence of images when belief in information collapses.
The folders
At present, the Newsletter is constituted of 5 folders. Tamils Tigers
and Tsunami are images on cataclysms occurring when information on
history and nature can not be distinguished. With Hotel Lobbies one
will never know what really happened in those hotels ponderated by
history. Face grafts when randomness is in portraits. Peenemünde
looks at ruins of the American space exploration now that the Nasa
had lost its memory as well as its moon photographic shots. Screen
scenes is concerned with the anthropological usage of flat screens
in public spaces broadcasting news images aggregated to songs, dance
and leisure.
Newsletter events
Presentation: ROM, in collaboration with OCA International
Studio Program, Oslo, 2005; C/O Berlin - The Cultural Forum for Photography,
2006
exhibition: Biennale Gwangju, South Korea, 2006; BildMuseet Umea Universitet,
Umea, Sweden, 2007; Centre pour l’image contemporaine Saint-Gervais,
Genf, 2007; MARS, Berlin till December 15, 2007 (www.marsinberlin.com).
Hotel lobbies are often crossed by events, negotiations, kidnappings
that change their aspects, ponderate their image and their name in
history.
These hotels enter in collision with a contingent event. Only the aspect
of the hotel changes.
One can see these buildings as hotels or as wild monuments. This additional
aspect weakens our agreements on the images.
Hotels in war are part of a long-term project entitled Newsletter of
affinities in which we explore from a sceptic position the mode of existence
of images
when our agreements becomes dubious.
The Kempinski Bristol Hotel, Berlin
During the cold war the Kempinski Bristol Hotel in Berlin hosted most
of its political leaders such as Fidel Castro, Konrad Adenauer, J.F.
Kennedy, Ludwig Erhard, Willy Brandt, Walter Scheel, Henry Kissinger,
Ronald Reagan and Michail Gorbatschow. One can see the Kempinski Bristol
Hotel either like a luxurious hotel, or as an emblematic cold war hotel
in Berlin.
Le Quartier des hôtels, Beirut
Le Quartier des hôtels in Beirut gathers the Holiday Inn Hotel,
the Phoenicia Hotel and the Saint-Georges Hotel among others. This district
had contracted a series of the Lebanese war events. In 1975, the first
battles were conducted in the Holiday Inn and in 2005 the Lebanese Prime
Minister Rafik Hariri was assassinated in front of the Saint-Georges
Hotel. But the series continues. Very recently, the parliament deputies
were hiding in the Phoenicia Hotel while waiting for the Presidential
election.
Supported by Medienteam der Landeshauptstadt Stuttgart
December 9, Plattform für freie Musik, 8pm
The concert series offers an opportunity for improvising musicians to
play in front of an interested audience. The music is located between
jazz, electronica and New Music: laptop meets Ping-Pong ball, Kaoss pad
meets melodica, turntable meets vibraphone.
Information: der011n@prechtlsound.de
November 25, 7pm, Junk Jet. igmade.edition - Release Event of Junk Jet. Fanzine for Electronics and Aesthetics
igmade.edition/INSTITUT GRUNDLAGEN MODERNER ARCHITEKTUR UND
ENTWERFEN/Universität Stuttgart
Audio-Visual Performances of Serhat Köksal 2/5 BZ (Istanbul) and
Peter Plessas (Graz): Remake exotic works of 2/5 BZ meets the gentle
glitch of Plessas. Boxing beats by Moritz von Pein (Stuttgart)
Junk Jet is a fanzine, a collaborative format set up to discuss subversive and hoaxing pirate works on topics of electronic media and aesthetics. It is both an online publication (including movies, images, software, and pdfs), exploiting all possibilities of multimedia, and an extravagant lo-fi paper publication (including special gifts) on a non-commercial scale.
Junk Jet has established an open platform for artists, media theorists,
and others to take part in an aesthetic and futile battle against conventional
use of modern media. From radio to computer it has collected significant
works subverting, boarding or
even breaking technological systems, for aesthetic purposes, curiosities,
and instincts. Or just for fun. Junk Jet offers an interlinking base
for those medial Don Qichottes, who set their hands on electronic devices
constructed as black boxes by technological industries. It is these users,
who hit mainstream practice, as they not only extend the boarders of
custom, by using electronic devices in a way they were not intended,
but also as they tunnel common aesthetics and functions, determined by
technological dispositives.
In this, Junk Jet deals with tinkering (bricoler, basteln), with forms
and found objects, with theories and (small) narratives, with fashions
and styles, and of course with computers and other electronic devices.
It is about exploring do-it-yourself works, accidental outcomes, deviant
and normal aesthetic
forms that result from misused media, subverted customary tools, and
jammed common practices. It is about cultivating an anti heart by “introducing
noise to signal”: by distorting the digital hype and collapsing
the technological seduction.
Contributors among others: Claus Pias, Gerd de Bruyn, Olia Lialina, Kim Cascone, Martin Woodtli, Farmers Manual, Jan Jelinek, girl.tv, dieb13, Holger Lund etc.
November 15, 8pm, MuVi-Space: Reflections on filmic space in music videos - Henry Keazor and Thorsten Wübbena (University of Frankfurt) as guests at fluctuating images
Engaging in the beginning mainly in research dedicated to the art of the16th and 17th century (baroque painting in France and Italy), Henry Keazor already then was highly interested in the relation between art, cinema and cartoon series such as e.g. “The Simpsons”. Having finished his studies of art history, German literature and musical science at the universities of Heidelberg and Paris and after spending some time working in Florence and Rome, he then engaged in these interests whilst teaching at the University of Frankfurt. Here, together with Thorsten Wübbena, he organized seminars on music videos and in 2005 did publish the book “Video thrills the Radio Star - Music Video: History, Topics, Analyses” (see the relative website under http://www.vttrs.de/). After having worked as Visiting Professor at the Art Historical Institute of the University of Mainz in 2005/2006, in 2006 he started to do research (as Heisenberg-fellow of the German Research Council DFG) on the impact of contemporary media on architecture, focussing especially on the buildings and projects by Jean Nouvel.
Thorsten Wübbena has studied Cultural Studies, Art History and History at the University of Bremen, where he go his degree in 1999 with a study on the architecture of the 1920´s, dealing in particular with people´s and trade union´s houses. He then worked at the Centre for Art and Media Technology (ZKM) in Karlsruhe before joining the Art Historical Institute in Frankfurt in 2000 where he co-designed the new image database system DILPS („Distributed Image Library Processing“, see http://www.dilps.net/). Starting in 2003, together with Henry Keazor, he organized seminars on music videos and in 2005 did publish the book "Video thrills the Radio Star - Music Video: History, Topics, Analyses" (see the relative website under http://www.vttrs.de/).
Supported by Medienteam der Landeshauptstadt Stuttgart
November 16-18, fluctuating images as guest at interfiction, Kassel
November 18, 8 pm, Raffael Dörig (curator, plug in, Basel) visits fluctuating images for the event series “Visual Music: live & discussed”. Presentation
This is the third evening in a series of events called “Visual Music live & discussed”, part of the project “Visual Music” (2007–2008) by media gallery fluctuating images. Over the course of two years, the project will deal with the diverse artistic and institutional aspects of Visual Music. We invite scientists, artists and curators to focus their special perspectives on the topic.
The project “Visual Music” (2007-2008) is supported by the Landesstiftung Baden-Württemberg.
[plug.in],
founded 2000 in Basel, is the only institution in Switzerland to exclusively
feature media art and digital culture all the year round. Raffael Dörig,
a curator at [plug.in], will introduce the venue and its programme. He
will present a selection of Swiss videos especially chosen for fluctuating
images and our focus on Visual Music.
[plug.in] is a space for contemporary art using electronic media. Media
technology has become an important part of our daily life. [plug.in]
deals with the social and artistic questions resulting from the interdependency
of life and media technology.[plug.in] jacks the analogue into the electricity
circuit and stands for digital programme extensions that enable computer
softwares to interact. Our name describes our ambition: to expand the
social hard drive with new artistic discourses and to stimulate participation
in dynamic and interactive processes.
[plug.in] provides: exhibitions with internet and software art, interactive
installations, sound art etc.; events on media art and digital culture;
a library with books and DVDs and a shop with artists’ editions
and electronic gadgets.
Raffael Dörig has been on the [plug.in] team as a curator since 2005. He studied art history, media sciences and German studies at Basel university and also works for the netlabel interdisco and as an electronic musician himself.
Further information: www.iplugin.org
Supported by
October 26 - November 11, „music onscreen - media flow. videoventure on electronic music. pt. V“ – exhibition with a screening-programm
Opening Friday, October 26, 8 pm, free entry
Opening hours: Thursday 6–8 pm, Saturday and Sunday 4–6 pm, free entry
Alexandar Nesic, "The Drummer"
Isabell Spengler and Daniel Adams, "Lantouy"
Ola Simonsson & Johannes Stjärne Nilsson, "Music for one appartment and six drummers"
Thilo Kraft, "und"
Max Philipp Schmid, "Duett"
Kamil Goerlich, "Natchnienie"
The exhibition series "media flow. videoventure on electronic music" is dedicated to visual music as a phenomenon of contemporary artistic production. The exhibition series aims to present current trends in the field of visual music. The series is curated by Cornelia and Holger Lund.
For the first part of the series in November 2004, film and video artists
from different backgrounds (designer, artist, architect) were invited
to show their specific angle on visualising music.
The second part was dedicated to audiovisual combinations. Since the new media
allow coordination of pictures and sounds in real time, ever more artists and
acts are working on both sound and image – and can do it even live.
The third part of the exhibition series arises from the contest “Dancing
the Screen” and deals with the relations between video/film, electronic
music and dance.
The fourth part deals with a different angle: which visualizations do musicians
and composers like? When are they satisfied? For the first time the "victims" of
visualization are demanded to give their input to an exhibition screening.
The fivth part is following a current trend: making music and playing instruments on screen - which is a sign for music videos - is entering visual music, not as simulation (as in music videos) but by cutting and editing process. The result is music based on filmic procedures.
Videos by Isabell Spengler and Daniel Adams (Berlin), Ola Simonsson & Johannes Stjärne Nilsson (Stockholm), Max Philipp Schmid (Basel), Thilo Kraft (Frankfurt), Aleksandar Nesic (Stuttgart), Kamil Goehrlich (Stuttgart), Robert Heel (Berlin), Benjamin B. Kinsley (Pittsburgh).
Curatorial advice: Gabriel Shalom (Karlsruhe).
Supported by MFG Filmförderung Baden-Württemberg, Hypo-Kulturstiftung München and Kulturamt der Landeshauptstadt Stuttgart.
October 27, fluctuating images as guest at shift festival, Basel. Lecture
November 10, radiophonic art - Dinahbird, Jopo Stereo, Mono Monsieur (Paris) and Alessandro Oertwig & Michael Jotter (Stuttgart) as guest at fluctuating images. Cooperation Partner: Plattform für freie Musik e.V. , Instituts Français Stuttgart and Freies Radio für Stuttgart
Dinah Nuttall (Dinahbird) is a radio artist and feature maker living
and working in Paris and London.
She makes radio programmes, audio publications, installations, and soundtracks.
Her narrative based sound collages are a poetic flux of storytelling, anecdote,
music and field recordings. Recent commissions include The Music Machine, a
programme about the ondioline, one of the first electronic synthesisers for
BBCR4, Moskova, a sound/video collaboration that documents the evolution and
growth of a new city garden during its first year, and Songs of the Brewery,
an in-situ sound installation for Cork, European Capital of Culture, 2005.
Works have been played on BBCR4, France Culture's Atelier de Création
Radiophonique, Resonance FM and on Kunst Radio. She is presently employed by
the Museum of Modern Art, Paris to develop a programme
of sound workshops in relation to their permanent and temporary collections.
Jean-Philippe Renoult is a sound artist, radio producer and independant curator based in Paris. He has worked as a radio producer for French public radio, including France Culture, for over fifteen years. His work is as much influenced by early avant guarde cut up work of the 20th century, to the turntablists and DJs from the 80s up until present day. His compositions blend electronics with field recordings, voices and noises from different backgrounds. Recent works include, "Pourtant Tout Simple", an electroacoustic piece commissioned by the GRM (Groupe de Recherches Musicales) for the 10th anniversary of Pierre Schaeffer’s death, and "I could never make that Music Again", an audio collaboration that takes a wry look at the electronic music industry created for the Radiodays festival (CD out on Subrosa in 2007). He also curates and presents the "Voir et Entendre" (See and Hear) cycle of conferences at the Pompidou Centre Paris, conceived "Sound Drop", an ongoing series of audiowalks in Europe, and co-wrote "Songs of the Brewery", a sound installation conceived in collaboration with Art Trail, Cork, European Capital of Culture 2005.
www.project-101.com and www.jeanphilipperenoult.com
Supported by Medienteam der Landeshauptstadt Stuttgart
13 October, 8 pm, Daphne Dornbierer (co-founder of the VJ Mapping Festival, Geneva) and Yves Schmid (co-developer of the video software modul8, Geneva) visit fluctuating images for the event series “Visual Music: live & discussed”. Presentation
This is the second evening in a series of events called “Visual Music live & discussed”, part of the project “Visual Music” (2007–2008) by media gallery fluctuating images. Over the course of two years, the project will deal with the diverse artistic and institutional aspects of Visual Music. We invite scientists, artists and curators to focus their special perspectives on the topic.
The project “Visual Music” (2007-2008) is supported by the Landesstiftung Baden-Württemberg.
Daphne Dornbierer found her central field of attention during her studies at the Hochschule für Gestaltung und Kunst Zürich, the Haute Ecole d’Arts Appliqués à Genève and the Ecole Supérieure des Beaux Arts de Genève: critiquing media, curating media, with a special focus on cyber media. She has realised installations and compositions featuring electronic music, co-founded the internet radio station Ratio.fm and in 2005 and 2006 she curated the most important VJ festival in Switzerland, VJ Mapping in Geneva. There she staged programmes at the Spoutnik cinema that dealt with the history and with a critique of music visualisation, and always presented and discussed the latest state of the art in technological developments.
Yves Schmid began developing software in the early 1990s during his
computer studies at the Université de Lausanne, specialising in
interface design. Soon he developed video games for Amiga (AliaMap and
AliaAnim). In 1995, he founded a label for 3D animation, called Playground.
The following year, he created a software for 3D animations, Open Media
Toolkit, that quickly garnered international popularity and made him
a sought-after counsellor for game manufacturers like Disney (Montreal),
HumanCode (Austin) and Scitex (Tel Aviv).
Since the turn of the century, Yves Schmid has increasingly moved into the
Real Time Processing of digital information.
His major breakthrough came with the GarageCUBE label and the many open-source
applications developed there. In collaboration with Boris Edelstein, Schmid
created Modul8 in 2002, one of the most widely used real-time softwares for
video performances and VJing. Modul8 set new standards for creating live video
images to music.
Besides being a programmer, Schmid has stepped up his work as a lecturer, teaching
history and the aesthetics of video games and of the open source movement at
the Ecole des Beaux-Arts de Genève.
Supported by
8–22 July “cover – music to graphics” – an
exhibition of lp covers and a listening station
Opening: Sunday, 8 July, 8 pm
Opening hours: Thursday 6–8 pm, Saturday and Sunday 4–6 pm
Curators: Cornelia Lund and Holger Lund, in cooperation with Pulver
Records
Guest curator: David Dufour
Lp covers have to fit the music inside, but they also have to look better
than every other cover in the shop; both aspects taken together have
made creating these covers a cutting edge discipline for designers. It
is no wonder that artists like Andy Warhol (eg with his famous banana
sleeve art for The Velvet Underground) or Josef Albers, amongst many
others, have created ambitious designs in the field.
The historical part of the exhibition “cover – music to graphics” will
take a close look at cover designs in which squares are central to the aesthetic.
Many designers have taken the fact that the record sleeve itself is a square
into account and have put that geometric form to use. The covers will be selected
from the record collection of David Dufour, with insightful comments from the
collector himself.
Today, the design of record covers remains as important as before, because
vinyl – not CD or mp3 – is the format of choice for certain styles
of music, think Electro or even Hip Hop. As an example for successful contemporary
cover design we will present the internationally renowned label Pulver Records
(www.pulver-rec.com) from Stuttgart. This marks a first in-house collaborative
show – both Pulver Records and fluctuating images are situated in the
same building in Jakobstr. 3.
A turntable station where the records within the covers can be listened to
lends an audiovisual element to the exhibition.
Further information: www.pulver-rec.com
Supported by Kulturamt der Landeshauptstadt Stuttgart
July 15, Plattform für freie Musik
The concert series offers an opportunity for improvising musicians to play in front of an interested audience. The music is located between jazz, electronica and New Music: laptop meets Ping-Pong ball, Kaoss pad meets melodica, turntable meets vibraphone.
Information: www.prechtlsound.de
July 19, Bay Area Dance Music Videos, curated by Heike Liss and Nomi Talisman (San Francisco), 8pm
This video screening introduces works by San Francisco/Bay Area artists investigating the relationship of image and sound.
Videos by:
Glock & Shpiel (Dreamboat Where Are You?): Another
Day, Another Madcap Adventure, 2006, 3:33 min
Punk Pop duo want to learn how to fly….
Claudia Esslinger, Breathing Lessons, 2006, 10:00 min
Breathing Lessons poetically traces a longing for oxygen through one family's
history. It uses narration, symbolic movement, visceral props and rhythmic
music to evoke a mood of memory and loss.
Wenhua Shi, Crimson Haze, 2005, 6:00 min
Crimson Haze is a meditation upon the color, decay and rhythm, which presents
as the disorderly order. It also impacts the tone and tint style from the
Silent era of film history. This short Experimental film recalls narrative
and structure of D.W. Griffith's Intolerance.
Lindsay Benedict, Band o' Butchers, 2006, 3:00 min
This piece is about the brotherhood that takes place in a regular day's work.
Hand-splicced 16mm film shot in an area of Brooklyn that will soon be a manicured
promenade.
Les Stuck, bars + tone, 2006, 5:46
SMPTE Color bars and a 1kHz test tone morph continuously into the image and
sound of a beach sunset-a conceptually simple transformation which provides
a site for consideration of numerous dualities. The bars are a utilitarian
image not meant to be seen; the beach sunset is a sought-after image of such
widely-accepted beauty that it has become a cliché. The bars consist
of sharp rectangles of pure colors; the sunset consists of fuzzy areas of
complex colors. Both images represent the color spectrum in their own way,
which provides a strategy for the transformation.
Marc Horowitz, I Invented the Internet, 2006, 1:35
min
" I Invented the Internet" was made in response to Al Gore claiming
he
invented the internet. I thought that it would make a great musical
number. I'm sorry I can't sing. enjoy.
dud, old house, 2006, 3:42 minutes
old house is an improvised story about a returning to the old house.
It was performed on November 5, 2006 at dudland by Mark Briggs
(electronics), Herb Heinz (guitar, voice), Franz Keller (visuals)
Craig Latta (bass), Claudine Naganuma (dance), Richard Smith (drums),
and Tim Walters (bass). Video and audio production by Herb Heinz.
Roger Ngim, Easy to Be Hard, 2006, 3:50 min
The superimposition of a plaintive pop song reveals the semaphoric
meaning of a regional American dance form in this video made from
salvaged and appropriated material.
Ruth Echkland, Rusalka, 2006, 3:30 min, Whirl, 20007,
0:38 min
‘Rusalka’ was inspired by Dvorak’s opera of the same name,
with stylistic nods to Degas, this video reinvents the fairytale of the water
nymph living in a forest lake who longs to be human to win the love of the Prince.
This contemporary nymph needs no one but herself and her rhythmic attunement
to her world, as she effortlessly flows between land and water. With her running
shoes underneath her tutu, she is also no Ophelia, but has the strength, determination
and grace to meet life’s challenges. The music is a beat composed, scratched
and sampled by Matt DiFonzo.
In ‘Whirl’ highly altered image and ambient sound are designed
to create a portrait and a breathless tribute. This brief video encapsulates
the essence of the energy and athleticism of dance competitions, dance-skating,
whirling dervishes and the frenetic dance of life, itself. Sound design is
by the artist.
Heike Liss & Patrice Scanlon, Flowerfist, 2006,
5:00 min, Fancy Footwork, 2007, 5:00 min
Visual artist Heike Liss and musician/composer Patrice Scanlon have been collaborating
on a series of dance/music videos for the last 2 years. ‘Flowerfist’ and ‘Fancy
Footwork’ are their latest productions.
Nomi Talisman, The last Thing before the Last, 2006,
excerpt
‘The last Thing before the Last’ is a series of short video pieces
that explores the failure of systems and its’ crisis. The work combines
sound from public archives (such as the UN General Assembly, US Courts, etc)
and current footage that was shot on ordinary locations, depicting everyday events,
that are influenced by mass media images.
Michael Trigilio, Thanks for Giving My Number Back,
2006, 2 excerpts
These music-video excerpts are from a longer work called _Thanks for
Giving My Number Back_. The video explores the thin lines between love and
death, fantasy and reality, hope and helplessness. Equal parts self-portraiture
and science fiction, the story shapes itself into a tangle of chuckles, heartache,
and anxiety.
Gail Wight, National Agenda, 2007, 3:15 min.
This work is similar to some video pieces I made in the late 80s, on secrecy
and the CIA, the obliteration of nature, and the misfiring of well-intended
efforts. I was angry then, and I'm still angry now. The issues have changed
a little, but not all that much. When it comes to the government, the issues
seem like they've hardly changed at all. Still, my anger doesn't help. In
much of the work I've done since that time, I've addressed issues of pain,
brutality, well-intentioned mistakes, horror . . . but always through humor.
Humor is a way for me to get close to things that are otherwise too painful,
too infuriating. How to address our nation's leaders' calculated negligence
on the topic of global warming? Chocolate, kazoos, sand paper, and a heat
gun. Go nowhere on Earth Day.
June 16-23, EXPLORING PARTY - PARTY AS ART. FROM WARHOL'S
EPI TO NOW
Live performances, Graphic Art, Exhibition, Screening, Presentations
Duration: June 16-23, 2007
Curators: Cornelia Lund and Holger Lund
Assistance: Myriam El Abdi, Meike Frank, Florian Härle
Institution: fluctuating images. contemporary media art e.V., Stuttgart
Venue/partner: Württembergischer Kunstverein Stuttgart
e.V., Schlossplatz 2, 70173 Stuttgart
www.wkv-stuttgart.de
Programme (more information > pdf (350 KB) download)
Saturday, June 16, 2007
8 pm, opening
Greeting: Monika Wüst (district councillor Stuttgart)
Presentation: Maxa Zoller, art historian and curator, London: „Never
before art has been so much fun: an introduction to party as art“
Screening: Maya Deren, „Ritual in Transfigured Time“ (USA,
1946, 16mm)
Audiovisual performance of two drummers triggering video by playing the drums: Alexandra
Mahnke (dance, Stuttgart), Aleksandar Nesic (drums,
Stuttgart) and Anja Füsti (drums, Stuttgart)
Wednesday, June 20, 2007
8pm, Screening
Screening: Videointerview with Ronald Nameth, Jonas Mekas, Velvet
Underground’s First Public Appereance (1966), Ronald Nameth, Andy Warhol’s
Exploding Plastic Inevitable (1967), Charles Wilp, Afri-Cola-Filme (1971)
Friday, June 22, 2007
9:30 pm, audiovisual Live-Performances with electronic music and visuals
Modeselektor (BPitch Control, Berlin), Die Pfadfinderei (Visuals,
Berlin)
11 pm, audiovisual Live-Performances with electronic music and visuals
Inverse Cinematics (pulver records, Stuttgart), VJ vonM/Matthias
Siegert (Stuttgart)
Entrance fee: 15,- Euro
Saturday, June 23, 2007
9:30 pm, audiovisual Live-Performances with electronic music and visuals
Dominik Eulberg, Triple R (Traum Schallplatten (Traum/Trapez/MBF),
Köln), Yvette Klein (Visuals, Köln), Christian
Jamin (Visuals, Basel)
Entrance fee: 15,- Euro
Graphic Design / Light / Motion Graphics
Daniel Fritz, Oliver Moore, vonM/Matthias Siegert, Maik Stapelberg
June 16-23 in the Württembergischer Kunstverein, exhibition with monitor screenings of art films/videos on and around the party topic
Jonas Mekas, Velvet Underground’s First Public
Appereance (1966)
Ronald Nameth, Andy Warhol’s Exploding Plastic Inevitable
(1967)
The Light Surgeons, Wild Man of New York RMX
(2002)
Die Pfadfinderei, Nightcreatures (2004)
Rojo, The Good Ones (2005)
Yvette Klein, Rave Rabbit (2006)
Robert Heel, What Makes a Good Party (2007)
Opening hours (exhibition): Tue-Sun 11am-6pm, Wed 11am-8pm
Modeselektor
Graphic Art by Pfadfinderei
Die Pfadfinderei
Dominik Eulberg
Videostill by Yvette Klein for Dominik Eulberg's Rave Rabbit
Yvette Klein
Triple R
Inverse Cinematics
Alexandar Nesic
Anja Füsti
Alexandra Mahnke
Matthias Siegert
Oliver Moore
s&f (Maik Stapelberg and Daniel Fritz)
Filmstill aus Maya Deren "Ritual In Transfigured Time"
Ronald Nameth
Filmstill from Ronald Nameth "Andy Warhol's Exploding Plastic Inevitable"
Filmstill from Jonas Mekas "Velvet Underground’s First Public Appearance"
Videostill from Charles Wilp "afri cola films"
Videostill from Robert Heel vs. Binary Choice/ Collaboration Rec. "What Makes a Good Party"
The party as an event format has a creative potential that was tried and tested in the art and music scenes of the early 60s, most famously by Andy Warhol. Since the end of the 90s, with the rise of a wide-spread VJ culture, experimental audiovisual events with party characteristics have been organized in various locations all over the world. A broad community of artists and musicians has grown out of that development. To explore this phenomenon within different curatorial contexts is on the agenda of fluctuating images, a non-commercial media art gallery with a mostly audiovisual orientation. The project “Exploring Party” will examine the history of the party as a space for experimental art, while at the same time manifesting the artistic potential of the party in live events.
In the mid 60s, Andy Warhol's “Exploding Plastic Inevitable” featured all the pop-cultural media of the day: multiple projections, lighting design, the spectator as living screen, dance, music by the Velvet Underground – with these ingredients, Warhol invented a multimedia event that was both art and a party.
Transforming parties into art goes back even earlier, as can be seen in Maya Deren's experimental films like “Ritual in Transfigured Time” (1946); a filmic tradition that leads to Sam Taylor-Wood's “Third Party” (1999) amongst others. The party has therefore a long history as a space for experimental art forms, it is an off-space for subcultures, but also a semi-official in-space, it is a space for aesthetic and social energies – this is what the “Exploring Party” project will demonstrate in practice while opening a theoretical discourse in its exhibition and event programme. For the first time, the focus will be on artists creating parties within the rooms of an art institution.
Visual music will be the centre of these parties – live generated productions by DJs or electronic musicians and VJs that come from a club or party context but are steadily conquering art institutions. Three multimedia live-performances will deal with party as art via music, visuals, dance, graphics and motion graphics. Modeselektor (music) and Die Pfadfinderei (visuals) who already presented their Labland show in the Centre Georges Pompidou (Paris) and the Volksbühne (Berlin) will present a new audiovisual set, and Yvette Klein (visuals at Sonar and Loop, Barcelona) and Christian Jamin (visuals at Theater Basel) will realize a new audiovisual set together with Dominik Eulberg (music, Dance Music Award nomination 2004 and 2006) and Triple R (music, label director of Traumschallplatten). Matthias Siegert (video) does not only realize the motion graphics, together with Inverse Cinematics (music) he'll show an audiovisual set with party footage and animated graphics by stapelberg & fritz.
This artistic character of these parties will be complemented by an exhibition showing exemplary film works related to the topic, and by lectures and discussion panels reflecting on it.
Andy Warhol’s EPI is the main reference point for the discussion
of party as art. Two things are central: the accumulation of media and
the interaction of media – finding new possibilities in both. Since
the audience at EPI was severely stressed out by the collected forces
of the media there, felt steamrollered by media overkill, the second
idea, the interaction between the media, looks more promising.
This is the starting point for Exploring Party, especially in the three live
performances. Today it’s possible to digitally produce sounds and images
in real time, and to digitally tie these together – so what new roads
are open for the interaction between the media? Visual Music is at the centre
of developments here, the genre steadily experimenting with audiovisual interaction.
Visual Music has its roots mostly in a club and party environment. Here’s
where the aesthetics of earlier avant-garde filmers have been developed to
find fitting visualisations for dance music – which, going back again,
already lies at the heart of Warhol’s EPI.
It was Warhol who used the freedom of a party context to experiment with the
artistic possibilities of a party – ultimately turning the party into
a work of art. Party as art, here we come full circle: this is our concern,
questioning the history of media, the actuality of media, the status accorded
to different arts. An attempt to answer these questions must go beyond a simple
presentation in an exhibition. That’s why party as art is not just a
topic that the Exploring Party project discusses and reflects, but something
the live events will realise in performance.
Supported by Landesstiftung Baden-Württemberg, MFG Filmförderung Baden-Württemberg, Medienteam Landeshauptstadt Stuttgart, Kulturamt Landeshauptstadt Stuttgart, Stiftung Landesbank Baden-Württemberg, Schwedische Botschaft, Audi Zentrum Stuttgart, Prolab Stuttgart, afri cola, Haller Löwenbräu, Smirnoff Ice and Rilling Sekt. Sound: f.concept - licht + tontechnik (www.f-concept.de). Media partners: Lift Stuttgart and re.flect.
Further information:
www.modeselektor.com -
Modeselektor
www.pfadfinderei.com -
Die Pfadfinderei
www.dominik-eulberg.de -
Dominik Eulberg
www.traumschallplatten.de -
Riley Reinhold aka Triple R
www.traumschallplatten.de/videos.html -
Yvette Klein
www.videoplus.ch -
Christian Jamin
www.pulver-rec.com -
Inverse Cinematics
www.vonm.de - Matthias
Siegert
www.studioolympia.de -
Oliver Moore
“Exploring Party” is part of the project “Visual Music” (2007-2008) by fluctuating images e.V. and is supported by Landesstiftung Baden-Württemberg.
May 31, Presentation AM12, 8pm
Live: blink and remove - kollektiv für gestaltung (visuals) and mycrotom / volka glück (music)
Information: www.amzwoelf.de and www.blnk.net, www.mycrotom.com, www.stockwerk23.de
May 24, 8 pm, audio/visual – presentation of videos by students from the University of Stuttgart and the Staatlichen Akademie der Bildenden Künste Stuttgart on the subject of visual music
Videos by: Azmi Abu Ishak, Jawad Abu Sinni, Beata Ceglarska, Hamid Dulovic,
Jakob Fahlbusch, Kamil Görlich, Tobias Hahn, Zofia Izewska, Stefan
Kratt, Alexandar Nesic, Christiane Prehn, Benjamin Springmann, Jakob
Wolfrum
Venue: fluctuating images e.V., Jakobstr. 3, Stuttgart
May 11-13, Festival Plattform für freie Musik | extended
May 11 Vienna Night
NotTheSameColor
dieb13: turntables, computer, devices
billy roisz: videomixers, audiomixer, videosynth
aerom
Wolfgang Fuchs + Markus Decker:
Turntables and other electronic circuits
http://ntsc.klingt.org/
http://firstfloor.org/aerom/
May 12 solo concerts
Christoph Schiller, Spinett (Basel)
Chris Heenan, Kontrabassklarinette/Saxophon (Berlin)
http://www.creativesourcesrec.com/artists/c_schiller.html
http://www.chrisheenan.com/
May 13
0 Kilowatt, overload
AV unplugged
with Atzlinger, B. Kysela, Senoner, S. Füsti, A. Füsti, Maos, Hanfreich, Prechtl, M.L. Kysela
Further information:
Oliver Prechtl
mail@oliverprechtl.de
Supported by: Kulturamt der Landeshauptstadt Stuttgart and LBBW Stiftungen der Landesbank
Sunday, 6 May 2007, 8 pm, Visual Music live & discussed:
1 Room – 3 Aspects
Audiovisual live performance featuring Kurt Laurenz Theinert (Visual Piano),
Alexandra Mahnke (dance) and Markus Birkle (electric guitar)
This is the first evening in a series of events called “Visual Music live & discussed”, part of the project “Visual Music” (2007–2008) by media gallery fluctuating images. Over the course of two years, the project will deal with the diverse artistic and institutional aspects of Visual Music. We invite scientists, artists and curators to focus their special perspectives on the topic.
1 Room – 3 Aspects
The three aspects in this multilayered audiovisual collaboration originate from a space – here, it’s the gallery space. Kurt Laurenz Theinert (projections), Alexandra Mahnke (dance) and Markus Birkle (guitar) create and interpret that space with the tools of their respective arts, with light, movement and sound. For the listeners/viewers, themselves integral part of that same space, a special audiovisual room for perception opens up, and the three different aspects become deeper layer by layer.
The Visual Piano is a unique instrument, designed to create light graphics and moving images in space. It was developed and produced by light artist and photographer Kurt Laurenz Theinert, together with software programmers Roland Blach and Phillip Rahlenbeck. Theinert creates and projects these graphics live and in real time.
For Alexandra Mahnke, who holds a diploma in modern stage dance from the Folkwang-Hochschule in Essen, dance is communication in space, a three-dimensional art beyond the classic stage situation. Her communication is with other dancers, with the audience, or, at this event, with additional light elements that define the shape of both body and space.
The guitar improvisations of Markus Birkle are the third aspect. If you already know his virtuoso soundscapes, accompanying silent movies like “Nosferatu”, and maybe also his playing with Die Fantastischen Vier or Netzer, you won’t need any explanations. To anyone else: this is the perfect opportunity to witness the audiovisual skills of an exceptional musician.
The event is part of the project “Visual Music” (2007-2008) by fluctuating images e.V. and is supported by Landesstiftung Baden-Württemberg.
April 29, Screening media flow pt.4 and Preview media flow pt.5 at VJ-Mapping, Geneva
Videos by:
mateuniverse (New York/Berlin), Gustavo Matamoros (Miami), Hoványi Gábor (Budapest), zeitguised (London), Swayzak (London), Goldt (Berlin), Fried Dähn (Stuttgart), Isabell Spengler and Daniel Adams (Berlin), Thilo Kraft (Frankfurt), Aleksandar Nesic (Stuttgart), Kamil Goehrlich (Stuttgart), Robert Heel (Berlin).
April 1, Plattform für freie Musik presents: Reinhard Köhler & Andreas Usenbenz - Klangmikroskopien, 8pm
The concert series offers an opportunity for improvising musicians to play in front of an interested audience. The music is located between jazz, electronica and New Music: laptop meets Ping-Pong ball, Kaoss pad meets melodica, turntable meets vibraphone.
Information: www.prechtlsound.de
March 23-25, Graphics.open.01, presented by Lazi-Akademie, Esslingen, curated by Lu Pfeiffer. In cooperation with novum. world of graphic design
opening: March 23, 7.30 pm
opening hours: saturday and sunday, 2-6pm
Venue: fluctuating images, Jakobstraße 3, 70182 Stuttgart
Presentation of the results of the cover-design contest for students.
More information: Lu Pfeiffer 0711-9378380 and www.lazi-akademie.de
www.novumnet.de
26 February – 18 March 2007, “Vis Motrix” an exhibition of dye transfer prints by Egbert Haneke
Opening: Sunday, 25 February, 7.30 pm
Hours: Thursday 6–8 pm, Saturday & Sunday 4–6 pm
Museum Night 2007 (Saturday, March 17): 7pm-2am
Egbert Haneke’s pictures were part of our very first exhibition
in 2004. He showed a slide dissolve projection; and since then he has
regularly developed, while continuing to work in contrasting media and
focussing on nature within urban surroundings defined by architecture.
For six years now, Haneke has been studying the inherent possibilities
of dye transfer prints, and has come up with a technique that exactly
matches his imagery.
This printing process was developed in the 1930s by Kodak, and is appropriated
by Haneke who uses it to arrive at a special photographical technique that
makes the medium completely his own. He starts out with analogue 35mm slides,
which are then drum scanned and digitally treated, finally the images are translated
into dye transfer prints, a unique process invented by Haneke.
The photographs from Egbet Haneke’s series “Vis Motrix” focus
on simple things, self-evident or even trivial motifs from our everyday
surroundings. But these are thrown into sharp relief in precisely composed
frames that leave nothing to accident, all shapes and colours are closely
defined.
Reflections in window panes or water surfaces create playful layers on the
picture plane; fences and bars block the gaze and lock in vestiges of vegetation;
an empty expanse seems to crowd into a small rock, the only protagonist of
an image, to push it out of the composition. Still, a pioneer little weed finds
its way through a crack in the concrete. Haneke has three categories to label
his pictorial archive: nature, culture and waste – but there is no fight
between the three. Every motive stands for itself, determined only by itself,
there is no attempt to place it in time, within a context, or as part of a
story.
The dye transfer prints have heightened colours, a strange depth effect, and
an unusually high definition. Photographs often are just references to the
things they describe, but here the spectacular lighting and colours give these
photographs a pictorial sheen that lends them the aura of original artworks.
Supported by Medienteam der Landeshauptstadt Stuttgart
Februar, 16 - Visual Music at 95. CAA-Conference New York. Chair: Cornelia Lund
Hilton New York
Reservations: 1-800-445-8667
1335 Avenue of the Americas (6th Avenue at 53rd St.)
New York, NY 10019
Phone: 212-586-7000
Fax: 212-315-1374
www.hilton.com
Visual Music
FRIDAY, FEBRUARY 16, 2:30 PM–5:00 PM
Gibson Room, 2nd Floor, Hilton New York
Chair: Cornelia Lund, Fluctuating Images. Contemporary Media Art
Programme:
The Silent Music Is Finally Heard: Early Experiments in Visual Music
Lorettann Gascard, Franklin Pierce College
Designing in Time
Brian Evans, University of Alabama
Nicolas Schoeffer’s Visual Music: The Regulation of All the Senses
Herve Vanel, Brown University
Performing Pictures/Picturing Performance: Some Efforts to Distinguish
Visual Music from Music Videos
Matthias Weiss, Freie Universität, Berlin
If You Could See It, Then You’d Understand: Visual Musician Mark
Romanek and Coldplay’s Speed of Sound
Henry Keazor, Universität Frankfurt, Institut für Kunstgeschichte
Further information: http://conference.collegeart.org/2007/
February 3-4, Schrecklich-Schön, Installations with music by Icasol (pulver records), Eva Bauer
Opening: February 3, 8pm
Hours: February 4, 3-6pm
Exhibition dealing with the subject of beauty - beauty ideals, beauty industry and the fetish as a form of beauty.
Eva Bauer studies cultural studies at the University of Applied Sciences Schwäbisch Hall.
January 31, Cross Currents 3: media flow. videoventure on electronic music pt.3 and pt.4 - as guest at The Lab, San Francisco
Further information: www.thelab.org
For details on the programme media flow pt.3 see "Archive 2005" and media flow pt.4 see "Archive 2006".
January 11-19 with special events on January 11, 14 and 19
I COULD BE YOU - 7 artists on the theme of alter ego: Alex Bag
(USA), Keren Cytter (Israel), Kate Gilmore (USA), Shana Moulton (USA),
Laura Parnes (USA), Elodie Pong (CH), Isabell Spengler (D)
- curated by Alexandra Blättler (CH) and Jen Liu (USA), Videoscreenings,
exhibition and discussion with Isabell Spengler and Philip Ursprung
A cooperation between Akademie Schloss Solitude and fluctuating images, in collaboration with the 20. Stuttgarter Filmwinter
.
Opening: Thursday, January 11, 8pm
Sunday Tea & Screening: Sunday, January 14, 11:30am – 1:30pm. Videos
by Laura Parnes (BLOOD & GUTS IN HIGH SCHOOL 1-4, 2004, 27’30’’)
and Elodie Pong (SECRETS, 2003, chaine of videos).
Discussion & Closing Reception with Isabell Spengler and Philip Ursprung:
Friday, January 19, 8pm
ALTER EGO ROLE PLAY
All participants in the role play have another person standing behind them
with their hands on their shoulders, acting as alter egos. The alter ego
says out loud, during the role play, what he or she thinks the person is
really thinking or feeling, e.g.:
Participant: "Oh hello! How very nice to see you!"
Alter ego: "Oh no, not him again!"
In the early 20th century, the term of “alter ego” was used
to describe the so called wrong identities of schizophrenic patients.
Since then the definition developed into a personal attribute, demonstrated
as a second Ego to the outside world.
In literature different writers and poets, most notably since the beginning
of the 20th century, such as Samuel Beckett, James Joyce and Marcel Proust,
deal with the existence of a second Ego. However, since video and film began
to be integrated into the fine arts, narrative structures and their related
literary concepts of the “alter ego” subject were also assimilated
by artists. In the wake of 1990s identity politics, and following the postmodernist
dialectic concerning the constructed self (Donna Haraway’s Cyborg), many
artists working today question the possible meanings of “identity”.
The artists in »I Could Be You« use their own bodies, and those
of others, to express individual and particular cultural positions as an “alter
ego”, whereas they allegorise constructed characters and dialectical
objects.
Video programme:
THE ARTIST’S MIND, 1996, Alex Bag (USA)
DREAMTALK, 2005, Keren Cytter (IL)
DOWN, SMILING, 2006, Kate Gilmore (USA)
WHISPERING PINES NO. 5, 2005, Shana Moulton (USA)
BLOOD & GUTS IN HIGH SCHOOL 1-4, 2004, Laura Parnes (USA)
JE SUIS UNE BOMBE, 2006, Elodie Pong (CH)
SECRETS, 2003, Elodie Pong (CH)
PERMANENT RESIDENTS, 2005, Isabell Spengler (DE)
Further information about the videos: download pdf
The show is curated by Alexandra Blättler (curator, Zurich) and Jen Liu (artist, New York, Solitude-grant 2006).
location:
fluctuating images. contemporary media art
Jakobstraße 3
70182 Stuttgart
Hours: Thursday & Friday, 6-8pm; Saturday & Sunday 4-6pm
More Information: www.akademie-solitude.de and www.wand5.de/fiwi2007/
January 9: as seen on the radio - fluctuating images as guest at Bär on Air
7pm, 99,2 MHZ or 102,1 cabel