The installation ‘LET’S ALL SLOW DOWN TIME TOGETHER’ started with Florinda Ciucio’s visual exploration of open landscapes and urban panoramas and the question of why we seek these places out to find solace, comfort and reflection.
The installation is based on the proven fact that the emotional state of ‚being in awe’, prolongs your perception of time. Therefore the viewer is confronted and reintroduced with the element of time, regaining a sense of control, by elongating the perception of these minutes.
At the same time it is a symbolic live intervention by all coming together to try to prolong our individual perceptions of this time, creating a slower pace at that moment in this room together.
Sharing a state of contemplation is a disappearing public act. There are only few places left in public space that elicits a communal experience of reflection. Watching the sunset together is one that people still cherish, an act that still mobilises a diverse crowd, that can bring people together to create the energy of a communal moment.
The sound based on this concept started with the addition of a church bell, which was cropped, slowed down and played in reverse, so that its known attributes were blurred. The bells are slowly replaced by the sound of hissing birds. The church bell itself has a very rich texture and therfore is a great fixed sound to manipulate its time structure. Also the church bell itself draws attention to the social role of churches within time structuring in europe, before the inauguration of a global time at the end of 19th century. Before this, villages had been regulated acoustically mainly through the chronology of churches.
Sound + Installation + Performance 01 June 2022 at Cité internationale des arts, 75004 Paris
In a letter of 6 October 1858 to his lover Mathilde Wesendonck, Richard Wagner expresses his enthusiasm for the Érard pianos: “But this wonderfully soft, melan- cholically sweet instrument completely cajoled me back to music. I called it the swan that had now come to lead poor Lohengrin home again!”
The central starting point of my artistic research is a Erard’s grand piano, which I was working with during my research at Cité internationale des arts Paris. I composed a sound piece with recordings of each note as fixed media in Max MSP and generated randomized rhyhtm patterns. I thus added sine waves of different length and frequencies to create site specific rhythm patterns through overlapping sine wave curves in the stereo field.
Camille Érard, Pierre Érard’s widow, gave Wagner a grand piano after his stay in Paris. He composed the first act and the libretto in Zurich. He decided to compose the second act in the “solitude of Venice and had his Érard grand piano transported over the Alps”. He wrote the third act in Switzerland, in the noble Lucerne hotel “Schweizerhof”. Wagner travelled with the grand piano not only to Venice but also to Biebrich, Vienna, Munich, Tribschen and Bayreuth.
Erard grand pianos were very popular and were thus moved around a lot in the style of European expansion. The European idea of colonising the world and making it serviceable left its mark in salty, rusty Érard pianos that were left behind. As early as the 18th century, the French manufacturer’s most popular pianos were export- ed not only to Europe and America, but also to French colonies in Asia or South America.
The pianos transported not only their flattering sound to all parts of the world, but also the standard concert pitch negotiated in many European tuning conferences, which was finally fixed at A1 = 440 Hz at 20° Celsius. In 1920, the Treaty of Ver- sailles states: Article 282, paragraph 22. Convention of 16 and 19 November 1885, concerning the manufacture of a standard tuning fork; this was followed by the ISO standard and in 1957 by DIN 1317-1 (German Institute for Standardisation).
The artistic debate is accompanied by the presentation of two albino alligators, which are currently at home in the Palais de la Porte Dorée in Paris in the Aquari- um Tropical, in the basement of the building. The Art Deco building was opened in 1931 for the “Exposition coloniale internationale”. The sculptor Elizabeth Prophet called it “the most spectacular colonial display the West has ever seen”. Equally impressive is the presentation of these white beings, who come from the US state of Louisiana at the foot of the Mississippi, a former very early colony of France (17th century). They were taken out of their habitat to be observed separately as superla- tives of the Fremdenschau in an artificial environment.
In her work, Maria Wildeis deals with electronic music compositions and live performances. With the help of the medium of the soundscape, the linearity of the perception of time in humans and non-humans, as well as the spatial aspects of sound. Inspired by historical connotations of various objects and events, as well as the different sound events in nature and sensory abilities of some animals, the com- poser experiments with temporal and spatial factors through two- or multi-channel performances and installations.
Sources Research (selection): – http://www.versailler-vertrag.de/vv10.htm – https://richard-wagner-museum.ch/geschichte/fluegel-von-erard/ – https://opera-inside.com/tristan-und-isolde-von-richard-wagner-opernfuehrer-und-handlung/?lang=de – http://archivobello.uchile.cl/thumb?img=content/registros/coleccion-eugenio-perei-ra-salas/037R/ugd_3389. jpg&size=900 – https://www.geo.fr/histoire/ancien-musee-des-colonies-retour-sur-la-naissance-et-le-destin-singulier-du-palais-de-la-porte-doree-a-paris-207187 – Wikipedia
Die Oneiroi dominieren die Träume in der griechischen Mythologie. Sie treten auf als Kinder des Schlafgottes Hypnos und der Nyx oder auch als Fledermausartige Wesen, die nachts ihre Höhlen verlassen, um ihre Geschichten an die Träumenden zu senden. Die Komposition begreift sich als Simulakrum eines Soundscapes und behandelt die Idee unterschiedlicher Zeitstrukturen im Raum, wo heterogene Lebensformen jeweils unterschiedliche sinnliche Erfahrungen hervorbringen.
Wild Hairs visiting ComArts: Hybrider Workshop und Performance des Künstler*innenkollektivs Apthk Lab Am 27. Januar ist das ComArts-Projekt der Hochschule Düsseldorf eingeladen, einen Beitrag im OPEN SPACE im K20 der Kunstsammlung Nordrhein-Westfalen für den Auftakt der Projektreihe Who Cares About Paradise? zu leisten.
Who Cares About Paradise? – Wer interessiert sich für das Paradies und wer kümmert sich darum? Mit der freundlichen Unterstützung des Diversitätsfonds, der durch das Ministerium für Kultur und Wissenschaft bereitgestellt wird, möchten wir in diesem Jahr herausfinden, wie die Orte gestaltet sind, die für eine diverse Teilnehmer*innengruppe interessant sind und wie z.B. auch Kunsträume und Museen zu inklusiven und rücksichtsvollen Orten für eine diverse Stadtgesellschaft werden können. Um Menschen zu erreichen, die nicht vor Ort teilnehmen können, wird die Veranstaltung digital begleitet.
Alle Gastbeiträge auf Englisch
14:00 – 15:15 CET ComArts-Team: Begrüßung Lo llevamos rizo: Workshop & Gespräch (online, 60 min)
Der Eintritt zum OPEN SPACE ist kostenfrei. Es gilt die 2Gplus-Regelung (geboostert oder aktueller negativer Test). Die Veranstaltung wird gefördert durch die Hochschule Düsseldorf und das Ministerium für Kultur und Wissenschaft Nordrhein-Westfalen. Bei Fragen bitte an Maria Wildeis (email@example.com) oder Andara Shastika (firstname.lastname@example.org) wenden.
Apthk Lab – A Laboratory for Caring Culture. Apotheke Lab ist ein kollaborativer Raum, der mit Künstler*innen und Gemeinschaften rund um das Wohlbefinden und die Pflegekultur arbeitet. Das Projekt wurde von Paula Pedraza gegründet. „Wild hair“ umfasst kontingente, in westlichen Gesellschaften unsichtbare Haarpraktiken, die durch die Linearität des Haarpflegeangebots auf dem Markt geprägt sind, und thematisiert die Geschlechtsidentität als Teil der Performance von Haaren. Haare sind in mehrfacher Hinsicht politisch, von der Art und Weise, wie wir sie tragen, über ihre Form als geschlechtsspezifische Konnotation bis hin zu Locken als Hindernis für westliche Standards der Professionalisierung, die die Grenzen subkultureller Identitäten sowie Selbstdarstellungen und sozialer Performanz berühren.
Paula Pedraza studierte bis 2021 postgra¬dual mediale Künste an der Kunsthochschule für Medien Köln und erhielt für ihre multisensorischen, soundbasierten Performances, kollektiven szenographischen Kompositionen und Installationen den KHM-Förderpreis für Künstlerinnen 2018. Sie lebt und arbeitet in Wuppertal und Düsseldorf.
Pelitos Locos ist ein in Medellin – Kolumbien – ansässiger Friseur, der Frisuren entwirft, die sich an der lokalen „nea“-Kultur orientieren. Sie sind kühn und riskant, ebenso wie Haar-Accessoires, die auf lokale Sound-Genres wie „guaracha“ anspielen, bei denen Frauen ihre langen Haare nach hinten schwingen, um im Club anzugeben. Pelitos Locos ist politisch und spielt mit der lokalen sozialen Plastizität.
Mur Mur ist eine Initiative, die von Valeria Oggioni in Bogota (Kolumbien) ins Leben gerufen und von Pedro Ramirez unterstützt wurde. Auf der einen Seite handelt es sich um eine Haarschneide-Initiative, bei der es darum geht, die Haare so zu stylen und zu formen, dass das natürliche Verhalten der Haare verstärkt wird, und auf der anderen Seite begleitet der grafische und selbstpublizistische Teil den Prozess und vermittelt in Form eines Fanzines und von Bildsequenzen einen Eindruck von der Praxis des Haarschneidens und der Haarpflege. Mur Mur beteiligte sich am Wild Hair Programm sowohl mit den Inhalten des Forums als auch mit Live-Haarschnitten und Publikationsmaterial, das im Showroom ausgestellt wurde.
Lo llevamos rizo ist ein Kollektiv mit Sitz in La Habana – Kuba, das sich der Information und Begleitung der Haarpflege für Kinder verschrieben hat. Sie nutzen lokale Traditionen und Materialien, um Inhalte für Eltern zu schaffen, die ihren Kindern und sich selbst Wege aufzeigen, wie sie mit den sozialen Auswirkungen von nicht linearen Haaren umgehen können, da es in der Popkultur nur wenige Hinweise darauf gibt, wie man eine gesunde emotionale Beziehung von der Grundschulbildung an aufbauen kann. Das Kollektiv geht auf eine Initiative der Kubanerin Susana Delahante Matiezo zurück, die sich zunächst mit einheimischen Frauen aus der Habana zusammenschloss, die ähnliche Anliegen in Bezug auf die Haarpflege hatten, und eine Reihe von Workshops und einen Laufsteg entwarf, auf dem Frauen aller Generationen ihre wilden Haare zeigten und modellierten.
Multichannel Sound Performance and Research on Spacial Sound and Time Concepts in Music and Nature.
Oneiroi is an ongoing series of electronic music compositions and live performances. Throughout the medium of soundscape, I am questioning the linearity of time perception in humans and non-humans. Since many birds and bats can strech the perception of time for certain moments, to amplify vocal bird songs or other acoustic aspects, I am experimenting on time concepts and time perception through multichannel performances and installations.
26. June 2021 – Simultanhalle Köln Upcoming: 04. February 2022 – Robert Schumann Saal, Museum Kunstpalast
The Oneiroi dominate the dreams within Greek mythology. More often, the Oneiroi are mentioned as an unspecified group being the personification of dreams. They are described as the children of the sleep god Hypnos and Nyx. Like bats, with black wings, they leave their caves at night and send their stories to the dreamers.
The project Oneiroi refers to a simulacrum of synthetic sounds which deal with differnt time concepts and different approaches to sound, like how heterogenous species are sharing one sound scape, although processing different sensual experiences.
In my master thesis I study methods of spatial sound structuring and media compositional approaches in the field of electronic music, acousmatics, field recording and additive synthesis. In the context of my main course, I am also concerned about the visual aspect of music, its visual associations.
I use sounds and noises for installations and spatial works. I work with computer programs, object-based languages, spatialization software, DAWs, but also game engines, VR programs and 3D graphic simulations.
At Simultanhalle Köln in summer 2021 I first time realized a two channel sound piece under the name of Oneiroi, which was installed in a garden and played a loop of 60 mins. The sound was generated by additive synthesis and was composed of different sound groups that simulated a natural situation with different sound events, like humming insects crossing on different levels and speeds a listener’s ear, the rusle of grass, the sound of wind going through twigs. A link to an excerpt of the piece follows in the description.
The project will also be outlined also as a 4-channel sound concert at Museum Kunstpalast during Sparda’s Palastrauschen, a one-day event at the Schumann concert hall in Düsseldorf.
At February 2021 I was invited at Fotoraum Köln for a site-specific live performance, which demonstrates my interest in soundscapes, field recordings and on-site sounds of the performance venue. stereo, live modulation and field recordings
My work at Fotoraum Köln is combining field recordings from the immediate vicinity of the Fotoraum in Cologne – Lindenthal as well as sounds from the interior and exterior of the art space during the performance. These sounds became part of the performance and got distorted with effects and modulations. In her multimedia work „Lotus Power II“, Anna Siggelkow examines the relationship between humans and nature. She directs her gaze to the things that have been created, changed or influenced by man against nature. Her video formed an element in the video composition. The exhibition and the sound collage were shown by Fotoraum Köln as part of the interdisciplinary and intercultural series „Wir haben Gäste“ (We have guests) and sponsored by the Cultural Office of the City of Cologne and the City Centre District Council.
Andere Teilchen oder äußere Einflüsse Interactive Sound Walk, with Joseph Baader and Vincent Stange
2. Dezember 2021 | 19 – 21Uhr [Vernissage] 3. – 5. Dezember 2021
Zu Gast im NKR – Neuer Kunstraum Himmelgeister Straße 107, Düsseldorf
Funded by Kunststiftung NRW and Kulturamt Düsseldorf.
“Andere Teilchen oder äußere Einflüsse” turns the exhibition hall of NKR into an active resonating body. The sound installation consists of two different systems, each playing different frequency bands (31-125 hz and 300-20,000 hz).
This creates a common sound space in which the sound spreads out and where the existing particles influence each other: The audience moves the sound and the sound moves the audience. The question of influence is negotiated in various ways. The physical phenomenon of the standing wave creates an acoustic walk-in sculpture in the work by Vincent Stange and Joseph Baader. Depending on the position in the room, different vibrations and chords can be heard. At the same time, these movement patterns are recorded by ultrasound sensors in the Max MSP-based installation by Maria Wildeis. The paths of the visitors affect the sounds of the high frequency spectrum at certain points.
Following presentation at Museum Kunstpalast at the end of January during Sparda’s Palastrauschen.
Polyphonie für träumende Robben I – V A Performance by Alisa Berger and Maria Wildeis
Alisa Berger and Maria Wildeis embark on a 360° musical expedition dedicated to the dreams of all nautical dogs.
Inspired by the seductive and synthetic-sounding noises of sleeping Weddell seals, archive recordings from Greenland, Iceland and the Arctic served as the starting point for this sound journey, which the artists transformed throughout using voice, instruments and computer software.
To further deepen the artistic research journey, they travelled to the seal centre Föhr thanks to the help of ON – Neue Musik Köln e.V. and the concert series for experimental electronics Polymer. On the island in the Wadden Sea, various compositions were created at five locations, which reflect the seals‘ habitat in their aesthetics.
WORKS I – V I – Songs for Seals, STEG, 03.08.2021, 4pm during low tide II – Songs for Seals, WATT, 03.08.2021, 9pm during the end of low tide III – Songs for Seals, SCHIFF, 03.08.2021, 6pm during low tide IV (a) – Songs for Seals, WINDRAD, 04.08.2021, 2pm IV (b) – Songs for Seals, WINDRAD (Bonus Track), 04.08.2021, 2.30pm V – Songs for Seals, WIESE, 03.08.2021, 3.30pm during low tide
I – Songs for Seals, STEG, 03.08.2021, 4pm during low tide
II – Songs for Seals, WATT, 03.08.2021, 9pm during the end of low tide
III – Songs for Seals, SCHIFF, 03.08.2021, 6pm during low tide
IV (a) – Songs for Seals, WINDRAD, 04.08.2021, 2pm
IV (b) – Songs for Seals, WINDRAD (Bonus Track), 04.08.2021, 2.30pm
V – Songs for Seals, WIESE, 03.08.2021, 3.30pm during low tide
VDE70 Katharina Maderthaner, Maria Wildeis Site specific work, sound installation overseas container, sound, various building materials, door, light, bottles Germany, 2021
VThe visual artist Katharina Maderthaner (Düsseldorf) and the sound artist Maria Wildeis (Cologne/Düsseldorf) were invited to participate in a visual art festival in a village in West germany on the topic „Sehnsuchtsorte“ (places of desire). The artists used the mentioned materials to create the illusion of a club which is behind the doors inside of an overseas container. The heavy metal container is standing on the parking place at the border of the town and becomes an unreachable place of longing whose doors remain closed.
Ingrid Kaufman, die Hauptfigur der Kurzgeschichte von Maria Wildeis, ist eine Künstlerin, was sie aber genau macht ist genauso schwierig zu bennen, wie ihre Kunst. Zwischen Kunstdiskursen und Selbstzweifel bereitet sich Ingrid Kaufman auf die Aufführung eines neuen Stückes vor, in dessen Zentrum Badewannen stehen.
Freitag, 5. März 2020, 8 p.m. – open end online @ gather.town and youtube
Radio Maria Wildeis, ein Musikformat von Maria Wildeis für elektronische-, Neue -, experimentelle Musik, Elektroakustik, Techno und IDM präsentiert live Konzerte und DJ Sets in Verbindung mit virtuellen Umgebungen, Echtzeitcoding und visuellen Effekten. Für die Eröffnungsparty der Videonale.18 spielen Maria Wildeis, Ulrich Steinbach und Paloma Groove. Die Visuals kommen von Regisseurin und Installationskünstlerin Alisa Berger (DE/JP) und dem französischen Netz- und Digitalkünstler Michaël Borras aka. Systaime (FR/SP). (Foto: Anna Siggelkow)
Installation: Ketonge Konzert: Ketonge, Alisa Berger, Maria Wildeis Ort: Kunstverein Leverkusen Schloss Morsbroich Der Kunstverein wird zum Labor – Der Künstler und Musiker Manfred Rücker, alias ketonge, wird am 5. Feburar 2021 zusammen mit Maria Wildeis und Alisa Berger die bespielbare Installation chemical sound zum Leben erwecken und die Komposition später streamen.
I am since Jan 2021 an associate researcher (scientific and artistic) for the research project Community Arts at Hochschule Düsseldorf, to develop seminars on non-hierarchical structures in art.
Maria Wildeis, M.A., is an artistic research associate in the Community Arts project.
The project ComArts develops instruments for researching the Community Arts approach. Possibilities and structures of Community Arts are investigated with a specific Artistic Research procedure in order to make them adaptable for research and teaching in the German language area. By developing a clear naming and structural integration of the approach, new impulses for artistic-aesthetic educational work can arise, which will enable students to develop independently in their future professional fields.
New Residency-Programme /w Armenia and Georgia project manager
starting May + June 2021
Since the former residency-Programme with Armenia, Georgia and NRW, led by Frauenkulturbüro NRW e.V. ended in 2019, I was able to continue the programme with WELTKUNSTZIMMER Düsseldorf, which also includes exchange with artists from Bangalore, Osaka and other regions.
The WELTKUNSTZIMMER residency offers a platform for cross-genre exchange in analogue and digital spaces. The residency program consists of networking, artistic presentations, discourses and an exchange with the respective regions.
The first phase of the residency will focus on Tbilisi, Georgia, and Yerevan, Armenia, in spring 2021. The application deadline for phase 1 was Wednesday, 27 January 2021.
Participants residing in NRW will have the opportunity to reflect on their artistic processes and discuss their own and other working strategies in exchange with cooperation partners in Tbilisi and Yerevan. Through networking in digital spaces and on site, the resident artists will provide their professional colleagues as well as the general public with insights into their work. One focus is on the interdisciplinary transfer of knowledge, strategies and theoretical and practical approaches between the arts.
03.10.2020 – Abgesagt sound art /w Ketonge Lichtparcours Braunschweig (Link)
Maria Wildeis und Ketonge (Manfred Rücker) entwickeln für „Die Wärterin“ eine Klangcollage, die im ehem. Toilettenhäuschen und je nach Wetterlage auch am Baldachin zu hören ist. In einem anschließenden Konzert werden Found Footage der Umgebung ebenso einfließen wie Gesang, Instrumentalmusik und Klangeffekte. Die Instrumente wurden durch die Künstler teilweise selbst produziert. Ketonge ist ein deutscher Komponist, Bildhauer und Medienkünstler. Maria Wildeis ist Kuratorin, DJ, Klangkünstlerin und Gründerin zeitgenössischer Off-Räume.
2020 – ongoing Since Summer 2020 I am master student (M.Mus.) in the field „Klang und Realität“ (Sound and Reality) with a focus on „Transmediale Formen“ (AV Performance, New Music, et al) at the Institute for Music and Media at the Robert Schumann University of Music Düsseldorf, with Prof. Heike Sperling and Prof. Andreas Grimm.
< die digitale dusseldorf >, the festival for digital art, music and contemporary criticism is a innovative cultural event with unique format and content in dusseldorf. we focus on the productive relationships between creativity and digital technology in subculture clubs and established cultural spaces.
Artists: DIGI-GXL / Eva House, Edie Jo Murray u.a. – DISONAVTION / Nicolas Maigret and Maria Roszkowska – Manja Ebert – Lars Eidinger – Karen Eliot – Heidi Hörsturz – Karl Heinz Jeron – Keiichi Matsuda – Jolene Mok – Duncan Poulton – Kelsey Brod – Yvonne Klasen – Valia Fertisov – Łukasz Horbów – Marta Revuelta – Julia Weißenberg – Cristiana Cott Negoescu – Florian Kuhlmann – Systaime – Sebastian Thewes – Liat Berdugo (durchgeführt von Ale Bachlechner) – Lenn Blaschke – Jan Hoeft – Dasha Ilina – Yunying Huang
NOISELAB~ A weekend dedicated to Noise and Sound Art on the former field station on Teufelsberg in Berlin Grunewald. www.noiselab.org
Tiefgarage stage on both days with Taka Kagitomi, Ketonge, Tzeshi Lei, Methlife – René Haustein & Philipp Höning, Kotaro Mitsune, Laura Not, OLEOS – Yarei Molina, Tintin Patrone, M’Shakti-La – Kenn Hartwig, Leonhard Huhn, Johannes Klingebiel, Christian Lorenzen & Andi Voelk, OhBoiNoBoi – Sad Ed & Peter Hanson, Bernd Schurer, Ulrich Steinbach, Maria Wildeis
2018 – ongoing founder together with Institut für alles Mögliche, Berlin Welcome the new project in town: Gemeinde Köln. Located at the former place of „Tiefgarage Ebertplatz“ now we will open up the new space „Gemeinde Köln“ which is a cooperation partner of Berlin/Leipzig based art project Insitut für alles Mögliche. The aim of the space is to broaden the network and to think of art as a network in general.
FAR OFF took focus solely on performance, time based and media arts and was held at various locations in Cologne. 2018 it was presented at Cologne ́s most discussed open space, the Ebertplatz. Far Off was broadely discussed in the media, e.g. here:
2017 curator Group exhibitions in June 2017 at the CCA Center for Contermporary Art Tbilisi, Georgia and in September 2017 at the Museum Goch, NRW.
Image: Patrick Rieve – SHARE
On the occasion of the anniversary of the 200-year friendship between Georgia and Germany, Museum Goch, the CCA Center for Contemporary Art Tbilisi and the curator Maria Wildeis will be taking part with Frauenkulturbür NRW e.V. in joint group exhibitions in Georgia and NRW in summer and autumn 2017.
Program: 15th June, 7.30 p.m .: Gallery Nectar (Project Space): „Soul-tracks“, butoh-dance by Wolfgang Schäfer June 16, 8 pm: Exhibition opening TAVIDAN: GE, CCA – Center for Contemporary Art & Medea Museum of Medicine
The directional meaning of the exhibition title points to the exchange between two different cultural spaces: Germany and Georgia, the geographic and cultural hub of Asia, Europe and Russia. In both places, artists work together on the concept of contemporary art and make use of a global and cross-cultural visual language.
The exhibition aims to stimulate the exploration of artistic practices in the contemporary art, while illuminating different approaches. The title also refers to works of art that are understood as time-based processes and atmospheric compositions and do not have an effect solely on an object. Questions within the artistic exchange are aimed at the manifold expressions in contemporary art, which create an aesthetic experience in the form of installation art or performance, but also in objects and their placement or the integration of the visitors into the work.
The selected artists work in almost all areas of visual arts, such as painting, new media, installation, film, photography, spatial object art, and they are also at home in other disciplines like music, fashion, bio-farming or education. Their working methods are often at an interface between art and society, architecture, education or music.
„Neither the receptive subject nor the solitary work of art within its limits constitute the reality of art.“ (Ludger Schwarte: Notate für eine künftige Kunst (Notate for a Future Art), Berlin, 2016, p. 11)
During their stay in Georgia workshops are held for art students from Georgia by the German artists.
An accompanying catalog documents the artistic exchange and will be presented during the exhibition in the Museum Goch in autumn 2017.
TAVIDAN is sponsored by the Ministry of Family, Children, Youth, Culture and Sport of the State of North-Rhine Westphalia. Frauenkulturbüro NRW e.V. (women’s cultural office) and the Museum Goch have been promoting the exchange of artists between Germany, Georgia and Armenia since 2013 and are thus in a personal, friendly proximity to the Caucasus.
Curator: Maria Wildeis Project Assitant: Leksi Sosela, Project Manager CCA
Artists: CAROLINE BAYER (Berlin, DE LARS BREUER (Köln, DE) ANA CHADUNELI (Rustavi, GE) TAMAR CHADUNELI (Rustavi, GE) NINO CHUBINISHVILI (Tbilisi, Ge) HÖRNER|ANTLFINGER (Köln, DE) MAMUKA JAPHARIDZE (Tbilisi, Ge) GVANTSA JISHKIRIANI (Rustavi, GE) NIKA MACHAIDZE (Tbilisi, Ge) MICHAEL POHL (Berlin, DE) KAI RHEINECK (Düsseldorf, DE) PATRICK RIEVE (Köln, DE) PETER SCHLOSS (Köln, DE) SCULPTRESS OF SOUND (JULIA BÜNNAGEL, PATRICIA KÖLLGES, TAMARA LORENZ) (Köln, DE) NINO SEKHNIASHVILI (Tbilisi, Ge) KOTE SULABERIDZE (Tbilisi, Ge) GIO SUMBADZE (Tbilisi, Ge) WATO TSERETELI (Tbilisi, Ge)
Frame Program: 15th June, 4 p.m .: Presentation Hörner|Antlfinger at Free University Tbilisi (tbc) 7.30 p.m .: Gallery Nectar (Project Space): „Soul-tracks“, butoh-dance by Wolfgang Schäfer June 16, 8 pm: Exhibition opening TAVIDAN: GE, CCA – Center for Contemporary Art & Medea Museum of Medicine
The Frauenkulturbüro NRW e.V. started an international exchange program for female artists in 2013. Two artists from North Rhine-Westphalia visit Georgia and Armenia for two months. And in return, a Georgian and an Armenian artist will come to North Rhine-Westphalia for two months. The goal of the scholarship is to promote women artists to an international level, to expand their network and make them more visible on the art market for further international activities. Cooperation partners are WELTKUNSTZIMMER in Düsseldorf and Museum Goch.
Museum Goch: With its collection of late-Gothic sculptures of the Niederrhein up to the young present art, the museum unites 600 years of art history. Its fascinating collection rooms invite you to an interesting dialogue with history and art. Changing exhibitions, especially on contemporary art, enrich the museum.
Maria Wildeis (* 1984) studied art history, philosophy and classical literary studies in Cologne and has been a freelance curator and project manager in Cologne and NRW since her Master’s degree in 2010. Since 2015, she has been directing the International Exchange Program for female artists for Frauenkulturbüro NRW e.V., and in the same year she founded the Kunstraum Tiefgarage at Ebertplatz in Cologne, where she is curating since then (www.tiefgarage.org). Other projects she managed amongst others: Heritage Heroes (a photography exhibition for the German Commission for UNESCO and the Office of Foreign Affairs Germany, 2015), the 3rd Kunstfestival Strom (Kunsthaus Rhenania, Cologne 2013), project management Videonale.13 at the Kunstmuseum Bonn (2011) and TAVIDAN:Düsseldorf (in the WELTKUNSTZIMMER Düsseldorf, 2014). Www.mariawildeis.com
CCA – Center for Contemporary Art Tbilisi Since October 2010, CCA has been an independent non-for-profit organization for contemporary art. In addition to the international exchange of exhibitions and artists, CCA focuses on its independent study program for Georgian art students.
Frauenkulturbüro NRW (FKB) facilitates two-months-residencies in Armenia and Georgia for women artists from Northrhine-Westphalia, Germany. In exchange female artists from Armenia and Georgia are given a two months residency scholarship in NRW, Germany. The residency partners are Museum Goch (Stadt Goch) and WELTKUNSTZIMMER Düsseldorf who offer the space for living and working during the residencies in Germany.
The selection of two countries in eastern europe bases on the fact that there are no other exchange programs in NRW of this kind. Especially those countries are interesting to the program, where social, political, ethnic or religious situations challenge the on site working situation for female aritsts.
FKB comitts to the support of such an exchange program to raise cultural networks and to create an international bound between our nations. Due to peculiar sensitivity and perception especially young artists can become a promoter for social, political and of course cultural changes within societies. They are contributing to a cultural interchange and deepen our knowledge about the other.
The artists have free choice how they want to fill their time during the International Artist Exchange Program, depending on personal artistic interests and objectives. FKB is happy to support in networking and assists to make contacts who lead to exhibitions, lectures, performances or other art related reflections and presentations. Still, it depends on the interests of the grant holders to find best way to support their individual artistic carrer. Thus, the worth of the International Artist Exchange Program for Female Artists lies in itself.
It lies upon our conviction that art can only grow in freedom. By providing the artists with the greatest possible freedom and still offering a wide range of possibilities, we hope to give the necessary freedom to develop the individual artistic carreer.
It is also a political statement for FKB to support this program. This is due to the idea that only by posessing a deepened knowledge of the Central European culture and its neighbour countries we can guarantee a connection within europe. Culture is the key to face major social changes on the continent.
creative director & curator
together with Tatjana Krischik (creative director & designer)
„Heritage Heroes“ was inaugurated during the 39th Session of the World Heritage Committee in the World Conference Centre Bonn, Germany (June 28th till July 8th 2015). In cooperation with the Ministry of Foreign Affairs Germany and the German UNESCO-Commission e.V.
The photography exhibition „Heritage Heroes“ shows the stories of 12 individuals with a portrait photo and a short story each who have committed themselves in an exceptional way to the protection and conservation of world heritage sites – people who can tell us their personal story about their fight against the destruction of cultural sites or habitat.
„Heritage Heroes“ was inaugurated during the 39th Session of the World Heritage Committee in the World Conference Centre Bonn, Germany (June 28th till July 8th 2015).
The „Heritage Heros“ have been interviewed and photographed at their designated heritage sites, during March 22 -June 22, 2015. We visited people from: Peru, Colombia, Brazil, Mali, Uganda, Tanzania, DR Congo, Croatia, Russia, Japan, Indonesia and Tasmania.
Project Management: Tatjana Krischik & Maria Wildeis
Photography: Bozica Babic, Albrecht Fuchs, Astrid Piethan, Michael Schaab
Research & Interviews: Tatjana Krischik, Djonam Saltani, Maria Wildeis, Ruth Wolter
Editorial Control / Curator: Maria Wildeis
Exhibition Design: Tatjana Krischik
2015 – 2018
Located at Cologne Ebertplatz in an intermediate leveled passage connecting two pedestrian areas between a very busy traffic roundabout. The 3 neighboring art spaces: Bruch&Dallas, Gold&Beton and Tiefgarage showing fine art and new music are funded by the cultural department of Cologne plus RheinEnergieStiftung Kultur.
The place forms an ongoing topic at the city council. Since years there is a desperate search going on for finding a solution for the 70s concrete architecture with dark corners and its escalators out of service. Weird and drunken people feel invited to trash the place. 2011 a former party in the council, FDP, deliberated the idea to transform this passage into an underground parking to gain the attractive number of 154 new lots for this area. Unless the excessive costs to make a central urban structure vanish for a couple of cars, 2014 the council initiated a feasibility study on this behalf.
Meanwhile feasibility phase, the art space Tiefgarage tries to bring 154 artists onto the lot, to exploit the maximum potential of this pearl of urban architecture, until some time after 2017 this unwanted home for the art may no longer exist.
(Contemporary Victims) An exhibition on the occasion of the jubilee of the first world war at the studio house of artrmx e.V. Cologne. With Alexander Edisherov (Gerogia/DE) & Katerina Kuznetcowa (Russia/DE), Robert Kunec (Slovakia/DE), Sharone Lifschitz (Israel/UK), Damir Radovic (Jugoslawia/FR) and Sharif Waked (Palestine). With a performance by Echo Ho (CHN/DE)
Unfortunately almost an entire generation lost their lifes during during the first world war. And now, 100 years ago, it doesn´t seem, anyone learned from this loss, as the last 100 years are said to be the bloodiest century of all time. And still, political and military violence, suppression and the limitation of freedom belongs to the daily life of so many. Within ‚Zeitzeugen‘, I am inviting contemporary artists who are dealing with this issue on a strong level, and some of them are victims of riot and armed defense.
Tavidan is the georgian expression for „from the mind“. The word introduces the book of Genesis and it describes the starting point of an idea, a project or a process. Tavidan forms the title of this upcoming exhibition, as it wants to describe the thematical frame within the event: to draw attention to the initial point of artistic contemporary practice and the many formal and conceptual ways it goes. Where does art begin? When does it end? In form of a dialogue between a vibrant art scene from georgia and artists from germany, Tavidan examines the origins of contemporary art and questions the significance of cultural, educational and spacial influence on art.
Ursprung und Entstehung
18 October – 29 November 2014
Group Exhibition with Tim Cierpiszewski, Maria Gamper, Marie Gerlach, Stefanie Klingemann, Katerina Kuznetcowa und Alexander Edisherov, Peter Schloss and Sebastian Walther.
October 19 – November 9, 2013 at Hongibrot Art Space.
In autumn 2013 Honigbrot organized a group project called FAST SENKRECHT. The artists presented new, space oriented works on two floors and the stair case of the gallery house.
They were all master students of Maik and Dirk Löbbert, by Kunstakademie Münster, and graduated in the last 5 to 10 years. Their common media, sculpture, is interpreted by them on a very individual way, but all of them come with a delightful sense of humor and a strong relation to the space.
curator, project manager
Collaboration with Andrés Krause.
(The Wispering Room) is a Sound Art project with Natascha Nikeprelevic, Holger Mertin, Joseph Suchy and ‚The Knob, The Finger & The It‘. The artists produce Sound Art and Experimental Space Music and have to deal with the very special acoustic conditions of the architecture of the chirch St. Gertrud, built by architect Gottfried Böhm in the 1960s.
The 3rd Art Festival Strom was devoted to the ephemeral in art. More than 40 artists working in the fields of installation art, sound art, noise, film, performance and dance were invited to show their work at Kunsthaus Rhenania in Cologne. The artists presented on more than 500 sqm in free artist studios, the outside space and the exhibition hall of the artist studio house. The shown works deal with the matter of time, either conceptionally or within the chosen material, as through light, digital image and sound. Furthermore the curator developed a stage program with around 15 concerts and performances with new forms of electronic and new music and a cinema in the upstairs roof space showed longplay films of the last two editions of Videonale e.V. Bonn. Plus parties and guided tours.
Almost 1000 visitors came and the festival enjoyed widespreaded reviews and announcements in the press with the local TV WDR live on site during the opening and several reports in the main newspaper of Cologne, like Kölner Stadt-Anzeiger, Stadtrevue and others.
Installation Artists: Eli Cortiñas, Dan Dryer, Kerstin Ergenzinger, Jan Glisman, Stef Heidhues, Lang/Baumann, molitor&kuzmin, Evangelos Papadopoulos, Pepper&Woll, Sören Siebel, Jens Standke
Sound Artists (selection): Waltraud Blischke, Echo Ho, FU ACUNE, Natascha Nikeprelevic & F.X. Randomiz, Ursula Nill, OSMOSIS, Gregor Schwellenbach, Sculptress of Sound, The Knob, The Finger & The It, TITANOBOA
Film (in Cooperation with Videonale e.V.) (selection): Michal Kosakowski: Zero Killed (80:50 min., 2011), Frances Scholz: Episodes of Starlite I-V (50 min., 2011-2012), Tobias Yves Zintel: Earthly Powers (38 min., 2011), Christian Jankowski: Casting Jesus (60 min., 2011), Anahita Razmi: Walking Drunk in High Shoes (47:22 min., 2010), Shezad Dawood: Feature (55 min., 2008), Mariola Brillowska: des Teufels Kinder (67 min., 2010)
Supported by: City of Cologne, RheinEnergie Stiftung Kultur, Bezirksvertretung Innenstadt, HGK – Häfen und Güterverkehr Köln
Sponsors: Gaffel Kölsch, Finder TV, Entec, Kettler Druckverlag, Mice Portal, Colonia Spezialfahrzeuge, Steinzeug Keramo, Magtech, Kürten & Lechner
Kunsthaus Rhenania im Rheinauhafen, Bayenstraße 28, 50678 Köln, www.kunsthaus-rhenania.de
A group exhibition with Oliver Blumek, Andreas Gehlen, Gereon Krebber, Katharina Maderthaner, Claudia Mann, Lars Rosenbohm, Susanne Themlitz und Katharina Wackermann.
June 1 – 29, 2012. At WELTKUNSTZIMMER Düsseldorf. Curated together with Wolfgang Schäfer.
DYSSOMNIA – Spatial Interventions (latin “dyssomina“: “sleeping disorder“) is the result of a deep investigation of the space – a former baking factory, which is in urgent need of restoration. On two floors, attached to the event halls of the foundation, the artists provide access on over 500 sqm to old storage rooms, cooling chambers and a black painted, old rocker bar. The spacial appearance with its dirty, dark and historically charged architecture is both, fascinating and a challenge for a sculptural examination. These installations whithin the exhibition space are opening up a new sight on WELTKUNSTZIMMER.
In this project recognized artists and students of the academy of Fine Arts Düsseldorf are working together and react associatively on these raw, unrenovated rooms which were not yet used in the context of contemporary art. Especially the artists selection of material and the temporary limit within the works live make this an exciting project in current arts practice.
Friday, 1 June, 8 p.m.: OPENING RECEPTION with an artists tour through the exhibition
Friday, 29 June, 8 p.m.: FINISSAGE with Performance von Oliver Blumek
This event took place at the former storage rooms of HPZ.
2012 – 2013
In this exhibition series, every two months an installation artist was invited to build a work especially considered for the space on the upper floor of a gallery building. Concerning the matter that this room was also used as my private appartment, the works were set into a social context and gave the chance to discuss the idea of art and science in an intimate and non white-cubish atmosphere.
Artists: Julia Bünnagel, Susan Collis, Luka Fineisen & Yeondoo Jung, Andreas Gehlen, Clemens Botho Goldbach, Gereon Krebber, Ulrike Möschel, Christian Odzuck, Evangelos Papadopoulos.
Side events like lectures, performances and video screenings inspired to determine how and where art speaks and what influence it may take on the perception of the private sphere. These questions have been discussed with philosophers, critics, poets, physicians, the artists and all guests. The duration of each single exhibition was 4 weeks.
The project was supported by the city of Cologne and gained various sponsorship by: Kultursekretariat Wuppertal, Konrad Chorodinski programming, graphics by Julia Majewski affairen-gestaltung, Mühlenkölsch Beer, Veltins Beer, Lemonaid, Bauhaus Köln-Kalk, printer DeineStadtKlebt, and others.
A group exhibiton with installations by Julia Bünnagel, Anja Ciupka, Luka Fineisen, Manuel Franke, Gereon Krebber, Christine Rusche, Thomas Trinkl, Sonja Vordermaier and Lawrence Weiner in an old industrial warehouse at the docksite of Cologne Deutz which was previously a disount shop.
The event was included in the frame programme of the fair Art Cologne and was financed all alone. Including a book written by 4 philosophers: Prof. Dr. Jakob Steinbrenner, Dr. Henning Tegtmeyer, Dr. Bernadette Collenberg- Plotnikov and PD Dr. phil. Andreas Steffens. They wrote about their ideas on installation art and contemprary art practice, apart from classical art historian interpretation models.
Organisation of a night at Museum Ludwig, Cologne, in cooperation with jungekunstfreunde and Kunst:Dialoge, with guided tours and a party with EROBIQUE (International Pony) at the museum foyer. This night was one of the most succsessful art nights at Museum Ludwig, with 1500 visitors and more than 200 new memberships for the Friends of Museum Ludwig and Wallraf Richartz Museum.
Organisation together with Rebekka Meyer and Amadeus Peters. June 20, 2009, jungekunstfreunde