28.01.2023, Einlass ab 18.00 Uhr, Konzertbeginn 19.45 Uhr Kirche St. Gertrud, Krefelder Straße 57, Köln
Szene mit Badewanne, Raumtrenner, Tauchsieder, Wasser, Schaum, Protagonist:innen & Mehrkanal-Tonsystem
Ingrid Kaufman ist die Hauptfigur einer Kurzgeschichte von Maria Wildeis, die 2021 im Rahmen der Publikation „anwesend“ von On Cologne e.V. entstanden ist. Zwischen Kunstdiskursen und Selbstzweifel bereitet sich Ingrid Kaufman auf die Aufführung eines neuen Stückes vor, in dessen Zentrum Badewannen stehen. Maria Wildeis interpretiert die Erzählung innerhalb ‚Ingrid Kaufman, op. 1 – Priamel: Allegorie der Träumenden‘ und verbindet den Klang einer Badewanne (Interpretiert von Fabian Jung) mit dem Kirchenraum und der dort installierten Orgel mit Elektronik und einem Mehrkanal-Tonsystem (8-Kanal Lautsprecherkonfiguration und Körperschallwandler). Die Aufführung ist als Szene konzipiert, deren visuelle Eingriffe von der Bildhauerin Katharina Maderthaner bestimmt wurden.
Künstlerische Leitung und Elektronik: Maria Wildeis Installation, visuelle Eingriffe: Katharina Maderthaner Instrumentalist, Performance: Fabian Jung Technische Assistenz und Orgel: Sebastian Fecke Dia Grafik, Design: Sebastian Wulff
28.01.2023 18.00 Uhr Einlass, Zugang zur Installation 19.45 Uhr Konzertbeginn
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
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.
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.
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.
1. – 16. November 2019 curator Weltkunstzimmer Düsseldorf die-digitale.net
< 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
2018 – ongoing founder together with Institut für alles Mögliche, Berlin Welcome the new project in town: Gemeinde Köln. Maria Wildeis, founder of „Tiefgarage Ebertplatz“ teamed up with Berlin/Leipzig based art project Insitut für alles Mögliche to open up the new space „Gemeinde Köln“. The aim of the space is to broaden the network and to think of art as a network in general.
Bild: Bergernissen, Awakening / Destruction, 26. Januar – 21. Februar 2019
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.
www.tavidan.net
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.
2015 – 2018
founder, curator
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.
curator
(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)
November 8 – 28, 2014. In cooperation with artrmx e.V., Museumsnacht Köln and supported by the Cultural Department of Cologne.
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.
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.
A group exhibition with Oliver Blumek, Andreas Gehlen, Gereon Krebber, Katharina Maderthaner, Claudia Mann, Lars Rosenbohm, Susanne Themlitz und Katharina Wackermann.
Gereon Krebber, Atros, 2012, Photo: Wolfgang Schäfer
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
curator
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.
Alice de Visscher 2013, Photo: Michael Schaab
Artists: Julia Bünnagel, Susan Collis, Luka Fineisen & Yeondoo Jung, Andreas Gehlen, Clemens Botho Goldbach, Gereon Krebber, Ulrike Möschel, Christian Odzuck, Evangelos Papadopoulos.
April 2012 – Dec 2013. Supported by the city of Cologne. www.honigbrot.org
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.
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