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
I am a resident at the Cité Internationale des Arts Paris, from 4.4.- 27.10.2022, to further develop my approach to electroacoustik, akusmatic, multi-channel sound projection.
Funded by the Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen and the Robert-Schumann Conservatory, Düsseldorf.
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.
Performances:
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.
William Adolphe Bouguereau, La Nuit, 1883, Öl auf Leinwand (Sammlung: Hillwood Estate, Museum & Gardens, Washington, D.C., USA)
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.
Recorded at Föhr Island at 03. und 04. August 2021 during low tide.
3D Modulation / Unity Maria Wildeis Sound Editing Maria Wildeis Sound Mastering Maria Wildeis Datamoshing Alisa Berger Video Editing Alisa Berger Color Correction Alisa Berger
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.
Fotoraum Köln Anna Siggelkow (Fotografie) + Maria Wildeis (live Elektronik) Video + Sound performance: 10. März 2021
Maria Wildeis präsentiert in der Ausstellung „Lotus Power II“ von Anna Siggeklow eine Klangcollage. Fieldrecordings aus der unmittelbaren Nachbarschaft des Fotoraums in Köln – Lindenthal wie auch Geräusche aus dem Innen- und Außenraum des Kunstraums sind Teil der Performance. Anna Siggelkow untersucht in ihrer multimedialen Arbeit „Lotus Power II“ das Verhältnis des Menschen zur Natur. Sie richtet ihren Blick auf die Dinge, die vom Menschen wider die Natur erschaffen, verändert oder beeinflusst wurden. Die Ausstellung und die Klangcollage wurden vom Fotoraum Köln im Rahmen der interdisziplinären und interkulturellen Reihe „Wir haben Gäste“ gezeigt und vom Kulturamt der Stadt Köln und der Bezirksvertretung Innenstadt gefördert. Anna Siggelkow, annasiggelkow.de // Maria Wildeis, mariawildeis.com // fotoraum-koeln.de
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.
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.
Maria Wildeis begibt sich in die Welt Bildender Künstler, die Klang und Musik als Teil ihrer Arbeit begreifen.
MME dUO bestehen aus Patricia Koellges und Tamara Lorenz. Maria besuchte sie an einem Abend und unterhielt sich mit ihnen über „Sachliches Dada“, Bienen, Kakerlaken und den Klang der Stimmen. Im Zusammenschnitt entstand eine Collage aus Zitaten und Gedanken, archaischen und sinnlichen Klängen.
Die zwei Künstlerinnen sind seit 2016 “… auf Feldforschung in Sachen fragmentierter Sprache und Klangcollage mit teils erfundenen Instrumenten, Stimme und Elektronik. Versatzstücke gesprochener Wörter sind Signal, ataktische Akzente repetitive Rhythmen. Ein Dauerlauf in Dis und Harmonie mit Verbindungen zur ‚Musique concrete‘. MME dUO sind Patricia Koellges und Tamara Lorenz, beide auch Teil des ehemaligen Künstlerkollektivs Sculptress of Sound (makiphon).” (Quelle: http://www.mme-duo.de/)
Für die dritte Ausgabe wurde Maria zu einem Konzert der überaus bekannten Schlagersängerin Denise de Winter auf einem Jahrmarkt eingeladen. Zwischen Oktopus, Hochseilartisten, Autoscooter und abgelaufenem Bitburger besingt de Winter die kalte Jahreszeit, den Akkzelerationismus und – wie sollte es auch anders kommen – die Liebe. Später gibt es noch Zeit für ein Interview, wo sich de Winter und Wildeis über unbekannte Städte, die Leidenschaft “Musik“ und die gute alte Reibekuchen-Kulturpolitik unterhalten. Denise de Winter ist auch als Bildhauerin bekannt, dort agiert sie unter dem Namen Katharina Maderthaner.
Weiterführende Links: www.katharinamaderthaner.com Musik: Denise de Winter, Found Footage während eines Besuchs der Veranstaltung “Düsselland“ Schnitt: Maria Wildeis Hinweis: Die Inhalte dieser Folge entsprechen in einigen Fällen nicht der Wirklichkeit
In einem musikalischem Dialog mit Ketonge und bei Maria zu Hause sprechen sie über anstehende Projekte und die Vuvulectra, einer Kreuzung der südafrikanischen Vuvuzela mit elektrischen und elektronischen Bauteilen. Dazu: Auszüge aus Vilèm Flussers „Vampyrotheutis Infernalis“. Ketonge (auch Manfred Ruecker) ist Komponist, Bildhauer und Medienkünstler. Er studierte Kunst, Musik und Psychologie an der Kunstakademie Düsseldorf, der Kunsthochschule für Medien Köln, der Hochschule für Musik und Tanz Köln (bei Johannes Fritsch und Paulo Álvares) sowie an den Universitäten Köln und Siegen und graduierte mit den Abschlüssen Diplom, Meisterschüler und Zertifikat in den Jahren 2005/2006. Er arbeitete im Bereich Bildhauerei (Klangbildhauerei) und Videokunst (Videoproduktionen im Studio David Larcher und Matthias Neuenhofer an der Kunsthochschule für Medien Köln (KHM)), und war Meisterschüler von Georg Herold und Oswald Wiener.
Maria Wildeis begibt sich in die Welt Bildender Künstler, die Klang und Musik als Teil ihrer Arbeit begreifen.
In der ersten Ausgabe spricht Maria mit Philipp Höning und René Haustein über Philipps Projekt „Methlife“ und die darüber veröffentlichte „Healthweb Trilogy“, eine Erzählung in drei Akten, in welcher der Protagonist sich durch ein unendliches Labyrinth aus blutbefleckten Katakomben tief unter der Erdoberfläche bewegt. Im Interview sprechen sie auch über ein Unwohlsein im Vakuum, eine Raumkapsel und die Ausstellung „Dilemmas Accumulate“ von Philipp Höning in der Tiefgarage 2018 am Ebertplatz.
Interview: Maria Wildeis mit Philipp Höning und René Haustein Musik: Philipp Höning, Healthweb Trilogy (https://meth-life.bandcamp.com/) Stimme: René Haustein Schnitt: Maria Wildeis Weiterführende Links: Dilemmas Accumulate (https://vimeo.com/313628555) http://tiefgarage.org/philipp-hoening/, https://meth-life.bandcamp.com/, https://www.renehaustein.com/
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.
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
2019 – ongoing hosting a radio show every 5th Sunday in the month with performances in experimental, electroacoustic, electronic and contemporary pop @674fm
upcoming: 29.11.2020 upcoming: 30.01.2021
31.1.2021: Taka Kagitomi & Riad Nassar, Kenn Hartwig 7.12.2020: Alisa Berger, Ketonge, Maria Wildeis 29.11.2020: Der Täubling, Alisa Berger, Tamponyoga 30.8.2020: MME dUO, Sandilé, Leonhard Huhn, Maria Wildeis 31.5.2020: C.A.R., seren.a, Xayíde, Ulrich Steinbach (https://bit.ly/radio-maria-4-a and https://bit.ly/radio-maria-4-b) 29.12.2019: Denise de Winter, Anna-Lena Meisenberg, M.Funk, Maria Wildeis (https://bit.ly/radio-maria-3) 30.6.2019: Soya Arakawa, FRAGIL, Hem Taf (https://bit.ly/radio-maria-2) 31.3.2019: Fabian Jung, Dominik Mahnig, Monibi (https://bit.ly/radio-maria-1)
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, 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.
Kunsthaus Rhenania at Strom Festival, Installation: Lang/Baumann, Photo: Daniel Lang
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
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