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Burkhard von Harden, 'Narbe. Deutschland', 2009-2014

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‘Narbe Deutschland’ by Burkhard von Harder | Museu d’Història de Barcelona

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May 10, 2015

28 May/06 June 2015

Museu d’Història de Barcelona | Capella de Santa Àgata

Artist: Burkhard von Harder

A project by LOOP Barcelona in collaboration with Museu d’Història de Barcelona Funded with support of Medienboard Berlin-Brandenburg

 

25 years after German Reunification, the gothic building of Capella de Santa Àgata [Museu d’Història de Barcelona] houses the installation of ‘Narbe Deutschland | Scar Germany’ (2014), a 16 hour journey through the physical landscape and ideological boundary that once divided the world. The film maps the complete length of the Iron Curtain Remains of the 1378 km long former demarcation line separating the two Germanys. As part of the Iron Curtain that ran from the Black Sea to Finland with an overall length of approximately 8500 km, the inner German border has been splitting the country itself.

By helicopter visual artist Burkhard von Harder followed precisely the course of the former dividing line. In this single shot aerial survey, the camera is keeping as close to the line as possible, aiming to produce one single uninterrupted movement, a concept challenged by unavoidable realities such as having to refuel the aircraft or simply getting lost in midair here and then. Slowly the camera follows the line below, through the seasons in more than three years: what appeared to be a straight line is indeed a cycle that morphs into a spiral, indicating change.

This real time film document shows the ‘Scar’ still in the process of healing. The attempt to find the ‘path’ is akin to the attempt to recall permanently the past as part of the struggle of contemporary German society to comprehend its history. The land itself carries invisible traces of what has been written on the ground. It is the retracing of the trace that is the intent of this film. By doing so, Burkhard von Harder seeks to create a meditation on the past, offering an act of cinematic healing.

This 967 minute-film is accompanied by a mesmerizing soundtrack, matching 16 hours of constant image flow with 16 hours of drone music, composed and performed by Klaus Wiese (1942-2009 // early member of Popul Vuh). A brief historic voice recording by Otto von Bismarck is referencing the time span of a 100 years (1889-1989), setting the tone, other than that the installation is envisioned as empty canvas the viewer is invited to fill him/herself.

‘Narbe Deutschland’ is the second part of the project ‘Die Narbe | The Scar’, an experimental poetic single shot documentary film project in two parts by German artist Burkhard von Harder.

Narbe Berlin | Scar Berlin’, the first part of the project, is a 78 minute film dealing with the former division of the city of Berlin into East Berlin, the capital of the GDR, and West Berlin, a symbol of Western freedom of thought and movement. The Scar features the total length of the 156 km-long former Death-Zone isolating West Berlin within the East German State.

 

NARBE DEUTSCHLAND TRAILER

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Fito Conesa, 'Fantasía y Fuga para Tsushima', 2015

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‘Fantasía y Fuga para Tsushima’ by Fito Conesa| CCCB

Exhibitions3

May 4, 2015

Fito Conesa, ‘Fantasía y Fuga para Tsushima, 2015

Fito Conesa, ‘Fantasía y Fuga para Tsushima, 2015

Thursday 28 May 2015, 19h-20.30h

Centre de Cultura Contemporània de Barcelona [CCCB]

Artists: Fito Conesa + Trio Inmusics

An exhibition-performance within the framework of ‘Sebald Variations’

A project by LOOP Barcelona in collaboration with the CCCB

[Beyond the Image: Sound]

Fantasía y Fuga para Tsushima recollects the musical composition of the Battle of Tsushima, a 24 hour naval battle between the Russian and Japanese armies that took place during the Russo-Japanese War which resulted in a decisive Japanese victory.

The entire exercise by Conesa begins with the chance meeting of a naval letter from Tsushima, the Japanese island where this confrontation took place between 27 – 28 May, 1905. The date, coincidentally, corresponds with the birthday of the artist, as well as with the start of the LOOP Festival. From here, a process of rapprochement with the map begins, geographically and historically, which allows the artist to relate music to both the map and the battle. This series of coincidences associated with the musical and personal history of Conesa, two constant elements in his artistic exploration, led him to create a score in three voices: the sea, Russia and Japan; cello, viola and violin.

In ‘Fantasía y Fuga para Tsushima’ three violins and a cello are performed live by Fito Conesa & Trio Inmusics: Sabela Cascón (violin), Roderic De Roeck (viola) and Antonia Parapar (cello).

There will be a performace every 15 minutes; the last session starts at 20.15h. Note that there is a maximum of 28 people per performance.

Fantasía y Fuga para Tsushima occupies the space of a the Sebald Theatre, a small theatre built inside the CCCB halls which is part of the exhibition Sebald Variations.

SEBALD VARIATIONS

11 March – 26 July, 2015
Curated by Jorge Carrión
Centre de Cultura Contemporània de Barcelona [CCCB]

In the exhibition ‘Sebald Variations’ the German writer and author of some of the key books of the turn of the last century becomes the linking thread in questioning the history of the 20th century and its impact on the 21st century. Even though his premature death in a car accident in 2001, Sebald continues to question us about memory, history, literature, art, the contemporary.

The exhibition seeks to introduce a critical reflection, and recount the different ways his work has influenced and engaged in a dialogue with the visual arts and literature since his passing in 2001. The exhibition examines the way several conceptual strategies for using images with texts, for historical reflection, for the unexpected juxtaposition of scenes and narrativity as a whole, not only appear in Sebald’s work, but have, on countless occasions, been directly or indirectly alluded to and even included in the works of a number of artists.

This show is a visual and textual essay that brings together the voice of the author and other creators working in different fields. Some of the artists featured in the exhibition are: Carlos Amorales, Mariana Castillo Deball, Simon Faithfull, Andrea Geyer, Pablo Helguera, Núria Güell, Susan Hiller, Josiah McElheny, Trevor Paglen, Fernando Sánchez Castillo, Taryn Simon, Jan Peter Tripp, Guido Van der Werve,  Jeremy Wood.

 

 

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b) SENSES-OF-PLACE-Foto1-ImagenProyecto-copia - Còpia

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‘Senses of Place’ | Reial Cercle Artístic de Barcelona

Exhibitions3, Home3

April 29, 2015

28 May/06 June 2015

Reial Cercle Artístic de Barcelona

Curated by Barbara Held and Yapci Ramos

A project by LOOP 2015 and Hangar in collaboration with the Orquesta del Caos

[Beyond the Image: Sound]

LOOP Barcelona 2015, the Reial Cercle Artístic de Barcelona, Hangar, Eyebeam, PHONOS [Universitat Pompeu Fabra de Barcelona] and the Museo de la Naturaleza y el Hombre de Tenerife present ‘Senses of Place’ a large programme of exhibitions, screenings, performances and workshops curated by Barbara Held and Yapci Ramos that takes over the spaces of the historical building of the Reial Cercle Artístic to create a collective environment by artists channeling their work through  sound, expanded cinema and new media. ‘Senses of Place’ will also be accompanied by 2 workshops at Hangar by artists Daniel Neumann and Wolfgang Gil.

EXHIBITIONS

 

An Immanence of Nature | Collective exhibition with the artists Richard Garet, Barbara Held and Yapci Ramos | Gallery Space

In this exhibition, artists use technology to collect and present images and sounds that re-contextualize how we see the world. Through close-listening, focused sight, and careful attention to perception, these artists have created a microhabitat that rewards active exploration and encourages thoughtful contemplation of how we understand the world around us through our senses of sight and sound. [Seth Cluett, text from the catalogue of the exhibition]

Winter | sound installation by Richard Garet, 2008 Blue Zone

This surround 4.0 sonic construction focuses on winter as a subject. This interpretation was made from aural material recorded during December 2007 and March 2008 within the same 16-foot perimeter location in Astoria, Queens, NY.

Dark Before Dawn | video by Blake Carrington, sound by Soundwalk Collective | Hall

‘Dark Before Dawn’ explores the subjective choreography of sound and image, the feedback loop between the two that informs and shapes what we think we see and what we think we hear. It takes the viewer through a slowly shifting, minimal and foggy color space that follows the contours of the album ‘Ulysses Syndrome’ by Soundwalk Collective. The piece was commissioned by Soundwalk Collective for their album ‘Ulysses Syndrome’.

Acoustic Imaging the Hudson | video by Melissa F. Clarke | Hall

‘Acoustic Imaging the Hudson’ shows a subsoil, underwater topography and past glacial movement; a particular profile of deep time and space history reaches the surface through sound signals and transmitted image data. The installation shows the relationship between sound and image, water and sound, and with the sediments beneath.

Color Tones | sound installation by Wolfgang Gil | Courtyard

‘Color Tones’ is a site-specific, generative sound installation that produces its sonic content in response to the sounds occurring in the space in which the piece is installed. Comprised of slowly shifting tones and textures diffused over a multichannel sound system, the installation invites the audience to enter into a meditative dialogue with the listening space. The piece is punctuated by periodic silences, during which it listens to the room and produces new content.

Recollections | video by Seth Cluett | Courtyard

A single, unedited, wide-angle shot of the edge of a forest, this video contains monaural audio of the sound of a person walking from the left to the right of the screen. The visual occlusion of the forest combines with audio, in which the close-mic’d detail  provides no cues for locating the position of the walker. The viewer is forced to search, knowing that there must be a connection between hearing and sight, but is compelled to rely on scanning the video carefully in search of alternative clues as to the location of the sound source.

SCREENING | Sala dels Atlants

A programme of audiovisual works curated by Richard Garet and Barbara Held presenting an extense list of artists working with sound, expanded cinema and video.

Participating artists are: David Baker-Florian Wittenburg, Blake Carrington, Andrew Demirjian, David Galbraith, Lorenzo Gattorna, Sandra Gibson-Luis Recoder, Richard Garet, Andy Graydon-Kenneth Kirschner, Jim Haynes, Victoria Keddie, LoVid, Katherine Liberovskaya-Phill Niblock, David Linton, Yann Novak, Ursula Scherrer-Brian Chase, Pinkcourtesyphone, Phillip Stearns, Fernando​Velásquezand Byron Westbrook.

Check all the program

CONCERT | Performance by Aetherart

THURSDAY 4 June, 21.30h
Reial Cercle Artistic – Courtyard

This performance is a collective exploration of architectural acoustics, the interactive environment of Wolfgang Gil’s installation and Seth Cluett’s score system that utilizes concepts from machine listening research to enable performers to take on the role of adaptive listeners with a score. A visualization of the scored-work, in tandem with the sounds of the ambient environment, will drive a thin wire with mirrors placed at acoustically significant points along it. A thin strip of a video projection will be reflected throughout the courtyard, modulated chaotically by the compilation of sounds in the space.

This performance is a project by the Sound Research Group of Eyebeam, New York and it counts on the participation of artists Barbara Held (flute), Tom Chant (saxophone), Pilar Subirà (percussion), Wolfgang Gil (interactive installation), Seth Cluett (visual score), Jose Manuel Berenguer (voice and electronics), Daniel Neumann (electronic) and Yapci Ramos (video).

WORKSHOPS by artist Daniel Neumann & Wolfgang Gil | Hangar

2/3 June, 10h-19.30h
Hangar | Centre de producció i recerca d’arts visuals

A 2-day workshop exploring the spatialization of sound by Daniel Neumann, a sound artist and professional sound engineer who uses the loudspeaker as an instrument and space as resonator; and Wolfgang Gil, custom modules and non-lineal programming in Max/MSP.

Non-representational Spatial Sound Composition |  by Daniel Neumann
This workshop is part of an investigation of the architectural space as a strategy for exploring sound, sound material and its modulation by space and situation.
Lead by sound artist Daniel Neumann, the session aims to give a historical overview on the subject offering technical background and exploring aesthetics and techniques for spatialization. Approaching listening as a phenomenological activity,  the listener/participant is confronted with notions of inner space, distance, continuity and sound. Here, the loudspeaker plays the part of an instrument, a resonating exciter, while the space becomes the resonator.

Introduction to non-linear methods of composition using Max/MSP | by Wolfgang Gil
This is an introduction to the use of statistics for audio processing in real time. The focus on sound composition is based on the definition of ‘sections’ and ‘transitions’ between sections, which contain all of the sound elements that make up the piece; audio tracks and sound generators together with associated processes such as automatisation of amplitude, panning, etc.
This workshop uses a series of modules created by Gil in Max/MSP, a graphic tool that permits logical computation of sound using visual objects.

Both workshops take place at Hangar | Centre de producció i recerca d’arts visuals. Registration at www.hangar.org

ARTISTS’ BIOGRAPHIES

RICHARD GARET interweaves various media including moving image, sound, expanded photography, and multimedia performance. In work ranging from modified environments to installation, with specificity towards media and space, Garet constructs immersive situations that draw attention to the processes of perception, which activate sensorial, physical, and psychological phenomena that reflects on the nature and experience of time. Garet’s pieces, whether conceptual in origin or stemming from his investigation of complex systems and algorithmic translations, are informed by the background noise established not only by mass media culture but also by the collective experience of the world that surrounds him.

Richard Garet holds an MFA from Bard College. Recent projects include International Biennial of Contemporary Art of Cartagena de Indias, Cartagena, Colombia; Bioderivas, Museo de la Naturaleza y el Hombre, Tenerife, Spain; Queens International, Queens Museum of Art, Queens, New York; Soundings: a Contemporary Score, Museum of Modern Art, New York; Extraneous to the Message, Julian Navarro Projects, NY; The Spacious Now and the Scale of the Instantaneous, Studio 10, NY; 5×5 Real Unreal, Museum of Art Acarigua-Araure, Venezuela; EAC: Espacio de Arte Contemporáneo, Montevideo, Uruguay; Fine Arts Museum of Montreal; San Francisco Museum of Modern Art; Museum of Contemporary Art of Barcelona (MACBA), Barcelona, Spain; Art Museum of Puerto Rico, San Juan, Puerto Rico; and El Museo del Barrio, NYC. His sonic constructions have been published through sound art labels such as 23five, And-Oar, Non Visual Objects, Winds Measure Recordings, Unframed Recordings, Con-V, Leerraum, White_Line Editions, OBS, and Contour Editions.

Flutist and composer BARBARA HELD is interested in the performative aspect of spatial sound work, performing with and through space on live acoustic musical instruments, or with sensitive atmospheres of electronic processes and evolving sound compositions. The work itself is performative because it induces the participation of the listener. Known for her subtle exploration of the minutae of sonic material, Held creates sensitive, focused sound work that draws the listener in. Held’s work exposes the detail of the physical space of listening in equal part to a keen attention to how we listen as bodies moving through the world. She created and produced the series “Música a Metrònom”, a festival of experimental music that supported collaborations between musicians and visual artists. She was curator of “Possibility of Action: the life of the score” for the Documentation Center and Archive of the Barcelona MACBA museum of contemporary art during the 2008-09 season, and “Lines of Sight”, a series of seven programs of experimental music and radio art for radio web macba. Performances include Eyebeam, New York; Soundproof Festival, London; Storefront for Art and Architecture, New York; Solianka Gallery, Moscow; Issue Project Room, New York; The Bridge, Cologne; Experimental Intermedia, New York; Grec Festival, Barcelona; Gulbenkian Foundation, Lisbon; Fundació Joan Miró, Barcelona; Walker Art Center, Minneapolis; group show “Microcosmics” curated by Joan Fontcuberta at the Sala Metrónom.

YAPCI RAMOS is a multimedia artist who experiments with video and image composition by using layers, overlapping formats and contexts to later break down and rebuild new realities. The result of these artistic creations reinforces the documentary aspect of Ramos’ practice, but through a lens that fragments and reconstructs the image. Thus, the carefully constructed landscapes suggest a timelessness through which the subtle movement of the image in its slow journey seems frozen. Always captured, framed or assembled with the photographer’s eye, through images and sculptural elements of multimedia Ramos invites the audience to engage with their subjects. It is an ongoing dialogue between image and movement through the weaving of visual elements that questions assumptions about the spaces we occupy and our relationship with them.

She has participated in various International Biennials of Contemporary Art in the Caribbean, Latin America and Africa. Exhibitions where she has participated include: CCCB Barcelona Centre for Contemporary Culture; ; Sunol, Barcelona Foundation CCET Cultural Center of Spain in Tegucigalpa, Honduras; TEA Tenerife Espacio de las Artes, Tenerife; Experimental Intermedia, New York; Centro de Arte Juan Ismael, Fuerteventura; DA2-Domus Artium 2002, Salamanca; Na Solyanke Gallery, Moscow; Sound Proof 4 London, UK;  La Regenta Art Center, Las Palmas. Ramos directed and produced the TDF Tenerife Design Festival, an international festival of experimental design and art in the TEA Tenerife Espacio de las Artes.

WOLFGANG GIL, New York-based Venezuelan sound artist and programmer, he explores the interrelationship of sound, the listener, and the space of listening. Gil’s sounds are temporally discrete, physical events; and yet are linked in layered logics to produce unified, tangible, sonic constructions. He creates sound that goes beyond the speaker; filling, narrowing, dividing, coloring, saturating, and emptying the space of listening. Gil is co-curator of Contour Editions, and has presented work in venues such as Eyebeam (New York, NY), Diapason Gallery (Brooklyn, NY), Harvestworks (New York, NY), Issue Project Room (Brooklyn, NY), ASPN Gallery (Leipzig, Germany), and the Subtropics Biennial (Miami, Fl). 

DANIEL NEUMANN is a Brooklyn-based sound artist, organizer and audio engineer, originally from Germany. He holds a master’s degree in media art from the Academy of Visual Art Leipzig and also studied electronic music composition under Emanuele Casale in Catania, Italy. In his artistic practice he is using conceptual and often collaborative strategies to explore sound, sound material and its modulation through space, situation and media. As an audio engineer a special field he has been tackling in the past years are concerts featuring electroacoustic music and multi-channel live audio. These concerts usually require a complex speaker setup, unusual miking techniques for instruments and high quality sound reinforcement. Curatorially he runs a monthly series at Eyebeam NYC (CT-SWaM) that engages in spatial sound works and focused listening. He recently presented “One Cycle Ahead” with artist Juan Betancurth at the Fridman Gallery in New York. 

TOM CHANT is a major player in the European free jazz scene, based in Barcelona. He is currently working on a project investigating extended techniques using microphones in live performance and acoustic space. He has played at major festivals like North Sea Jazz, Montreux, Sonar, Vancouver Jazz, Ulrichsberg Kalaidaphon, Fuji Rock, Only Connect at London’s Barbican Hall, Ether and the LMC festival at London’s South Bank Centre and at the Pompidou Centre, Paris. With the Cinematic Orchestra he has recorded the albums “Motion,” “Remixes,” “Everyday” and “Man with a Movie Camera” for Ninja Tune and with the Eddie Prévost Trio, he has recorded the albums “Touch,” “the Virtue in If” and “the Blackbird’s Whistle” for Eddie’s label Matchless Recordings.He has appeared on Portuguese television with Telectu, Thai TV with Cinematic Orchestra and Welsh television with Rhodri Davies and has presented a weekly live music programme on Resonance FM radio in London. He has worked with internationally renown artists Bernard Purdey, Fontella Bass, Sunny Murray, Toshimaru Nakamura and Gerry Hemingway and with many London, Paris and Barcelona based improvisers including Steve Noble, Veryan Weston, Steve Beresford, Pat Thomas, John Bisset, Gail Brand, Sharif Sehnaoui and Pablo Rega and with the London Improvisers Orchestra which includes the likes of Evan Parker, Lol Coxhill, John Butcher and many more. He has worked with dance music acts like Coldcut, DJ Vadim and Bonobo and in Paris with dance group Compagnie Jot. Currently active groups include the Cinematic Orchestra, the Eddie Prévost Trio, Sucette – a computer music duo with Ben Drew, Marseille Figs – a country, pop, free-jazz racket and the London Improvisers Orchestra of which he appears on four albums – “Proceedings,” “The Hearing Continues,” “freedom of the city 2002″ and “Responses, Reproduction & Reality.” 

JOSÉ MANUEL BERENGUER, composer, is director of the Barcelona Orquestra del Caos. In recent years his work leans toward installation, in spite of a suspicion that these terms are not useful in defining real time, interactive, multichannel spacialization of electronic sound. He works with themes from the history and philosophy ofscience, the limits of language, ethics, virtual intelligence, robotics, metabolism of information, and the limits of human perception and our understanding of the world. 

SETH CLUETT (b. Troy, NY) is an composer, performer, and artist whose work ranges from photography and drawing to video, sound installation, concert music, and critical writing. His “subtle…seductive, immersive” (Artforum) work has been characterized as “rigorously focused and full of detail” (e/i) and “dramatic, powerful, and at one with nature” (The Wire). Exploring the territory between the senses, Cluett’s works are marked by a detailed attention to perception and to the role of sound in the creation of a sense of place, the workings of memory, and the experience of time. His research interests and critical writings investigate embodied experience, immersive multi-media systems, the media history of the loudspeaker, the history and documentation of sound as an expressive medium, and architectural acoustics as compositional material. 

MELISSA CLARKE is an interdisciplinary artist whose work employs data and generative self-programmed compositional environments. Working at the intersection of science, technology, and art, Melissa’s “neolandscapes” dissect and re-inform the way we think about data, nature and experimental art. 

BLAKE CARRINGTON ​works within the spheres of the visual, sound, and performing arts, featuring a range of work from inkjet painting to video installation using custom software systems. His debut album Cathedral Scan was released in 2011 by the LA-based Dragon’s Eye Recordings, and on Radio del Museo Reina Sofia in Madrid. Working collaboratively, he has created and performed concert visuals recently with Patti Smith and Soundwalk Collective. 

REIAL CERCLE ARTÍSTIC

Reial Cercle Artístic is a centennial catalan organization dedicated to promote artistic manifestations. The institution, based in Barcelona Palau Pignatelli is a reference in the cultural life of the city that is constantly renewed. With an ambitious schedule and an international vision, Reial Cercle offers from major exhibitions of renowned artists to strengthening beginners with some classic route in the art disciplines and others more modern such as video art or photography.

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