While the city or the urban area is regarded as the area of development, fast progress, and in addition the absent-minded, superficial and disconcentrated perception, the area of the “landscape” is in contrast the place of peace, collection and leisure. In the countryside outside the city the perception of space and time win other values.The landscape encourages for curving: the view, the hearing, the smell and the thoughts win perspective, which the area of the landscape opens. This leads also to a slowing down and a sensory perception, to a concentration, which is another as those of the city.The area outside of the city or outside of the life sphere of humans generally is not characterized by civilization, but by natural conditions: Apparently ordinary: the brook, the tree, the meadow appear in new light, the murmuring water, the noise of the wind kidnap urban humans into another reality. In the countryside there is still a horizon. Here prevails a liberty of view over the restricted city view. The city has structure, pictogram forests, a silhouette perhaps, but no horizon. In the landscape however the horizon is always there and lures into the distance. The horizon is everywhere, has 360° and more. Novigrad is a town, but circled by an immense countryside and great perspectives of the Adriatic Sea.The connection of this reality with the possibilities of current art work, the bridging between nature and civilization and between technology and art is the starting point of Media-Scape 2008.
Supported by: Ministry of Culture of the Republic of Croatia, Region of Istria-office for education, culture and sport City of Novigrad
Media Scape Novigrad is part of the collaborative project X-OP: eXchange of art Operators and Producers. Project is partly funded by the European Commission, DG Education and Culture, Culture Programme
4 – 26. 06. 2010
Yasemin Nur T.
With the contribution of YNT News Agency
“God is my recorder” is in progress…
I will be back to you
April 7 – 29, 2011
Opening: April 7 Thursday 2011, 18:30
The exhibition by Yasemin Nur T., “’God is My Recorder’ is in progress; I will be back to you”, which can be seen in Apartment Project between April 4 – 29, is an outcome of the recording process. As a planned activity, the artist presents the representation/imitation of the recording action itself by various means such as continous recording, converting the recording into text and re-recording the whole process again.
“Tracing the evidence of hidden entities I typed those chats while I listened them. I capture my computer screen as video while I am operating.
The whole operation is an echo of recording performance. Today I believe to record and document as a chronicler is an action which creates chronic absence. It seems like being under the spell of spelled.
Now I am listening over and over these talks for anectodal purposes. We are all in this together.”
FREE FALL EXHIBITION & SYMPOSIUM
Exhibition Opening: March 25, Thursday 2010 / 18:00 @ Apartment Project
Symposium: March 26,27 2010, Fri., Sat. @ Babylon Lounge
Participants: Askin Adan, Sinem Akat, Gulcin Aksoy, Anti-pop, Breaking
News, Irmak Canevi, Fatma Ciftci, Zeren Goktan, Gozde Ilkin, Intervention,
Borga Kanturk, Burak Karacan, Flo Kasearu, Nur Muskara, Esra Okyay, Suat
Oğut, Gamze Ozer, Nurgul Ozturk, Neriman Polat, Cagri Saray, Ilhan Sayin,
Ilgin Seymen, Gokce Suvari, Merve Sendil, Yasemin Nur Toksoy, Vahit Tuna,
Concept: Selda Asal
Application & Coordination of the Project: Selda Asal, Nurgul Ozturk,
Assistant: Enise Gokbayrak
Film Editing: Selda Asal
Brochure Design and Application: Gokce Suvari
Symposium Coordination: Serra Ozhan
Apartment Projects aim had been to collectively create and produce
different voices in exhibitions based on workshops. These workshops include
people who have all formulated their own languages within their own fields.
Project Free Fall, in this point, is an attempt to create a different
experience, open up a new path in these workshops, namely to create a new
language/practice by way of changing the structure and working out of
workshops by the means of new technological developments and digital
To this end, Apartment Project formed the platform of
freefall-apartment.blogspot.com , which will work as a virtual workshop
place for the artists where they can share their productions without the
necessity of coming together in the same physical working/production place.
With a 15 days of virtual workshop process, this project shelters the
documentation of the everyday life practice, writings, images, sounds,
texts and the life-effecting dynamics of each artist. It is the
falling of individual memories of artists into this platform by
following up each other that draws the conceptual framework of Free
Fall which is in effect a kind of online personal sketch book or diary.
These interactively fallen materials came together in this virtual platform
until the end of the workshop process (15.03.2010) as a serial of works in
which artists interact with and response the works of each other.
.-_-. (Orton Akinci) – artist talk
Abby Stiers– CIANT (International Centre for Art and New
Ceren Arkman & Irmak Arkman & Mert Şahbaz – Courrier Video
Basak Senova – ‘NOMAD’
Cagri Saray & Ferhat Satici & Hulya Ozdemir – on ‘Videoist’
Charlotte Zott – on Tranforming Freedom and relevant environments,
Short Film Screening
June 7th 2011, Tuesday, 20.30
New York City based artist/film-maker Fern Silva will be presenting his most recent short films at Apartment Project.
Since 2005, Fern Silva has been an active filmmaker whose personal journeys and impulsery disposition give rise to his visionary process. He has created a body of film, video, and?projection work that conveys a congruent existence through the aesthetics of reflections and detriments within controlled microcosms. He travels the world capturing these ephemeral?moments and weaves them together creating abstracted essays packed with emotion and humor.
His work has been screened and performed at various festivals, galleries, museums and cinematheques including International Film Festival Rotterdam, New York Film Festival, Ann Arbor Film Festival, Anthology Film Archive, San Francisco Cinematheque, European Media Art Festival, MediaCity Film Festival, World Film Festival of Bangkok, Biennale Bandits-Mages, Roulette Gallery, White Box Gallery, and MOMA P.S.1.
He is the recent recipient of the prestigious Gus Van Sant award for best experimental film at the Ann Arbor ?Film Festival and was listed as one of the top 25 Film-makers for the 21st Century in Film Comment magazine. He received his MFA from Bard College and a BFA from Massachusetts College of Art.
scroll down for english version.
“wer a sagt, der muß nicht b sagen. er kann auch erkennen, daß a falsch war.” berthold brecht
liebe freunde und kollegen,
wir haben im juli 2011 ein ladengeschäft und eine darüberliegende 3 zimmer wohnung (zusammen ca. 220 qm) im afrikanischen viertel im berliner wedding gekauft, um ein neues galerie/residenz projekt am 16. dezember 2011 zu starten. der kauf ist jetzt glatt über die bühne gegangen und die immobilie gehört jetzt uns und ist lastenfrei.
im zuge unserer recherchen jedoch sind wir auf einige andere interessante objekte zu gestoßen.
um es kurz zu machen: wir suchen investoren, die sowohl an moderater rendite, aber auch an der rettung von bezahlbaren wohn-, arbeits-, und austellungsmöglichkeiten im zentrumsnahen berlin interessiert sind.
wir bekommen da eine ganz illustre gesellschaft zusammen, die in einer gemeinnützigen GmbH mit angeschlossener finanzierungsagentur für kunst zusammengefasst werden soll, mit dem ziel im wedding einen lebendigen kunststandort zu erhalten, bevor die haie alles unter sich aufteilen.
“bankraub: eine initiative von dilettanten. wahre profis gründen eine bank.” oder “was passiert mit dem loch, wenn der käse weg ist?“ berthold brecht
mit bestem ahoi
“because things are the way they are, things will not stay the way they are.” berthold brecht
dear friends and colleagues,
we have bought in july 2011 a shop plus the 3-room appartment above the shop (approx. 700 square feet) in the “african quarter” in berlin-wedding to start a new gallery/residency project on december 16th 2011.
during our recherche we have found some other interesting objects.
to shorten it up: we are looking for investors, interested as well in moderate return and as well in an action to rescue affordable living-, work- and exhibitionspace in a central part of berlin.
we will gather an illustrous bunch of people, which should form a limited firm including an agency for art financing in order to keep and stimulate a lively art quarter before the sharks have eaten it all.
with best ahoi
“it is easier to rob by setting up a bank than by holding up a bank clerk.” or “what happens to the hole when the cheese is gone?” berthold brecht
Research Project about unique “Solitaire Architecture and the Dream of Modernity”
Heiko Daxl and Ingeborg Fülepp (mediainmotion.de) since June 2011
The House of World Cultures works in a building of great architectural and historical interest. It was the USA’s contribution to the INTERBAU 1957 building exhibition in Berlin. For the exhibition, the designs of many renowned architects were constructed in the nearby Hansaviertel.
In 1955, Hugh Stubbins started work on a design for a building that would soon become a remarkable landmark in the cityscape of post-war Berlin. Stubbins, who had been Gropius’s assistant at Harvard before the Second World War, was familiar with Germany. Wanting to make a statement on that conflict between the systems commonly referred to the Cold War, Stubbins planned a building with a hall to hold cultural events and congresses. It was intended to serve as a symbol and beacon of freedom with its message reaching the East too. The former Zeltenplatz square was chosen as the site. To ensure its contours would be clearly seen from Communist-ruled East Berlin, the Congress Hall was erected on an artificial mound.
Stubbins described the symbolic value of his architectural design as ‘completely free’. The form of the curved roof bore a striking resemblance to that of wings. In Stubbins’s view, the roof upheld the promise that there would be no restrictions on the freedom of intellectual work – a political vision shared by the Benjamin Franklin Foundation, which commissioned the building.
Construction took only one year. On 19 September 1957, after the building had been completed, the US government gave the Congress Hall to the City of Berlin as a present. The artistic programme of the opening ceremony reflected the Congress Hall’s future programme: combining theatre, symposia and concerts, it brought together prominent artists, scientists and politicians engaged in an international dialogue between the New and Old Worlds.
From summer 2006 to August 2007, the House of World Cultures was a building site. In summer 2007, a major interdisciplinary festival on New York and the changes in the trans-Atlantic relations was held after the re-opening.
The restoration and repairs were being made possible through special financing by the State Minister at the Federal Chancellery for Media and Culture.
a music / video-project by Jorge Reyes, Steve Roach, Suso Saiz and Ingeborg Fülepp & Heiko Daxl (mediainmotion.de) MEX, USA, ES, AUS, D / 1992/93
music recorded in Tuscon, Arizona (USA), Video shot entirely in the Red Centre of Australia, edited in Berlin
It’s awfully nice to hear a live hand drummer playing against Steve Roach’s trademark sheets of synthesizer drone; though Mexican instrumentalist Jorge Reyes sometimes layers clay-pot and frame drum on top of drum-machine figures, his syncopated touch–rolls, flams, paradiddles–adds the organic quality Roach’s percussion tracks have often needed. Guitarist Suso Saiz blends in well with the general ambiance, contributing lightly distorted textures and lines that occasionally cry out for more body and warmth. Settling on a shamanic, paganesque theme for the project was a no-brainer–lots of Roach projects evoke the peyotian mysteries–but it seems particularly apt for a trio who first performed in a volcanic cave in the Canary Islands. –James Rotondi
different deserts [12:20] Meeting together on common ground with the shared desire to corroborate the latent power of music in the moment. Sampled and acoustic percussion, synths, sampled voice and guitar set the course across the great expanse.
snake song [5:44] A trance dance of power under a crimson sky. The old shaman dances with snakes firmly gripped in each fist. Electronic percussion, clay water pots, seedpod shakers, synth and guitar encircle spirit singing and prehspanic flutes.
night devotion [8:51] For those of the ncocturnal clan, the further into the night, the deeper into the devotion. A fluid, mercurial brew of guitar loops and synth textures support a clay pot rhythm that emerges for the night journey.
saguaro [5:23] Noble guardians of the eternal landscape, sentinels of the roaring silence — the towering cactus of the southwestern desert. Distant percussion, flutes, whistles, ocarinas mix in a heatwave of guitar loops and synths.
mutual tribes [7:06] The ritual continues. Electro-acoustic trance drums and percussion, mutated flute, voice, didgeridoo and synth textures amplify the hallucinations. Segues to…
suspended memories, forgotten gods [5:01] The broken icon of the past is pieced together, casting a reflection into the future. Chords of question, existential guitar, and the rustling of moth cocoon shakers…
ritual noise [3:48] The drum is always beating like the heart, keeping a steady focus at the peak of the ceremony. Perhispanic flutes, ocarnas, ritual drum and ghost synths convene.
distant look [7:39] From the hill at spiral rock, we see far and then farther and then beyond. Expansive guitars, synths, flute and percussion.
shaman’s dream [6:07] Return to shadow world of night visions, the one of half-formed dreams and fantastic creatures whispering in your ear. Rubbed stones, prehispanic flutes, percussion and voice drift on a mystic chord to the edge of forever.
- Review notes by Steve Roach
STEVE ROACH has earned his position in the international pantheon of major new music artists over the last decade through his ceaseless productivity, constant innovation, open-minded artistic collaborations, and the psychological depth of his music.
He has recorded neary 20 albums since 1981, including Structures from Silence, the classic Dreamtime Return, Australia: Sound of the Earth, and World’s Edge. Roach’s collaborations with Robert Rich have generated international acclaim with the releases Strata and Soma, both on Hearts of Space.
From his base in Tucson, Arizona, Roach travels worldwide to present his music in concert, where he combines ancient and modern instruments in an atmosphere of ritualistic intensity.
His longstanding influences are not strictly musical. Roach receives much inspiration from regions in the Sonoran and Mojave deserts, and the effect of his extensive travels in Australia and collaborations with aboriginal didgeridoo master David Hudson continue to weave their way into the fabric of his music, blurring the lines between the modern and the ancestral.
JORGE REYES, enigmatic Mexican multi-instrumentalist, draws from the diverse culture and history of his homeland as well as international travels through Turkey, Iran, India, Afganistan, and Pakistan, and time spent living and studying music in Hamburg, Germany.
Since the early ’80s, Reyes has been developing his musical concept of blending indigenous Mexican and world music elements with modern technology. He has been steadily building a strong following in Mexico and abroad with his compelling concert performances and numerous recordings, including the haunting Comala, Niérika, and his master work, Bajo El Sol Jaguar.
The Mexico City-based artist performs consistently for thousands of people throughout his country, often in the dramatic settings of Aztec and Mayan ruins. Combining pre-hispanic instruments, percussion ranging from clay water pots and snake rattles to his own body, guitar and synthesizers, Reyes evokes images of jungles, jaguars, and Aztec rites. With all his titles available only as imports for years, Forgotten Gods marks Reyes debut release in the United States.
SUSO SAIZ is a Madrid-based composer with an intense, restless, and probing spirit. His passionate approach to life and music are demonstrated in his vast and eclectic list of credits.
Beginning with studies of guitar at the Madrid Conservatory of Music, he went on to form numerous performing and recording groups, including Orquesta de Las Nubes (Orchestra of the Clouds) in 1980, an important Spanish group known for its innovative musical experiments.
Saiz is also a highly respected and sought after producer in the Spanish music arena, with projects ranging across jazz, pop, world, avant-garde, and new music. As a composer and performer, his solo work is a stunning culmination of influences and production techniques which deliver music defying categorization. He explores multi-cultural trance rhythms and the psychology of ambience while transforming the quintessentially Spanish instrument, the guitar, into a vehicle for electronic flight.
Saiz’s outstanding 1991 Spanish release, Simbolos, presents his textural, expansive guitar sound in an ever-changing, surreal world of cinematic proportion. Staying true to his music-as-art philosophy, Saiz has released a handful of limited edition works including Hypnotics, a CD of intense sound sculptures created from processed multitrack guitars and shortwave radio cuttings, revealing yet another side to a complex and multitalented musician.
Berlin / Germany
„„A Space for Projects and Exhibitions“ in Berlin Kreuzberg:
ConcentArt e.V.(a non-profit art association) was founded with the aim of promoting and realizing specific projects.
The association’s primary objective is to enable the cost-effective and concrete realization of projects. In addition, the thematic content implicit in these projects will be thematized, encouraging debate and discussion of the social and moral values and issues addressed by individual works.
In lieu of statutes
This art association does not see itself as a clearly delineated group of artists dedicated to the „canonization of its members and constitutive rituals.
We do see ourselves as a fundamentally open group, similar in ethnological terms to a pack of animals, where those artists who feel called upon to do so can place their creative forces under the banner of a given topic. The sum of their artistic questions and answers forms the bedrock of an exhibition.
Art should be a „plumbline“—a „seismic discipline“ when it comes to the diverse possibilities of expression inherent in the various media at its disposal. We are interested not so much in the „objectives“ pursued by our association or individual exhibitions, but more in the methodology selected for individual projects. .
“Our best ideas are often those that bridge between different worlds.” (Marvin Minsky)
This concept is as good or as bad as any other. But it follows the maxims of certain validities
established in the realm of history. Without getting tedious, let’s start from the very beginning: As
Aristotle said, when people wondered about things, they did so for the sake of knowledge, not utility.
That is not what curators are dream of; rather, it is the belief that the future is the only goal; it is the
confidence that we have been brought together for the sake of something larger than our differences:
vita brevis, ars longae. It is the acknowledgement of a wealth that exists only because we are different.
Let us play, but not because we want to win; rather, because we want to experience, enjoy, feel, learn
This exhibition brings together a plethora of parallel approaches that take different expressive forms. In
Berlin a formulation of similar concerns can be seen to pervade all spheres of art, be it music, the
visual arts, film, theater or performance. Artists from many countries, not just from Germany, have
made Berlin their home, at least for a time. Their goal is not the apparent reproduction of reality, but
rather to liberate the depicted reality from its usual temporal and semantic contexts and to give it
meaning in new combinations. Not the copy of reality, but concepts of reality, in which an
interpretation reveals itself to be only one of many possibilities. The option of retelling is rarely
applicable to these forms of expression, and identifying the recognizable usually does not get one very
far either. The viewer is forced to think about himself and his own experiences; only then does the
pleasure of viewing emerge, albeit without any guarantee that the enigma will be completely revealed.
In one way or another, within the vortex of media conversion, whether as producers or as consumers,
we are guinea pigs or beta testers of a process that is already underway. Unfortunately, in this situation
contemporary art is often left holding the bag. While information technologies are generously
subsidized and software engineers provide aesthetic guidelines to go along with their products, so to
speak, there are no provisions for exploring the basics of medial experience, artistic creation and
mediation. The artists whose work, whose contribution to the enrichment of our aesthetic and reflective
experience and thought is supposed to be at stake are often degraded to producers of the environments
or trends of the minute.
Today we are standing at the edge of the “worm hole”, the black hole, which sucks up all the energy
there is, stirring it up and rearranging it. Beyond the event horizon (the astronomical term for the
boundary of the dimensions), an accepted category may turn out to be merely one among many
possible ones which all have meaning and validity. Nam June Paik’s prophetic aphorism from the
year1970 would be one such possibility: “The next is the direct connection of electrodes and brain
cells, which will lead to electronic Zen”. And this takes us to the dream, which can take on whatever
personal note is desired with the aid of technology. The only question left is, who will provide the
This software will come from the wealth that transcends money.
That is this city’s capital!
Text Heiko Daxl, translation Isabel Fargo Cole