NOWs: homecomings 1, 2, 3, etc.
homecomings 1, 2, 3, etc.
6 April, 6pm
Readings and performances will start at 6:30 pm
Inspired by Georges Perec’s Espèces d’espaces (Species of Spaces, 1974) and Hreinn Friðfinnsson’s House Project (1974–), homecomings 1, 2, 3, etc. revisits, through varying means of translation, spatial and conceptual loci of homecoming within artistic practice.
Published with Archive Books, Berlin and curated and edited by Cassandra Edlefsen Lasch and Annabelle von Girsewald, the publication features contributions by:
Øystein Aasan, Saâdane Afif, Kirsty Bell, benandsebastian, Luis Berríos-Negrón, Bettina Buck, Adam Budak, Anton Burdakov, Libia Castro & Ólafur Ólafsson, Valérie Chartrain, Rhea Dall, Jean-Baptiste Decavèle, Samuel Dowd, Tatiana Echeverri Fernandez, Eric Ellingsen, Jean-Pascal Flavien, Melanie Franke, Hreinn Friðfinnsson, Hadley+Maxwell, Elín Hansdóttir, Lasse Schmidt Hansen, Karl Holmqvist, Emma Waltraud Howes, Hervé Humbert, Susanne Kriemann, LEEP (Lynn Peemoeller and Eric Ellingsen), Tanaz Modabber, Florian Neufeldt, Hans Ulrich Obrist, Kirsten Palz, Norbert Palz, Sophia Pompéry, Cia Rinne, Dieter Roelstraete, Kristine Siegel, Egill Sæbjörnsson, Tomás Saraceno, Ursula Ströbele, Loïc Verdier, Marco Thiella, Alvaro Urbano, Katharina Wendler, Florian Wüst, Chiara Zanella
The book launch features a series of readings and performances by, among others:
The exhibition and symposium series, homecomings, from which this publication stems, draws its principle inspiration from the architectural and linguistic returns and repetitions punctuating artist Hreinn Friðfinnsson’s House Project (1974–) and author Georges Perec’s Espèces d’espaces (Species of Spaces, 1974).
In 1974, through an ephemeral gesture, Friðfinnsson claimed the whole universe within the site of a small house, turned inside-out, in the middle of an Icelandic lava field. Encountered only through happenstance or hearsay, a timeless lore grew around the house. House Project became a resonating series of works, appearing in multiple iterations, inversions, and reductions in form. Also in 1974, Georges Perec set out to approach the topic of space, creating a telescopic “journal of a user of space” by layering deliberate and protracted observation with writing constraints and wordplay. Perec starts with the page and zooms outward to space itself, always mirroring and reflecting the influx of the everyday in his call to read and reread surrounding spaces.
Testing the concept of “homecomings” against a number of artistic practices, this volume grows out of an imperative to act according to the referentiality hallmarked in the conceptually rigorous works of Friðfinnsson and Perec. homecomings 1, 2, 3, etc. opens a flood of personal wellsprings, where no two connotations align perfectly. The collected contributions oscillate between self-referential modes—creating full-circle loops within singular practices—and far-reaching trajectories, gaining momentum and associations upon every rereading. Like Perec, many works call for an attuned presence, and in so doing, proffer a homecoming at the very site of reading.
Order the publication online here
CHANGING ROOM / Wedding: is a new project space focusing on sound art and performance. The programming consists of interdisciplinary projects based on sound art, speech/voice, and movement and offers talks, performances, and deep listening sessions on a regular basis. CHANGING ROOM is situated in a former horse stable on Lüderitzstraße in Berlin Wedding’s African Quarter, which will soon be renamed to Cornelius-Frederiks-Straße.