NOWs: Andreas Greiner and Raul Walch at Tokyo Wonder Site (TWS)

22. April - 09. Juli 2017 / Nows

7 trans-phonies

Exhibition and Opening Talk
Date　　　｜Sat., 22 April 2017, 15:00－17:00
Venue　　｜Tokyo Wonder Site, Shibuya
Participants｜Andreas Greiner, Mirna Bamieh, Ligyung, Raul Walch, Erik Schmidt, Hou I-Ting

The exhibition „7 trans-phonies“ presents works by 7 creators who stayed at the TWS Residency from 2015 to 2016. The borderless city of Tokyo produces diverse harmonies and dissonances through the gathering and overlapping of individual voices. And what we hear as single sounds actually contain multiple sine waves. Creators who come to Tokyo from overseas hear the voices of foreign cultures, of their neighbors in this foreign country, of the artists they meet in Tokyo, and combine them with their own voices to create a new kind of voice/sound „trans-phony“ which transcends cultural differences. Come and experience the 7 trans-phonies produced by these 7 creators.

In 2006, Tokyo Wonder Site (TWS) launched the „Creator-in-Residence“ program, which offers residence/production opportunities to creators from around the world. People of various nationalities and creative fields, such as art, film, music and architecture, reside and carry out their work in Tokyo and residency sites overseas.

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More information, see Flyer.

Raul Walch: Fabric & Space from 2015, Tokyo (see fabric&space). The works were realized during a residency at Tokyo Wonder Site in Japan, 2015.TW

Andreas Greiner: Eye of the Hotaru Ika squid, still from Studies of an Alien Skin, 2016, photo by Paul Rohlfs

Andreas Greiner: Still from Studies of an Alien Skin, 2016, photo by Paul Rohlfs

Vorheriger Eintrag

NOWs: Endpunkt Europa by Felix Kiessling

22. April - 31. Dezember 2017 / Nows ⟶

NOWs: Felix Kiessling: Endpunkt Europa, 2017 Felix Kiessling Meere und Ozeane ENDPUNKT EUROPA MS Wissenschaft 24.4. – 31.12. 2017 Bonn, Brassertufer Die Mikroskopaufnahmen zeigen den nördlichsten Punkt des europäischen Festlandes, Kinnarodden in Norwegen, und den südlichsten Punkt in Tarifa, Spanien. Der Künstler legt den äußersten Punkt der Küste fest, entnimmt dort eine Bruchstück des nördlichstes und südlichstes Ende Europas. Die Suche nach dem Ende geht weiter: Ein sandkorngroßes Gesteinsstück wird mit einem Elektronenmikroskop untersucht. In der Kleinheit seiner Struktur nähern wir uns seinem äußersten Endpunkt weiter an. Felix Kiessling ermöglicht es dem Betrachter einen Punkt zu bereisen, den es eigentlich nicht gibt. Der Film ENDPUNKT EUROPA (2017) dokumentiert die Reise des Künstlers, der sich für seine Arbeit auf die Suche nach den äußersten Punkten Europas begibt. ENDPUNKT EUROPA (2017) von Felix Kiessling Produktion: Marietta Auras DoP: Cedric Retzmann Schnitt: Philipp Müller Finanzierung: MS Wissenschaft / Wissenschaft im Dialog / Bundesministerium für Bildung und Forschung ‘WIR SIND UMGEBEN VON GRENZEN UND KARTOGRAPHIE. FELIX KIESSLING ERMÖGLICHT ES DEM BETRACHTER, EINEN PUNKT ZU BEREISEN, DEN ES EIGENTLICH NICHT GIBT. EINEN PUNKT, DER FÜR UNSERE KARTOGRAPHIE ZU KLEIN IST, FÜR DEN UNSERE KARTOGRAPHIE ZU GROB IST. EIN PUNKT, DER MIT NOCH DETAILLIERTERER, NOCH PRÄZISERER BEOBACHTUNG EIGENTLICH EIN ANDERER WÄRE. EIN PUNKT, DER UNGREIFBAR BLEIBT. EIN PUNKT, DER NICHT KARTOGRAPHIERT WERDEN KANN. EIN PUNKT, DER SOMIT KEINE GRENZE MARKIEREN KANN, DER STÄNDIG IN BEWEGUNG BLEIBT, DESSEN GENAUE VERORTUNG, LÄNGE UND FORM SICH STETIG VERÄNDERT UND VON UNS ALS BETRACHTENDE ABHÄNGIG IST.’ Lydia Ahrens, 2016 NOWs: Felix Kiessling: Endpunkt Europa, 2017 Felix Kiessling Meere und Ozeane ENDPUNKT EUROPA MS Wissenschaft 24.4. – 31.12. 2017 Bonn, Brassertufer Die Mikroskopaufnahmen zeigen den nördlichsten Punkt des europäischen Festlandes, Kinnarodden in Norwegen, und den südlichsten Punkt in Tarifa, Spanien. Der Künstler legt den äußersten Punkt der Küste fest, entnimmt dort eine Bruchstück des nördlichstes und südlichstes Ende Europas. Die Suche nach dem Ende geht weiter: Ein sandkorngroßes Gesteinsstück wird mit einem Elektronenmikroskop untersucht. In der Kleinheit seiner Struktur nähern wir uns seinem äußersten Endpunkt weiter an. Felix Kiessling ermöglicht es dem Betrachter einen Punkt zu bereisen, den es eigentlich nicht gibt. Der Film ENDPUNKT EUROPA (2017) dokumentiert die Reise des Künstlers, der sich für seine Arbeit auf die Suche nach den äußersten Punkten Europas begibt. ENDPUNKT EUROPA (2017) von Felix Kiessling Produktion: Marietta Auras DoP: Cedric Retzmann Schnitt: Philipp Müller Finanzierung: MS Wissenschaft / Wissenschaft im Dialog / Bundesministerium für Bildung und Forschung ‘WIR SIND UMGEBEN VON GRENZEN UND KARTOGRAPHIE. FELIX KIESSLING ERMÖGLICHT ES DEM BETRACHTER, EINEN PUNKT ZU BEREISEN, DEN ES EIGENTLICH NICHT GIBT. EINEN PUNKT, DER FÜR UNSERE KARTOGRAPHIE ZU KLEIN IST, FÜR DEN UNSERE KARTOGRAPHIE ZU GROB IST. EIN PUNKT, DER MIT NOCH DETAILLIERTERER, NOCH PRÄZISERER BEOBACHTUNG EIGENTLICH EIN ANDERER WÄRE. EIN PUNKT, DER UNGREIFBAR BLEIBT. EIN PUNKT, DER NICHT KARTOGRAPHIERT WERDEN KANN. EIN PUNKT, DER SOMIT KEINE GRENZE MARKIEREN KANN, DER STÄNDIG IN BEWEGUNG BLEIBT, DESSEN GENAUE VERORTUNG, LÄNGE UND FORM SICH STETIG VERÄNDERT UND VON UNS ALS BETRACHTENDE ABHÄNGIG IST.’ Lydia Ahrens, 2016

Nächster Eintrag

NOWs: 2 or 3 Tigers

21. April - 03. Juli 2017 / Nows ⟶

NOWs: 2 or 3 Tigers at Haus der Kulturen der Welt Berlin, Germany Opening: April 20, 8pm Opening program: April 20–23, 2017 Wherever humans have lived in a shared habitat with the tiger, mythology reflects the animal’s status as a liminal figure, closely related to the community, and yet marking its beyond. As a creature of mountains and borderlands, the tiger occupies a transitory zone separating civilization from wilderness, the living from the ancestor-spirit world. As co-species and mythical symbol, the tiger plays an important role as a medium at the limits of society, carrying an imprint of how contemporary cultures have been shaped by encounters with otherness. The emblematic image of the tiger opens deep historical insights into the rapid remaking of human society since the dawn of colonial modernity. At the same time as tigers were driven to near extinction, they leap into the imaginary of national modernity as a recurring ghost, and as symbols of national power, military might, and economic development they bind the hypermodern present to the colonial and pre-colonial past. The works in the exhibition approach collective memories by questioning the historical nature of mediation, including its means of representation. They reflect on the changing nature of mass media and search for complex images that serve as sites for shared experiences of history. 2 or 3 Tigers derives its title from the work of artist, filmmaker and theater creator Ho Tzu Nyen, who explores the shifting shapes of tigers and weretigers in the ancient and modern mythology of Malaysia and Singapore. Contributions from Park Chan-kyong, Jane Jin Kaisen and Guston Sondin-Kung reflect on histories of suppression, militarization, and exploitation in Cold War era Japan and Korea that haunt the geopolitics of the Pacific to this day. While installations by Yuichiro Tamura and IM Heung-soon present the tiger as an iconic medium of Asian military nationalism, a film by James T. Hong investigates the cultural dimensions of the tensions unfolding around several disputed East Asian islands to the present day. Photographs by Lieko Shiga made in the aftermath of the 2011 Tsunami in Japan; a digital 3D matrix by Chia-Wei Hsu of a Chinese deity displaced by the Cultural Revolution; and a large installation featuring a filmed performance along Seoul’s Han River paired with a ritualistic ensemble of sculptures transfiguring a broadcast station by Minouk Lim: all explore rapidly changing cosmologies and reverberations of animism and its forms of mediation across different political and technological registers. Works by Ho Tzu Nyen, James T. Hong, Hsu Chia-wei, IM Heung-Soon, Jane Jin Kaisen & Guston Sondin-Kung, Minouk Lim, Park Chan-Kyong, Lieko Shiga, Tamura Yuichiro. Curated by Anselm Franke and Hyunjin Kim The exhibition is based in parts on the group exhibition Interrupted Survey, curated by Anselm Franke for ACC Gwangju and on view there until August 2017. Part of 100 Years of Now Poster image: Yuichiro Tamura: Hey Daddy, Hey Brother, 2017 (detail). NOWs: 2 or 3 Tigers at Haus der Kulturen der Welt Berlin, Germany Opening: April 20, 8pm Opening program: April 20–23, 2017 Wherever humans have lived in a shared habitat with the tiger, mythology reflects the animal’s status as a liminal figure, closely related to the community, and yet marking its beyond. As a creature of mountains and borderlands, the tiger occupies a transitory zone separating civilization from wilderness, the living from the ancestor-spirit world. As co-species and mythical symbol, the tiger plays an important role as a medium at the limits of society, carrying an imprint of how contemporary cultures have been shaped by encounters with otherness. The emblematic image of the tiger opens deep historical insights into the rapid remaking of human society since the dawn of colonial modernity. At the same time as tigers were driven to near extinction, they leap into the imaginary of national modernity as a recurring ghost, and as symbols of national power, military might, and economic development they bind the hypermodern present to the colonial and pre-colonial past. The works in the exhibition approach collective memories by questioning the historical nature of mediation, including its means of representation. They reflect on the changing nature of mass media and search for complex images that serve as sites for shared experiences of history. 2 or 3 Tigers derives its title from the work of artist, filmmaker and theater creator Ho Tzu Nyen, who explores the shifting shapes of tigers and weretigers in the ancient and modern mythology of Malaysia and Singapore. Contributions from Park Chan-kyong, Jane Jin Kaisen and Guston Sondin-Kung reflect on histories of suppression, militarization, and exploitation in Cold War era Japan and Korea that haunt the geopolitics of the Pacific to this day. While installations by Yuichiro Tamura and IM Heung-soon present the tiger as an iconic medium of Asian military nationalism, a film by James T. Hong investigates the cultural dimensions of the tensions unfolding around several disputed East Asian islands to the present day. Photographs by Lieko Shiga made in the aftermath of the 2011 Tsunami in Japan; a digital 3D matrix by Chia-Wei Hsu of a Chinese deity displaced by the Cultural Revolution; and a large installation featuring a filmed performance along Seoul’s Han River paired with a ritualistic ensemble of sculptures transfiguring a broadcast station by Minouk Lim: all explore rapidly changing cosmologies and reverberations of animism and its forms of mediation across different political and technological registers. Works by Ho Tzu Nyen, James T. Hong, Hsu Chia-wei, IM Heung-Soon, Jane Jin Kaisen & Guston Sondin-Kung, Minouk Lim, Park Chan-Kyong, Lieko Shiga, Tamura Yuichiro. Curated by Anselm Franke and Hyunjin Kim The exhibition is based in parts on the group exhibition Interrupted Survey, curated by Anselm Franke for ACC Gwangju and on view there until August 2017. Part of 100 Years of Now Poster image: Yuichiro Tamura: Hey Daddy, Hey Brother, 2017 (detail).

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NOWs: Andreas Greiner and Raul Walch at Tokyo Wonder Site (TWS)

7 trans-phonies

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