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January 20, 2019, 19h

IRINA GHEORGHE

We have, over here,

things which are not here which are, 

and, over here, we have 

things which are not here, which are not. 

In addition to these we have, somewhere over here, 

things of which we can not say whether they are or they are not. 

 

 

 

 

 

 

 

 

PRELIMINARY REMARKS ON THE STUDY OF WHAT IS NOT THERE 

 

For the occasion of the opening of CHANGING ROOM, Irina Gheorghe´s performance will map the whole range of things which are not present in the space.

 

 

The Preliminary Remarks on the Study of What Is Not There set the ground for the study of the unobservable. Of all the things which are not there, which are the ones which are and which are the ones which are not? How many things are there, which are not there, and what are the most appropriate methods to approach them? The project brings together art, philosophy, science and the occult in search of things which have been and of things which have not been, of things which could be and of things which could not be .

Irina Gheorghe (born 1981, in Târgoviște, Romania) works primarily with performance, in combination with drawing, installation or video, to address the tensions which appear when art aims to speak about things which are beyond our possibilities of observation, from extraterrestrial life to hypothetical planets. Irina also works as part of the artist duo The Bureau of Melodramatic Research to investigate how passions shape contemporary society. Her work was presented at Zona Sztuki Aktualnej Szczecin, Centre Culturel Irlandais Paris, CCA Derry, Chapter Thirteen / Glasgow International, Dublin City Gallery The Hugh Lane, HOME Manchester, Salonul de Proiecte Bucharest, CAC Vilnius, TRAFO Budapest, Savvy Contemporary Berlin, Pratt Manhattan Gallery New York, Times Museum Guangzhou, MNAC Bucharest, Skolska 28 Prague, BAK Utrecht, DEPO Istanbul, Galeria Posibila Bucharest, etc.

 

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February 24, 2019, 19h

MATTIN 

Manipulation Studies #2

Manipulation Studies is a series of exercises in social relations.

These exercises take improvisation as a starting point, as a way to explore ‘social dissonance’; a form of cognitive dissonance at the collective level, where our beliefs are contradicted by our actions. (The impossibility of stopping climate change would be an extreme example of this). This ‘social dissonance’ can produce a confusing and fragmented reality. Increasingly we try to deal with this confusion individually, however, this only reproduces it further since it is a collective question. 

These exercises attempt to deal with this confusion collectively by listening to each other and by trying to make the private public by thinking out-loud. Through the manipulation of our expectations and projections, resonances of this social dissonance will fill the room, generating a form of conceptual music where the materials are both the sounds in the room and the psychological noise of our perception of reality.

 


Mattin is an artist from Bilbao - living in Berlin- working with noise and improvisation. His work seeks to address the social and economic structures of experimental sonic artistic production through live performance, recordings and writing. Using a conceptual approach, he aims to question the nature and parameters of improvisation, specifically the relationship between the idea of ''freedom'' and constant innovation that it traditionally implies, and the established conventions of improvisation as a genre. Mattin considers improvisation not only as an interaction between performers and instruments, but as a situation involving all the elements that constitute a concert situation, including the audience and the social and architectural space. He tries to expose the stereotypical relation between active performer and passive audience, producing a sense of strangeness and alienation that disturbs this relationship. He has recently completed a PhD at the University of the Basque Country under the supervision of Ray Brassier and Josu Rekalde. Along with Anthony Iles they edited the book Noise & Capitalism in 2009. In 2012 CAC Brétigny and Tuamaturgia published Uconsitituted Praxis, a book collecting his writing plus interviews and reviews from performances that he has been part of. Both books are available online. Mattin took part in documenta14 in Athens and Kassel in 2017.

 

www.mattin.org

 

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Saturday, April 6, 2019, 6pm

homecomings 1, 2, 3, etc.

1
Inspired by author Georges Perec’s Espèces
d’espaces (Species of Spaces, 1974) and artist 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. 

2
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

3
The book launch features a series of readings and performances by, among others:


Shane Anderson

Samuel Dowd

Tatiana Echeverri Fernandez

(with Tarren Johnson)

Susanne Kriemann & Cia Rinne


 

You are cordially invited to a series of readings and performances marking the book launch of:


homecomings 1, 2, 3, etc.

 



 

 

 

 

 

 

 

 

 



.

etc.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.

 

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Wednesday, June 12, 2019, 7pm

CHANGING ROOM is proud to be part of B ←→ LA CONNECT
We hosted together with
Cashmere Radio the artist run project space ODD ARK•LA from Los Angeles 

7–23 JUNE 2019

20 Art Spaces from LA
in exchange with
22 Art Spaces in Berlin

Art exhibitions, film screenings,

performances, talks and more

ODD ARK LA at CHANGING ROOM, Berlin.

ODD ARK•LA is a platform for contemporary art, exhibitions, performance and sound works located in Highland Park, Los Angeles.

 

For their participation in B-LA, Los Angeles gallery ODD ARK•LA will present a sound-work by visual artists Brian Randolph and Dani Tull to be live broadcasted at CHANGING ROOM located in Berlin by Cashmere Radio

 

Randolph and Tull will perform a single improvised sound-work that is intended for experiential ‘deep listening’. It is our hope that participants in Berlin (listeners) will sit or lay-down with eyes closed to receive the sound as we collaboratively open an intercontinental space for a shared experience that will bring harmony and well-being.

Randolph and Tull have performed and collaborated together in a variety of music/sound projects including Jim Shaw’s band D’red D’warf, which they are both members of. They also have extensive experience experimenting with sound, set and setting.

Brian Randolph is an artist and musician, his work has appeared in solo exhibitions at ODD ARK•LA in Los Angeles and Gallery Four and School 33 in Baltimore. Recent group shows include Ms. Barber's BBQ LA, both in Los Angeles. Other group exhibitions include Tillou Fine Art and Spring Break Art Show, New York, LAVA Projects, Steve Turner Gallery, and La Cienega Projects, Los Angeles, and Zic Zerp in Rotterdam.

 

Dani Tull is a Los Angeles-based artist. He received his MFA from Stanford University and a BFA from The San Francisco Art Institute. He has exhibited in galleries and museums internationally; selected solo exhibitions include Blum and Poe, The Pit, Kim Light Gallery, Jack Hanley Gallery, Fredericks & Freiser, Torch Gallery in Amsterdam, Wewerka in Berlin. Recent exhibitions include On Stellar Rays (NY) Jacob Lewis Gallery (NY) and LAM Gallery (LA). His work has been written about in The New York Times, Los Angeles Times, Artforum, Art in America, I.D. Magazine, Art Review, Wallpaper magazine and Frieze amongst others. During his career, Tull has collaborated with a variety of internationally recognized artists such as Jim Shaw and Raymond Pettibon. As an accomplished musician and composer, he has recorded and performed with a great variety of musicians. Recent musical projects include solo performances for SASSAS, West Of Rome and LAFMS. Permanent collections include The Metropolitan Museum of Art, Los Angeles County Museum of Art, The Getty, The Laguna Art Museum and The Peter Norton Family Collection.

Cashmere Radio is a not-for-profit community experimental radio station based in Lichtenberg, Berlin. The ambition of the station is to preserve and further radio and broadcasting practices by playing with the plasticity and malleability of the medium. We do this by both honouring and challenging its inherent qualities: it is both a physical station open to the public and an online radio; it has regular shows, yet opens itself up to extended and one-off events; it features extended generative music performances and installations at the same time as working within radio’s typical durations. In short, it is an attempt to enhance and celebrate the performative, social and informative power of radio that we believe lies within the form itself.

 

Saturday, September 28, 2019 from 4–6pm

as part of

Experiments in Disintegrating I 

A conversation between artist Erik Smith and Changing Room initiator Tatiana Echeverri Fernandez. The discussion will center on both of Smith’s works presented as part of the first installment in Changing Room’s “Experiments in Disintegrating” series: ACIINTT – slow listening berlin, Smith’s three-hour “decelerated” listening performance at Changing Room on September 20 and AABBCCDV, shown at Kunstpunkt Berlin within the framework of the exhibition re-space and still on view through October 13. Both works are representative of Smith’s site-focused practice, which takes an urban-archeological approach to exploring specific transformations of the built environment. Central to this is the combining of sculptural and acoustic means to bring to light not only the specific histories embedded within the sites, as a return of the repressed or forgotten, but also to convey their dissolution over time as a consequence of urban development and renewal, forces currently at work remaking the cities and settings for Smith’s projects here: Berlin and Miami. A shorter half-hour performance of Smith’s ACIINTT – slow listening berlin will also be presented as a part of the talk.

Experiments in Disintegrating I
 

20.09.19
Erik Smith

ACIINTT – slow listening berlin


at CHANGING ROOM
Lüderitzstrasse 11, 13351 Berlin


ACIINTT– slow listening berlin
Join us at CHANGING ROOM on Friday, September 20, 2019 from 9pm to midnight for ACIINTT – slow listening berlin, a live three-hour “decelerated listening” session. For the performance, Smith will live mix Orpheus in the Underworld 78s with techno and electronica records on six turntables modified to play at drastically reduced speeds. The turntables form the central sonic component to his Berlin-based, urban-archaeological project Titanic (2013-2019) exploring the evolution of a site in Mitte, the location in the nineteenth century of a theater renowned for its performances of Jacques Offenbach’s Orpheus in the Underworld, a sprawling underground bunker during WW2, and the four-star Titanic hotel today. Listeners are invited to come and stay for the duration of the performance or drop in as they please. Lights will be off and floor mats will be provided to facilitate extended listening.

Please note:
there will be a talk by Erik Smith,
September 28th, starts 4pm

at Changing Room

Erik Smith (b. Boston US, lives and works in Berlin) studied visual art and comparative literature in the US and Italy before moving to Berlin, Germany in 2003. Solo exhibitions include Errant Sound, Berlin; Counterpath, Denver; FRAGMENTA/Valletta 2018, Malta; Locus Solus, de Appel Contemporary Arts Centre, Amsterdam NL; Skulpturenpark Berlin_Zentrum, Berlin; DimensionsVariable, Miami FL; Rena Bransten Gallery, San Francisco, CA. His work has also been shown in numerous group exhibitions internationally including SculptureCenter, LIC, NY; BBB centre d’art, Toulouse, FR; Arsenic, Lausanne CH; Pierogi, Leipzig; Kunstpunkt, Berlin. www.eriksmith.de


RE-SPACE / Take Back the Space
10 Years Network of Independent Berlin Project Spaces and Initiatives
c/o KUNSTPUNKT BERLIN, Schlegelstraße 6, 10115 Berlin

Exhibition: 13.9.-13.10.2019
Opening hours: 19.9.-13.10.2019, 15-19 Uhr

Erik Smith

AABBCCDV

at Kunstpunkt
as part of ”re-space” 
Netzwerke freier Berliner 
Projekträume und -initiativen,
Schlegelstrasse 6, 10115 Berlin

AABBCCDVcenters on the 2012 demolition of a Miami FL arts building and former home to DimensionsVariable (DV), an artist-run project space that was forced to vacate the premises to make way for new development. Smith’s work presented for (re)space as a model of CHANGING ROOM is the third iteration of a scale suburban house found inside the DV building prior to demolition. Recreated as a floor work, the footprint of the house has been cut out of the surfaces of the plot and its rubber top layer compressed to fit the overall 1x1 m dimensions. Combined with the 12” record edition of the DV building’s demolition, the work juxtaposes the disintegration of the suburban model with the destruction of the arts building, setting up oppositions of presence/absence, support/collapse, weightiness/dematerialization.

 

 

Christmas Concert with the Psychedelic Choir


Spend a charming Christmas with the Psychedelic Choir in a concert for adults only. Join us for splintered Christmas trees, explosive gifts, alien sounds, messy melodies.

The Psychedelic Choir* is a musical band. Seven women. Vocals + bass. They intonate haunted ambient sounds in combination with witchcraft rituals. Their bass player Leah (NADJA) provides a mesmerizing sonic foundation of drones and processed sounds.


Psychedelic Choir is a group of Berlin-based improvisers.

 

*A stunning orchestra of alien sounds, at times difficult to believe they emanated from human bodies.
The work ebbed and flowed in intensity, ranging from light breath work, to soft rain sounds, to the cacophonous screeches of exotic animals and the razor blade noises of inorganic materials….
And, indeed, most sounds were abstracted from their clear referents. Though one might try, the experience becomes less about discerning a recognizable soundscape—a forest, for example—and more about allowing the experience of sound to wash over the body. The audience is prompted to reconsider its relationship to sound, relinquishing the categorical impulse to associate sound with phenomenon, and instead surrendering to the psychosomatic experience of abstract noise.

Sarah Messerschmidt // Berlin ArtLink // Feb. 01, 2019
https://www.berlinartlink.com/2019/02/01/the-voice-as-an-instrument-of-touch/
 

Zorka Wollny (initiator of the choir) creates acoustic compositions for institutions, factories and empty buildings. Her works inhabit a space between art, theatre and contemporary music, and are always closely connected to the historic and functional context of specific architectural sites. She collaborates—in a director-like mode—with musicians, actors and dancers and, each time, with members of local communities as well. Her works have been exhibited at the Museum of Modern Art in Warsaw, the ICA in London, CTM Festival in Berlin, Savvy Contemporary in Berlin, De Appel in Amsterdam, etc.


Leah Buckareff is a Canadian musician, currently based in Berlin, Germany. Since 2005, she has been the bassist in the duo Nadja, with whom she has released multiple albums on such labels as Alien8, Important Records, Conspiracy Records, Hydrahead, and Daymare Recordings. She has toured extensively around the world, including performances at such festivals as FIMAV, Unsound, Donaufest and CTM.

Lyllie Rouvière is a dancer and choreographer. She dances with Doris Uhlich, Boris Charmatz, collaborates with Julian Weber and Suddenly collective and also makes work in a variety of formats such as video and performance. She continues to explore interactions between space and body in recent singing performances with Colin Self, gathering voices and the Psychedelic Choir.

Karoline Strys is a performance artist working at the margins of voice, dance and text. Her work is characterized by a philosophical perspective that is permanently engaged in the complexity of a possible translation into and out of the body, regarding the interrelation of different modes of performativity and always with a focus on the specificity of listening. She is the co-founder of the make a move collective – a site-specific performance group working with elements of contemporary dance and parkour in urban architecture.

Pauline Payen is a performer, dancer, artist. She has recently performed and exhibited e.g. at Palais de Tokyo-Paris, Platforma HR-Zagreb, Musée de la Chasse et de la Nature-Paris, Uferstudios Berlin, Gallery Ida Schmidt-New York. Over the past several years, Pauline developed a particular interest in sound material, conducting physical research in the studio on psychological sound techniques such as Musak, super-charged-positive-affirmations and binaural beats.

 

Born in Havana, Cuba, Ana Kavalis is a performer, dancer, actress, and educator based in Berlin since 2004. Her distinctive artistic career has been characterized by its crossing of boundaries, the disruption of theatrical stage language, the experimentation with new forms of exchange with the audience and the continuous questioning of identity. Her work is developed on the terrain of physical theater, dance, and performance.

Irina Gheorghe works primarily with performance, in combination with collage, installation and video, to address the tensions which appear in the attempt to speak about things beyond our possibilities of observation, from extraterrestrial life to hypothetical planets. Irina also works with Alina Popa as part of the artist duo The Bureau of Melodramatic Research to investigate how passions shape contemporary society. Her work was shown at Swimming Pool Sofia, Changing Room Berlin, Centre for Contemporary Art Derry, Glasgow International, HOME Manchester, Contemporary Art Center Vilnius, etc. 

 

Gosia Gajdemska is a choreographer, dancer, dance educator and performance artist. In her artistic practice, she combines contemporary dance, improvisation, contact improvisation, somatic techniques and influences from video art and film, touching upon such notions as (re)presentation, image, and identity. She is also co-founder of the IN.TO Collective, which creates works around choreography, fashion, and visual arts.

Florence Freitag is a Berlin-based artist, writer & curator working across performance/dance, video and voice. She is currently listening to mourning voices and bird sounds, collaborates with Sandhya Daemgen on the series What’s That Noise?, hosts camerabodyeye workshops with Camille Käse and facilitates collective sensorial journeys with Lisa Stewart. Florence is part of the queer feminist collective Altes Finanzamt e.V. and co-founder of TanzRaumGörlitz.