Sunday 15th of December 2019 from 6.30pm at grüntaler9

Sonntag 15. Dezember 2019 ab 18.30 Uhr in der grüntaler9

What connects Toblerone to Steve Jobs, cocaine, orange juice, the Virgin Mary, Heinz Ketchup, farts, and Immanuel Kant? Olof Olsson takes you on a mind-bending ride of comic infotainment. 

Driving the Blues Away is an info comedy racing through the histories of art, chocolate, cola-drinks, personal computers, philosophy, and theology. Along the way there’s a romantic melodrama – where Olof’s almost partner is seduced by an ultra famous software entrepreneur in the tax-free shop of Delhi’s Indira Gandhi Airport. The whole thing is steeped in Olof’s twisted love of language: “Our language and the world are not always hooked up one-to-one. It’s a mess, and that makes us nervous. But it’s a funny mess.”

Olof Olsson is a product of the charter tourism of the 1960s. His Dutch mother and Swedish father met in Mallorca. In his youth Olof made attempts in journalism, documentary photography, and as a radio disc jockey. After having studied languages, philosophy and translation theory, Olof studied visual art at Konstfack in Stockholm and the Royal Academy in Copenhagen. Since 2007, Olof has focused on performing info comedy.

Do, 28/11/2019 – So, 01/12/2019

Fäcebook Event

Field Notes Berlin

Minute/Year: Four Years is a visual and sonic archive of Minute/Year, an ongoing process-based installation by the artist duo Kovács/O’Doherty.

Minute/Year: Four Years will present one thousand, four hundred and twenty-seven spectrogram images — one for every day since January 1st, 2016. These images form a visual and sonic archive of all the recordings created by the Minute/Year installation to date, and will be presented as three parallel video projections (one each for 2016, 2017, and 2018), alongside a colossal, wall-sized grid-collage of all images from the current year.

Minute/Year is a sound-based artwork, which began almost four years ago on January 1st, 2016. The work has generated compelling sounds and images, for one minute each day, ever since, in an accumulating, serial process. Since the beginning of 2019, the work has been running at grüntaler9. As a result, attendees at Minute/Year: Four Years will also have an opportunity to experience the recording-playback process of Minute/Year, as it happens each evening.

Minute/Year: Four Years will comprise audio, video, and a wall-sized grid-collage, presenting all sounds and images generated by Minute/Year over the last four years. It will be a unique opportunity to experience the scope of this ambitious durational work, and the first time that the complete record of this work has been shown in a single space.

The work can be visited daily 4–9pm. Those who also want to hear the recording-playback process of Minute/Year, as it happens each evening should come no later than 8:19pm. The recording is happening at exactly 8:19pm and lasts only one minute.

More info about the work can be found here: www.kovacsodoherty.com/minuteyear or feel free to drop us a line: mail [at] kovacsodoherty [dot] com
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[DE]

Minute/Year: Four Years ist ein visuelles und auditives Archiv der prozessbasierten, andauernden Installation Minute/Year des Künstlerduos Kovács/O’Doherty.

Minute/Year: Four Years zeigt eintausendvierhundertsiebenundzwanzig Spektogramme – eines für jeden Tag seit dem 1. Januar 2016. Es präsentiert ein Archiv aller Aufnahmen, die im Rahmen der Minute/Year-Installation bis dato entstanden sind. Projiziert als drei parallele Videos (ein Video pro Jahr — 2016, 2017, und 2018), wird das Archiv durch eine kolossale, wandfüllende Rastercollage aller Bilder des aktuellen Jahres ergänzt.

Minute/Year ist ein klangbasiertes Kunstwerk, das vor fast vier Jahren, am 1. Januar 2016, begonnen wurde. Das Werk hat seitdem in einem sich akkumulierenden, seriellen Prozess fesselnde Klänge und Bilder von einer Minute jeden Tages generiert. Die Arbeit läuft seit Anfang 2019 bei grüntaler9. Folglich haben Besucher von Minute/Year: Four Years die Gelegenheit, den Aufnahme-Wiedergabe-Prozess von Minute/Year, der jeden Abend passiert, zu erleben.

Minute/Year: Four Years bringt alle Klänge und Bilder, die die letzten vier Jahre über im Rahmen von Minute/Year entstanden sind, in der Form von Audio, Video und einer wandfüllenden Rastercollage zusammen. Dies ist eine einmalige Gelegenheit, den gesamten Umfang der ehrgeizigen Arbeit zu erfahren, und das erste Mal, dass alle Aufzeichnungen des Werks an einem einzelnen Ort präsentiert werden.

Die Installation kann täglich 16-21 Uhr besucht werden. Diejenigen die auch den Aufnahme-Wiedergabe-Prozess von Minute/Year, der jeden Abend passiert erleben möchten, sollen nicht später als 20:19 Uhr kommen. Das Prozess passiert jeden Tag pünktlich um 20:19 Uhr und dauert nicht mehr als eine Minute.

Mehrere Info ist auf die Website zu finden: www.kovacsodoherty.com/minuteyear oder gerne auch via Email: mail [at] kovacsodoherty [dot] com

With a series of Open Minute Events: Open Minute #1 on Sunday March 10 at 7.30pm and Open Minute #2 on Monday May 20 at 7:30pm. All are welcome to join.

Minute/Year is an automated, multi-year, sound-based durational installation work. For the entirety of 2019 — beginning on January 1, and continuing until December 31 — it is installed in grüntaler9, for its fourth annual iteration. 

Minute/Year is an automated, multi-year, sound-based durational installation work. For the entirety of 2019 — beginning on January 1, and continuing until December 31 — it is installed in grüntaler9, for its fourth annual iteration. 

Every day, for one minute, Minute/Year adds a new layer. A daily process occurs: the sound that is happening at grüntaler9 during one single minute is recorded. But, simultaneously, the previous day’s recording – of the sound of the same space, 24 hours before – is played back into the space. So, each recording includes its predecessor, which includes its predecessor in turn, and so on, in a potentially infinite regression. Each day’s minute-long recording is then converted into a spectrogram – an image of the frequencies of the audio — and the two parts are then published online.

This entire process is automated and runs daily at 20:19 (in 2019). Through this daily three-step process, the sounds of daily life — of human and non-human activities, large and small — become material for a layered index, which develops, mutates and degrades over time, a kind of repeating surveillance turned inside-out. Minute/Year is partly an online archive, partly an accumulating layering process, and partly a multi-year durational sound installation.

Minute/Year began on January 1, 2016, and has generated compelling sounds and images for one minute each day ever since, in an accumulating, serial process. It has no set ending date.

Kovács/O’Doherty (Kata Kovács and Tom O’Doherty) have worked as a collaborative duo since 2011. Their work combines elements of durational and time-based art, minimalist and electroacoustic music and sound, movement, and video. This work often applies rigorous processes to simple but frequently-overlooked phenomena — they are interested in processes, sounds, and movements that come close to imperceptibility, and the ways in which this material can be transformed through layering, rhythm, pattern, and repetition.

Foto: Nina Isabelle

APA-B # Sharing Practices invites to MARSH, a presentation of sorts from Esther Neff

Tuesday 18 September 2018 from 7-10pm at grüntaler9 – all are welcome

Fäcebook Event

Esther Neff has flown over the ocean to be with us, and to share her work and knowledge from years as a turbo force – organizer, activist, performer and curator at Panoply Performance Laboratory in Brooklyn – an important hub for performance art and social action which has a long relationship with APA-B and Grüntaler9. The space has now been sold and is entering it’s final months of existence as PPL. On Tuesday Esther will share her reflections (a presentation of sorts) about this transition, and will talk about her new space, MARSH, which is being built, envisioned and gardened by many hands in St. Louis, Missouri. Come!

About PANOPLY:

PPL performs operations (opera, performance art, digital, interactive and sonic artworks, video, sculpture, social projects, life-art projects) initiated/situated/structured/written/composed/fabricated/designed and performed by Esther Neff, often in collaboration with a flexible ensemble, other artists and organizers, members of local and global communities, and publics of individuals. PPL has often performed across experimental philosophy, music, dance, theater, activist, and visual arts contexts.Read more: http://www.panoplylab.org/

About MARSH:

MARSH (Materializing and Activating Radical Social Habitus) is a not-for-profit organized as a cooperative laboratory for practical investigation of rooted and relational forms of social, economic, ecological, and cultural composition. As a performative commons, the Laboratory combines urban farming and food-sharing, artistic and cultural practices, and collective ideation and experimentation in order to cultivate diversiform tactics and strategies for resilience and bio-cultural (in/re)formation. Read more: https://marshlife-art.org/

About ESTHER Neff:

„I am not a specialized, efficient, or productive function of social reproduction or a representation/representative of capital(ist) value(s). I am a relatively medium-sized animal which has not been properly domesticated. Sure, I know how to use Microsoft Excel and make a blueberry pie. Materializing meaningfulness, however, is a social operation, requiring some marking motions as intentional cognizing, semblative enaction of ideals, and coping tactics within and as affective (dis)orders.“

Esther Neff is the founder of Panoply Performance Laboratory (PPL), a thinktank and collaborative entity generating performances-as-art, situations, operas of operations, performance of and as theory, social research projects, and discursive social settings such as conferences, symposia, meetings, festivals, exhibitions, and shows. PPL operates as work by Neff and collaborators and as a public lab site in Brooklyn, NY.

Neff is the organizer of PERFORMANCY FORUM and a is member of Feminist Art Group (FAG), Social Health Performance Club, No Wave Performance Task Force. Frequent collaborators include Brian McCorkle, Kaia Gilje, Leili Huzaibah, Maria Hupfield and IV Castellanos, and many others. Neff is also the “initiator” of the Brooklyn International Performance Art Foundation (BIPAF). Organizational, collective, institutional, and relational configuration becomes hybrid dramatics (theater/theory) when conflated, correlated, and co-constructive with performance-as-art. Read more: https://estherneff.wordpress.com/

Learn more about the Association for Performance Art – Berlin:
https://apa-b.org/
https://www.facebook.com/APArtBerlin/

On Saturday 11 August 49 people will perform for LEGS NINE at grüntaler9 during the Project Space Festival Berlin.

THE FINAL ARTIST LIST IS OUT NOW!

Visitors may come and go, and stay as long as they like.
Yes, there will be beer.

Facebook Event

Upcoming Events at grüntaler9:

In July 2018 performance artist Sandra Johnston will visit Berlin and perform – detailed program will follow.

From August 1st to 4th 2018 grüntaler9 will collaborate with the uferstudios for ausufern 2018 – detailed program will follow.

On August 11th, 2018 the space will participate at the Project Space Festival Berlin 2018 – detailed program will follow.

TAKE the CAKE : The Sponge By April Gertler

Thursday July 13, 2017 at grüntaler9.

All are welcome. No reservation needed.

Fäcebook Event

This performance lecture runs within the program of the Berlin Food Art Week 2017. The whole program and more information about BFAW online.

TAKE THE CAKE: The Sponge is a Lecture Performance meets Cooking Show. By using the structure of the Cooking Show, the platform explores this year’s topic of Food Art Week, vs. Meat. The Sponge includes a mix of the practicalities of how to actually make a Sponge Cake combined with a feminist discourse discussing the political, social, historical and nutritional implications of the egg, not only as an ingredient but as a key biological element in human reproduction.

April Gertler is an American artist who has been living and working in Berlin since 2005. April’s work is preoccupied with the idea of the experience of a communal moment as an access point. That point of departure is, but not limited to, the making of things and events, occasional curation, and more currently, performance.

She has exhibited and taught internationally. April keeps a few socially engaged practices running on a month or bimonthly basis – projects which include; Sonntag (a monthly even which invites an artist to show their work and April along with her collaborator make that artist’s favortie cake), in addition to DETLEF (manchmal eine Bar, immer um 21Uhr), is co-initiated with Hannah Goldstein, Julien Villaret and Adrian Schiesser.

In September 2016 April was awarded a research grant by the city of Berlin for her newest project TAKE THE CAKE. This project mixes the lecture performance format with a baking show.

Süpperclüb Exchange with Theertha Initiative Colombo

Thursday 6 July 2017 from 6 – 10pm

Fäcebook Event

All are welcome. Food and drinks by donation.

grüntaler9 and APAB – Association for Performance Art Berlin invite for a dinner and exchange with Thisath Thoradeniya who is a core member of Theertha and an artist, and an amazing cook!

Words as appetizers: We will cook a Sri Lankan style Brinjal curry (Egg plant). Brinjal will be cooked in coconut cream and spiced up with curry powder which is a mix of Indian spices. Its mainly used in South Indian cooking and Sri Lankan cooking. Then the Dhal fry. Its going to be a bit dry. Not with gravy. Anyway we are going to cook rice.

What is Theertha?
Theertha is an autonomous, artist-led non-profit initiative based in Colombo. Theertha has undertaken considerable amount of art activities since its inception in 2000. First, started by 11 visual artists to facilitate international art exchange through international artist workshops in Sri Lanka, it has expanded its activities to include art education, publications on art/culture, heritage management through art and international residencies. Theertha established its own alternative art space ‘Red Dot Gallery’ in 2007 in order showcase the experimental and contemporary art produced within its programs.

The core objective of Theertha International Artists‘ Collective is to explore the possibilities of exchanging ideas and knowledge across ethnic, regional and artistic borders, in the context of contemporary critical art practice in Sri Lanka.