4-6 October 2013 ::::::::: TEUFELS¦BERG (the devil is (in the) listening) ::::::::: by CLÜSTER BOMB [collective]
::::::::: a sound walk ¦ a performance installation
opening ::::::: 4 October 2013 19-22h
installation ::::::: 5 – 6 October 2013 14-20h
artist’s talk ::::::: 6 October 2013 14h
Please bring a device for mp3 file transfer to listen to our sound walk and one form of ID as a deposit in exchange for a pair of our Teufel headphones.
CLUSTER BOMB [collective] are sponsored by Typisch Teufel GmbH and supported by Europa – Tag des Denkmals & European Heritage Day and Grüntaler9.
www.clusterbombcollective.com www.thedevilsmountain.tumblr.com
@CLUSTERBOMBc #thedevilsmountain
www.teufel.de www.ehd.coe.int
the [collective] are:
Scarlett Lassoff
Kerstin Möller
Lulu Obermayer
Alicia Radage
Paul Striegel
Sebastian H.W.
Jacob Woods
Our performance begins with you, our audience, taking a short sound walk with our headphones around the local area of Wedding surrounding Grüntaler9. Once you have completed your walk, you are welcome continue to listen to our soundscape and enter Grüntaler9, into our immersive performance installation to experience the shifting, complex layers of the unfinished story of Teufelsberg, the devil’s mountain. You are welcome to stay as long as you like and leave when you want.
The [collective] have returned to Berlin as artists in residence at Teufelsberg and the Grunewald to devise their latest performance project entitled TEUFELS¦BERG (the devil is (in the) listening) exploring the performance of listening:
“…the Allies already had radar facilities at Tegel, Tempelhof and Gatow airports. Teufelsberg’s function was to listen – nothing more.”
Our residency in Teufelsberg explored and questioned the passive nature of listening audiences in both theatre, performance art and sound walks, in order to find news ways of allowing audiences to make free choices in supposedly controlled guided tours around historical contexts, as well as the meaning of being an ‘audience’ themselves:
audience (n.)
late 14c., “the action of hearing,” from Old French audience, from Latin audentia “a hearing, listening,” from audientum, present participle of audire “to hear,” from PIE compound *au-dh- “to perceive physically, grasp,” from root*au- “to perceive” (cf. Greek aisthanesthai “to feel;” Sanskrit avih, Avestan avish “openly, evidently;” Old Church Slavonic javiti “to reveal”).
Performance Art and Contemporary Theatre has a tradition of emphasizing the visual over the other five human senses; the [collective] have explored the potential for our individual performances to be re-constructed through the sonic recording taken from our performances during the residency, along with field recordings of the Teufelsberg site, to weave together a collaborative sound-walk in relation with each [collective] members performing art practice – be it theatre, choreography, writing, visual, digital, video and sonic arts.
CLUSTER BOMB [collective] are contemporary performing artist collective, established in 2009 at Dartington College of Arts and Falmouth University, who specialise in devising contemporary performances evolving out of a cross-disciplinary, collaborative process.
The [collective] are based in London, where they are current studio artists at ]performance s p a c e [, the UK’s only performance art specific gallery
and artist-led non-profit organisation.
The [collective] work with a wide variety of international artist, all of whom have a strong background in the contemporary performance fields of theatre, choreography, writing, visual, digital, video and sonic arts.
The [collective] have developed performance projects on both a national and international level, and have been supported by Artsadmin, Battersea Arts Centre,Anolfini Bristol, University College Falmouth, ]performance s p a c e [, and Kunstfabrik/Flutgraben e.V, Berlin.
www.abandonedberlin.com
www.etymonline.com