11:00-18:00 / ongoing

REVOICE, 2022

performance on a barrel organ
Luca Soudant (*1993, lives & works in Maastricht and Heerlen/NL)
invited by Greylight Projects, Heerlen (NL)
venue: outdoor, main court


REVOICE is a performance on a barrel organ. The organ plays sound recordings from a solidarity protest in Amsterdam against the lurking threat of the U.S. American supreme court overturning the national right to abortion. One month after the protest, on the 24th of June 2022, the supreme court declared the right to safe abortion no longer to exist. Digitally programmed with this material, an interesting friction is created between the new sound collages and the history of the instrument. It can be placed anywhere and is activated regularly.


Luca developed REVOICE during their residency in the guest studio of Greylight Projects in Heerlen from April until the end of June 2022. Here, the sound of a barrel organ, playing from the neighbor's garage box, caused an uncanny experience, distorted the usual and inspired them to connect the organ’s physicality to the political moment described above. Luca and the neighbor both share an interest in gabber music (a variant of hardcore techno).


Luca Soudant is a PhD researcher at the Open University, artist, DJ (ADIË) and teacher at Maastricht Institute of Arts. They graduated from the University of Amsterdam with a research master's degree in Cultural Analysis and from Sandberg Institute with a master's degree in Critical Studies. Soudant’s research combines academic scholarship with artistic practice and is situated at the intersection of gender studies, posthumanist feminism and sound studies working with an anti-capitalist mindset.


lucasoudant.com

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11:00-18:00 / ongoing

Shooting, 2012

2-Kanal-Videoperformance, 2 min.
Britta Thie (*1987 in Minden/Germany, lives and works in Berlin/Germany)
invited by Leopold-Hoesch-Museum, Düren (DE)
venue: Emperor's Hall, Main Building


Britta Thie is a Berlin-based artist whose work engages emerging technologies and the relationship between the self and digital representation. She studied Fine Arts at Universität der Künste Berlin and graduated as part of the class of Hito Steyerl in 2013 with a focus on video and film. In 2010 and 2011, she studied at The Cooper Union of Arts and Science in New York City (class of Sharon Hayes) and expanded her film making with performance ele-ments. From 2016 to 2017, she was teaching as a guest professor at the University of Applied Arts in Offenbach am Main, Germany.


In Shooting, she re-stages a so-called »test shooting«, in which prospective models work unpaid for »free pro-jects« of photographers and in return receive the resulting images for their »model book« (portfolio). Thie took part in such a shoot as a young woman. She imitates the photographer's commands, as a literal script of commer-cial image creation. On the other hand, she plays herself: Like a puppet, she obediently carries out the changing instructions, which are given in an increasingly rapid rhythm with increasing aggression.


The script is a 1:1 trans-lations of the photographers words. In the end, she performs an absurd interplay of commands such as »hunch-ing shoulders, bony, arrogant, suffering, suffering more, arrogant, arrogant suffering, new fixed point... «. Shooting presents the extraordinary level of artificiality of fashion photography and is a metaphor for the state of self-exploitation and self-mortification in the gig-economy.


brittathie.tv

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12:00 / duration ±20 min.

True, False, Truly False, Falsely True, 2022

lecture performance
Daniel Frota de Abreu (*1988 Rio de Janeiro/Brazil/NL)
invited by Jester (formerly FLACC / CIAP), Genk (BE)
venue: Garden Hall, Main Building


Through archival research, films, sculptures and lecture-performances, Daniel Frota de Abreu investigates the place of montage and fabulation in the portrayal of historical events by documentary practices. His research spans centuries and continents, drawing connections between the geographical displacements of memories and the political implications embedded in scientific knowledge.


During his residencies at Jester in Genk and at Jan van Eyck Academie in Maastricht, he worked on his multiyear project As far as the world reaches. It addresses relations between colonial expansion and ecological exhaustion through the transatlantic trade of plant and animal species taken from Brazil to The Netherlands in 17th century. The lecture-performance True, False, Truly False and Falsely True weaves relationships between notions of mi-mesis, media manipulation and scientific objectivity from colonial documents, botanical drawings and editing tech-niques used in newscast.


danielfrota.com

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13:00 / duration ±20 min.

Mizuya Companion, 2022

site-specific performance
Tessa Knapp & Yoshie Shibahara (1981 in Stuttgart and 1972 in Shimane/Japan, live & work Cologne/German)
invited by Kunsthaus NRW (DE)
venue: Former Monastery Kitchen


Mizuya (Japanese for water room) means kitchen, water seller, but also means tea preparation room or purifica-tion basin in a temple. The artist duo Knapp & Shibahara transform the former monastery kitchen at Kunsthaus NRW into a contemplative laboratory of seeing, hearing and experiencing. The site-specific performance is ac-companied by digital voice assistance in Japanese and German.


Tessa Knapp works space- and time-based in the field of media art, site-specific installation and performance. She studied media art at the Kunsthochschule für Medien Köln (DE) and is represented in thecollection of Kunsthaus NRW. Her multimedia works have been shown at Videonale 9 + 11 at Kunstmuseum Bonn, European Media Art Festival, Hongh Gah Museum Taipei, Museo Paço das Artes São Paulo.


The performer Yoshie Shibahara works at the interface between choreography, installation and performance. She began her dance training in Osaka in 1992 and studied elementary dance and movement theatre at the Sport University in Cologne. She was awarded the NRW Female Artist Prize, Cologne Dance Theatre Prize and Interna-tional Choreography Competition Ludwigshafen.

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14:00 / duration ±55 min.

garten der fragmente & sammlung mit losen enden 05: aufbrechen

venue: Museum reception at the main entrance of the museum


Guided tour through the collection exhibition of the kunsthaus NRW and the sculpture garden.

15:00 / duration ±20 min.

Emergency Ex, 2022

performance
Catinca Malaimare (*1996 in Bucharest/Romania, lives & works in London/UK)
invited by IKOB, Eupen (BE)
venue: Freestanding Hall


Catinca Malamaire stages an intimate encounter between human bodies and machines. In a choreography of movement, sound and light, human and non-human actors become equal collaborators in creating a sensuous and otherworldly environment. Suggesting not just a technical, but an affective co-dependency between us and our screens, Emergency Ex conjures a not-so-distant future where face and interface have become indistinguish-able.


Catinca Malaimare is a London-based Romanian artist. She completed her postgraduate studies from the Royal Academy of Arts, London, in 2022. Performing alongside anthropomorphised technologies, her choreography manifests our intimate relationship with photographic tools and the screens onto which they project our visages. Malaimare will be taking part in Optoma Artist’s Day 2022, working with the projection technology specialist group exploring the needs of the contemporary digital artists. She has been awarded a residency at TUA, Tokyo, JP (2019) and the Ivor Rey Travel Bursary for Paris, FR (2020). Malaimare has exhibited internationally in both institutional and gallery contexts.


www.catincamalaimare.com/emergency-ex

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16:00 / duration ±30 min.

Waves of Worship (WOW), 2016/2022

lecture performance,
Vanja Smiljanić (*1986 in Belgrad/Serbian Republic, lives & works in Cologne/Germany)
invited by Kunsthaus NRW (DE)
venue: Garden Hall, Main Building


Vanja Smiljanić concluded her post-master at A.pass, Brussels (2015), MFA at the Dutch Art Institute (DAI), Arn-hem (2012), Kunsthochschule für Medien Köln (2019), Faculdade de Belas Artes de Lisboa (2009). Her focus is on interdisciplinary projects within the fields of visual arts, video, and performance. She often utilizes performance lecture as a way to bridge fictitious and experiential universes, comprising technical apparatus, diagrams, and sci-fi Povera sculptures, shifting between the position of oracle and storyteller. She has shown in various international institutions.


Waves of Worship (WOW) is the last part of a three-part examination of the relationship between new religious movements and nationalism. It is based on a comparative examination of the Internet-based, religious UFO movement of the Cosmic People and the Flag Nation Society, a Christian community that expresses its faith through the practice of flag worship. Smiljanić once again appears in her position as a Minister of the Cosmic People for the countries of ex-Yugoslavia, Portugal, and the former Portuguese colonies. Her perspective changes between a clairvoyant vision of a dystopian future in which the Cosmic People are in a cyber war against their primordial enemies, the Saurians, and the present, in which she is a hardware developer establishing a defense system against hacker attacks.


vanjasmiljanic.wordpress.com

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17:00 / duration ±20 min.

Mizuya Companion, 2022

site-specific performance
Tessa Knapp & Yoshie Shibahara (1981 in Stuttgart and 1972 in Shimane/Japan, live & work Cologne/German)
invited by Kunsthaus NRW (DE)
venue: Former Monastery Kitchen


Mizuya (Japanese for water room) means kitchen, water seller, but also means tea preparation room or purifica-tion basin in a temple. The artist duo Knapp & Shibahara transform the former monastery kitchen at Kunsthaus NRW into a contemplative laboratory of seeing, hearing and experiencing. The site-specific performance is ac-companied by digital voice assistance in Japanese and German.


Tessa Knapp works space- and time-based in the field of media art, site-specific installation and performance. She studied media art at the Kunsthochschule für Medien Köln (DE) and is represented in thecollection of Kunsthaus NRW. Her multimedia works have been shown at Videonale 9 + 11 at Kunstmuseum Bonn, European Media Art Festival, Hongh Gah Museum Taipei, Museo Paço das Artes São Paulo.


The performer Yoshie Shibahara works at the interface between choreography, installation and performance. She began her dance training in Osaka in 1992 and studied elementary dance and movement theatre at the Sport University in Cologne. She was awarded the NRW Female Artist Prize, Cologne Dance Theatre Prize and Interna-tional Choreography Competition Ludwigshafen.

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