tuned city

@tunedcity

Marc-Alexandre Reinhard put an extensive documentation of his project Act as Fate Wills, Destruction Comes online. One hundred micro interventions were performed in the ruins of the Temple of Zeus on Mount Ithomatas and at various locations on the archeological site of Ancient Messene. Please have a look at https://entopias.tumblr.com

You can see the program book here >>>

The program is complete! >>>

Performative installation programmed to operate 24 continuous hours. Within this time frame, an algorithm modulates amplitude and increase resonant qualities of 16 channels of white noise. 2 surfaces of 310x230cm were designed and installed in relation to the architecture of the exhibition space. The surfaces rotate independently in a fixed angle, acting as passive filters.

Continue Reading “Mario de Vega – FALL installation documentation”

Tuned City’s previous milestones Berlin 2008, Tallinn 2011, and Brussels 2013 used to take place in central European metropolises. This year, Tuned City visits Ancient Messene June 1st – 3rd and seeks out the exemplary ‘ideal city’, the ancient Greek polis. See details >>>

Bavarian Goasslschnalzer (traditional whip crackers), large moving mirrors, massive amounts of water – preview of Tuned City 2018 with a new commissioned work by Mario de Vega in the famous Wasserspeicher Berlin (former historic cisterns). Chapter 2 will premiere in Ancient Messene, June 1st – 3rd 2018. Continue Reading “Mario de Vega – Spiegelung”

May 31st – June 3rd 2018 – Tuned City, Ancient Messene.
The urban landscape of Messene was constructed in the Early Hellenistic era, according to certain architectural and town-planning principles of spatial organization, which reflected the political and social values of the period applied to the demands of this programmatic city founded by the Thebans in 369 B.C. on the south slopes of mount Ithome. The city was famous for its mighty fortification walls, the monumentality of its public buildings and the Hippodamian town-plan. Continue Reading “SAVE THE DATE! – TUNED CITY – LISTENING POLITICS”

Acts of Listening part one @ Festival Tsonami, Valparaiso/Chile – have a look at our photo-documentation and our blog.

The book documenting Peter Cusack’s Berlin research is finally out. In the frame of his residency at DAAD Artists-in-Berlin Program in 2012 we developed and produced a series of events together which extended to this little publication.

Berlin Sonic Places: A Brief Guide is an appreciation of, and an enquiry into, Berlin’s sounds and soundscapes in all their moods of noise and quiet. It asks why does Berlin sound the way it does and what makes one neighbourhood sonically different from another. It pays attention to the aural character of particular buildings, streets, squares and green spaces, listens to the city’s public transport system and celebrates the importance of nature to Berlin’s acoustic environment. Briefly it attempts to find out what Berliners think and feel about the sounds of their city and how Berlin’s soundscape compares with those of other European capitals? Berlin Sonic Places: A Brief Guide raises the question, “How do we hear the cities in which we live?” and offers some thoughts and responses from Berlin’s point of ear.

With contributions by: Pascal Amphoux, Peter Cusack, Max Dixon, Anna Fritz, Eva Kietzmann, Petra Kübert, Valeria Merlini, Udo Noll, Martyna Poznanska and Fritz Schlüter.
Edited by DAAD Artists-in-Berlin Program

In English, 96 pp., photos, audio files online, soft cover with sound walk map,
Pb., € 12.–, 978-3-95593-083-7

http://www.wolke-verlag.de/cusack.html

We are very excited to announce a new collaboration with the festival TSONAMI in Valparaiso/Chile.
Thanks to the help of the Goethe-Institut international co-production fund we will be able to start an extensive research project, connecting Tsonami/Valparaiso (2017) and Tuned City/Messene/Greece (2018) with a residency exchange program.

The preparations for the next edition of TUNED CITY at Ancient Messene started. For the first time the place will be not an urban central European city, but actually the exemplary „ideal city“ in the sense of the Greek polis. You can get an impression of the site in this extended photo documentation >>>

INTERFACES is an international, interdisciplinary project focusing on bringing new music to an extensive range of new audiences. It involves a partnership of organisations from a wide range of European countries having a broad spectrum of experience in fields such as performing, multi-media exhibitions, new media, acoustic and electroacoustic research and education. This trans-sectoral approach is the key to opening up new perspectives on both the creative dimension of the project and the central objective, which is to engage new audiences of all ages and those potential audience segments which, for a variety of demographic or cultural reasons have not yet been exposed to the music of our time.
The Interfaces network includes the following partner institutions: Onassis Cultural Centre (GREECE), De Montfort University (UK), European University Cyprus, IRCAM (FRANCE), ZKM | Center for Art and Media (GERMANY), CREMAC (Romania), Q-02 (BELGIUM), ICTUS (BELGIUM), Klangforum Wien (Austria), the affiliate partners Centre Iannis Xenakis (FRANCE), Theatrum Mundi (UK), Tuned City (GERMANY) and Medea Electronique (GREECE) and was made possible thanks to the support of the Creative Europe Programme of the European Union.
Tuned City will take place in the frame of Interfaces in June 2018.

In times of ‘hyperconnectivity’ the Dutch-Belgian collective TAAT (Theatre as Architecture Architecture as Theatre) takes the idea of architecture as theatre to the extreme. HALL04 is a Do-It-Together-theatre-installation that allows visitors to meet under special conditions in a large-scale wood sculpture.

The Berlin version at DAZ (11.-18. September 2016) was constructed by TAAT in cooperation with architecture students of Alanus Hochschule and theater students of Aberystwyth University under special consideration of sound as medium. We tutored parts of that process.

http://www.daz.de/de/hall-04/

The next Tuned City will take place in June 2018 in Ancient Messene / Greece in collaboration with the Onassis Cultural Centre Athens in the frame of the Creative Europe cooperation project ‘Interfaces’. In spring 2017 we’ll kick-start the project with a series of residencies and workshops.
We will announce a call soon, please stay tuned!

For the Polish Institute Berlin we curated and produced a solo show of Konrad Smolenski.

Phantom – something, what exists only in your imagination or fantasy, something not real, an illusion, a confusion of the senses.
Stage, gallery, institution – Konrad Smole?ski utilises the icons, artefacts, spatial determinations, codes and social syntax of contemporary culture production and presentation and undercuts their conventions and formats.
PHANTOM POWER plays with symbolic assignments, presence and absence and shows, how Foucault formulated so spot on “[…] that we do not live in a homogeneous and empty space, but on the contrary in a space thoroughly imbued with quantities and perhaps is full of phantoms as well.”

Konrad Smolenski (1977) works with sound, film, object in-between installation, performance and situation. In 2013 the internationally successful artists represented Poland at the 55th Venice-Biennale. http://www.konradsmolenski.com

Continue Reading “PHANTOM POWER – Konrad Smolenski”

Just contributed an article (Acoustic Knowing – Formats of Mediation between City and Sound) to this book.
This publication on the theory and history of artistic practice in the field of sound art illustrates themes and debates concerning the homonymic meeting that was held last summer at the University of Fine Arts in Braunschweig. In the field of sculptural art that uses sound, interventions using sound have developed since the 1980s into an area of their own, to which practice, artistic application, and theory are matched within the context of teaching at the UFA. Ingo Schulz, Ulrich Eller, and Christoph Metzger motivated renowned curators, artists, and theorists of sound art to take their inventory of the resonant art form. The book reflects the status of university teaching across Germany as well as curatorial practice and is so designed as to further the aesthetic debate in this field beyond music.

Editor: Christoph Metzger, Ulrich Eller
Authors: Andreas Oldörp, Anne Müller von der Haegen, Annette Tietenberg, Antimo Sorgente, Bärbel Schlüter, Carsten Seiffarth, Carsten Stabenow, Christoph Metzger, Dennis Graef, Franz Martin Olbrisch, Fraucke Stiller, Ingo Schulz, Jens Brand, Johannes Meinhardt, Julia Gerlach, Maija Julius, Robin Minard, Sebastian Pralle, Ulrich Eller

ISBN 978-3-86828-641-0