fabiola-in-the-space

▶ 28.05.2016 ● FABIOLA in the SPACE

Place: private venue - Villa in Sachsenhausen, Frankfurt am Main

Start: 18.00

Entry: invitation only (nach Anfrage)

PROGRAM

1)Welcome & Introduction

by Jagoda Szmytka

2)Music performance 1

ENTER Collecthief RE:John Dowland

3)Music Performance 2

ENTER Collecthief RE:John Dowland

4)Lecture by Aileen Treusch Part 1

5)Music Performance 3

ENTER Collecthief RE:John Dowland

6)Lecture by Aileen Treusch Part 2

7)Fabiola Workshop

Audience is encouraged to make own

"FABIOLAS"

8)Music Performance 4

TIME BRIDGE - Tobias Rueger

9)Music Performance 5

RE: Erik Satie

10)Lecture by Monika Żyła Part 1

11)Music Performance 5

RE: Erik Satie

12) Lecture by Monika Żyła Part 2

14)Sound Space - Yannick Hofmann

& Monika Żyła

Audience is encouraged to create own

"SOUND SPACES"

Tobias Rueger - saxophone

Despina Apostolou - piano

Yannick Hofmann - installation

Jagoda Szmytka - installation

ENTER Collecthief:

Jagoda Szmytka - voice

Paul Huebner - trumpet & FX

Steffen Ahrens - e-guitar & FX

Aileen Treusch

LECTURE - FABIOLA: LOST and FOUND

FABIOLA" is a project by Francis Alÿs - a Belgian born, Mexico-based artist who has spent more than 15 years in collecting, searching and rediscovering copies of an old masterpiece portraying the catholic saint Fabiola. Jean-Jacques Henners original painting from 1885 has gone LOST but at the same time the image has somehow become "viral" - she is found in endless copies on flea markets, antique stores and thrift shops. Within my lecture I investigate the multiplication process of images and

highlight the value of art.

Mostly the work of amateurs D. L. Gamboni has already compared the reproductions of the missing original to the expanding light of a vanished dead star. Francis Alÿs is trying to capture this light by gathering all Fabiola copies he can find. By exhibiting and placing them in the most prestigious art galleries and museums of the world, such as the National Portrait Gallery London they might have become even more famous than the original. Finally the copy has taken over the SPACE.

The lecture is also extended to an active part. A "Call for Fabiola" has been opened and new copies by contemporary artists have been commissioned - to be prepared especially for the PLAY event. The audience will also have the chance to be part of an ongoing

reproduction and some are asked to prepare their own FABIOLA. All artworks resulting from the call for "Fabiola" will be exhibited and

integrated into the SPACE."

Aileen Treusch

Aileen Treusch (geboren 1986) studierte Kunstgeschichte, Sozial- und Wirtschaftswissenschaften in Heidelberg und Frankfurt am Main. Seit mehreren Jahren arbeitet Sie im Kunst- und Kulturbereich. Zuletzt gründete sie zusammen mit der Künstlerin Julie Mia Struve die Initiative saint art zur Vernetzung und Förderung von Künstlern, Kreativen und Sonderlingen. Im letzten Spätsommer realisierte die non-profit Initiative das Projekt SPIEL – ein get-together mit Kunst an neuen Orten: Die Ausstellung FLOW auf der Baustelle eines ehemaligen Spielcasinos im Frankfurter-Gallus zeigte zeitgenössische regionale und internationale Positionen und thematisierte die Bedeutung des SPIELS im künstlerischen Schaffensprozess. Im Anschluss fand ausgehend von der Zollamt Galerie Offenbach und dem National Palace Museum Taipei die transkontinentale Performance SMARTPHONE PARTY 2.0 der taiwanischen Künstlerin Yu'an Huang statt, die die Grenzen realer und virtueller Welt im Kollektiv auslotet.

Für den kommenden Herbst plant Aileen Treusch im Rahmen des ASRM ein weiteres Ausstellungsprojekt in der Frankfurter Innenstadt zur POESIE DES WOHNENS. Sie lebt und arbeitet in Frankfurt am Main und ist derzeit im Veranstaltungsbereich für ein Frankfurter Museum tätig.

Monika Żyła

LECTURE - MEDIUM IS THE MESSAGE

"If the medium is the massage as said Marshall McLuhan in his 1964 book under the same title, insisting that we focus our attention on medium itself what message does live music performance carry? And why so far we did not explicitly consider classical concert settings as influencing our perception and thinking of music? Recently, mediation of classical and contemporary music has been intensly analyzed in relation

to recording technology, especially electronic and digital media. The process of musical mediation is explained in terms of rapidly developing and diversifying technologies.

In the case of live music concert formats what is at stake is a social situation, a ritual, a social experience mediated in a particular space and in a particular social situation. The message of live music performance is therefore embedded in the types of sociabilities and social encounters a concert or performance situation entails.

In my research I look mainly at the material and organizational conditioning of musical creations and performances. I fellow the argument formulated by art sociologist Howard S. Becker that questions the assumption of freedom from economic, political and organizational constraint regarding arts. In doing so I examine mainly the materiality of music by which I mean its spacious, physical and bodily features that are essential

for creating a situation-related experience of music. In my thinking about live music performances I consider concert format to carry separate meanings related to both collectivity and sociability of musical experience. This is why I suggest that overcoming conservative concert formats could be the subject of a separate artistic research. In my talk I address these issues as I consider alternative ways of collective music listening while having in mind the following questions: how to overcome

the dogmatism of a conservative format of classical music concert and how to stage music in artistically satisfying way."

Monika Żyła

Monika Żyła studied musicology and cultural studies in Wrocław, Groningen and Amsterdam. She is a cultural musicologist interested in contemporary and experimental music cultures and practices. In particular, she is interested in contemporary music festivals in Europe from the last decades of the 20th century through the present and the issues of creative processes and festivals’ curation. As a junior researcher at the University of Groningen she investigated popular and new music festivals in the Netherlands. In her MA thesis she examined MaerzMusik, the festival of new music in Berlin, in order to show the impact of a cultural institution on contemporary music and practice. She focused on two dimensions of the festival, its curation and programming as well as its use of public spaces. Currently, she works as a research fellow at the international research project “New Music Festivals as Agorai – Their Formation and Impact on Warsaw Autumn, Festival d’Automne (Paris), and Wien Modern since 1980” at the University of Salzburg. She is also enrolled there as a Ph.D. candidate, supervised by Prof. Nils Grosch. Monika Żyła published in Ruch Muzyczny, Odra, Glissando and Musikvan.nu. She lives in Berlin.

Yannick Hofmann is an interdisciplinary media artist and electroacoustic composer. His musical compositions oscillate between Music Concréte, Noise and Soundscape. In addition to artistic contributions for international festivals, conferences and symposiums, Hofmann has presented pieces within the frameworks of the Internationale Ferienkurse für Neue Musik, Darmstadt, the Ars Electronica and the ZKM. He is the recipient of the

SpatialSound Awards from the international FullDome Festivals in Jena.

Since 2013 he has presented lectures in the field of acousmatic compositions, as well as experimental audio-dramas at the Hochschule Darmstadt. Under the pseudonym YNK, he founded the vinyl record label Maria Colors in 2010.

Jagoda Szmytka

Photo Credit: Max Pauer