Christine Moldrickx – Herzschritt (Pace) Macher (Maker)
Am I an Object, part I

8 May – 13 June 2021
Thursday – Sunday, 14-18 hrs

Something oily, the smell of sweat, thighs stick together. The seams of earth between the heated asphalt slabs. Each screen seems to capture a moment of afterglow; a slow cooling down. 

Infrared sounds warm, reminiscent of an incubator lamp. Although in this case the warmest spots on the images are those that tend to lose all color. Like the snow on the roof of a heated but badly isolated house. The camera has to constantly adjust itself, to measure the surfaces again and again. Everything, also that which seems lifeless, is constantly pulsating and pumping.

The image has to push itself through a fine-meshed net. Particles separate themselves and find each other again on the other side, on another surface.
(S. says that the bodies on the images look like power plants, inside of which warmth is produced that radiates to the outside.) 

Transformation is supposed to occur inside the object. Where is the inside? Does one encounter it in the matter, while it is worked, moved, pushed against its grain – while something is done to it? The order of things. A possible sequence: word, thing, materiality… appearance. 

Christine Moldrickx’ exhibition at P/////AKT marks the beginning of a new series of solo endeavours. Am I an Object will run until March 2022, is further featuring projects by Nicola Arthen, June Crespo, Tako Taal (in collaboration with David Dale gallery, Glasgow) and Suchan Kinoshita. It will be responded to in writings and events by students from the Sandberg Institute Critical Studies Department. Alec Mateo and Benjamin Schoonenberg are taking care of the first session.

Benjamin Francis – The removal of the eye

8 May – 13 June 2021
Thursday – Sunday, 14-18 hrs

Keep Me clean
Use Me well
What I see
I’ll never tell

We can see something peeking through right, or have we become numb to its growth?

Cleansing and rinsing ourselves from the unwanted dirt. Just like bringing our cars to a carwash, we routinely bring our bodies to a place for cleaning, in which we collectively park them on a daily basis, in order to detach ourselves from the dust that lingers. That what smells and is normally present on the surface, is now being masked by the soapy antigenic surfactants that remove its ability to grow further. Yet most of its material is still there, just like the veins running underneath our skin will sometimes surface. Instead of cleansing I would call it neutralizing. Neutralizing implies, in the CIA’s professional terminology, the elimination of a leader, but could also refer to removing a possible threat.

The removal of the eye is the first of three presentations by Benjamin Francis, who graduated from ArtEZ BEAR Fine Art Arnhem in 2020.

Laura Hogeweg – SPACE OF P/////AKT
P/////AKT divided into pieces

8 May – 13 June 2021
Thursday – Sunday, 14-18 hrs

Our P/////AKTPOOL alumna Laura Hogeweg will be presenting her new edition SPACE OF P/////AKT. The edition exists in six copies, one of which will be available for visitors of the Salon who would like to challenge themselves by putting back together the pieces of P/////AKT.

Postcards from the edge is a series of online artist contributions around current and upcoming projects at P/////AKT. By the means of these small ‘notes’ we want to share some insights on the artistic thinking process leading up to exhibitions and presentations at the space. 

Check out the new contributions by Christine Moldrickx and Benjamin Francis here.

Are you looking for a short term accommodation in Amsterdam? Then look no further! P/////AKT’s apartment is available from 18 May until 31 July 2021.

The apartment is located above P//////AKT exhibition space in Zeeburgerpad 53 – 1019 AB Amsterdam and it consists of an open space (of 42 m²) with:
– sleeping area (double bed and closet)
– living area (double sofa/bed, table and chairs)
– a small built in kitchen (cooking plate, fridge, washing machine, dry machine)
– a separate bathroom with a toilet and shower
and of course there’s wifi
Regular rate: € 50,00 (excl. VAT) per night for 1 person. Extra person € 10,00 (excl. VAT) per night. One-time cleaning costs: € 25,00 (excl. VAT). Minimum stay: 3 nights.

We apply special rates for stays of 15/30/60 nights.
Interested? Please send an email to More information here.

P/////AKT would like to thank:

Mondriaan Fund, Amsterdam Fund for the Arts and Ammodo

Dear Oscillators,

A short update on today’s schedule of The Opening Night of the Oscillation Festival.

Tonight we focus mostly on the beautiful and pivotal work of the British composer and instrument pioneer Daphne Oram. Oram was involved in the founding of the legendary BBC Radiophonic Workshop*. At 20:00 sharp the musicologist Anna Steiden will talk about Oram’s most creative periode, a.o. the construction of the notorious Oramics synthesizer. We feature the movie Oramics: Atlantis Anew by Aura Satz, and Caroline Profanter will spatialize works by Oram.

© Camille Blake

The opening will be concluded by a performance of the electronic musician Jessica Ekomane, who composed for this festival a new piece. The finishing touch will be provided by People Like Us, who hosts a cascading live radio mix. During the festival the latter will also presents the A/V performance The Mirror, which will be available for streaming exclusively during the festival.

Enjoy!

The Oscillation Büro

*For those who are curious about this institute of electronic wizardry, there is a beautiful documentary available online.

Dear Readers,

We are one night’s sleep away from the grand Opening Night of the Oscillation Festival.

In understanding what the stakes are in thinking about sound, tuning is a constant touchstone. Tuning is a system, but also an activity: it plays a major role in how musicians play together, both in improvised and composed music, but it’s also deep-baked into the vocabularies of radio, music technology, DIY and environmental awareness. While in music, tuning is primarily understood as the relation of tones, it equally concerns the equilibrium between people and between human and machine. It’s a concept that can lead us to reflect further on the limits between natural and constructed; between person and environment; the human propensity for convergence; the self-regulation of systems; and the question of canonicity.

In order to understand the phenomenon better for our festival, we split the broader topic of tuning into three sub-categories of relation, which together form a cycle: attuning – feedback – detuning. These categories are themselves unstable. They overlap and intersect, and many of the artists we have invited to contribute to the festival would be equally at home in two or three of these sub-thematics. We approached attuning as a movement of coming into consonance, to site oneself in regard to others, positioning oneself in a reciprocal relationship to one’s surroundings. Feedback creates a dynamic balance of stability / instability which demands constant calibration, and is a site of reception, correction and learning. In detuning we wanted to remind ourselves that sometimes a cut is necessary, to zoom into another perspective, or to hack the system from the inside. Like sound itself, all of these are actions in time, constantly moving in and out of phase: what is now in tune will not stay that way.

We reserve a special mention for the composer and inventor Daphne Oram, who was a wellspring of inspiration on this topic. Further, we feel a deep kinship with her approach to research as something rigorous, intuitive, subjective and full of space for imagination. Her book, An Individual Note, was published in 1972, at a moment in which electronic technology for sound production and generation was changing many underlying assumptions about tuning, feedback and other sound phenomena.

The artists we have invited for the festival contribute in various ways to our reflection on the thematic framework.

So, sit tight, and tune in tomorrow at www.oscillation-festival.be. There’s a wide variety of fellow radios broadcasting bits and pieces of the festival: Radio P-Node and Listening Arts Channel will cover the festival extensively from Friday until Sunday; there will be short features on Radio Campus (Sat. 18:00-20:00) and Radio Lyl (sat. 15:00-24:00). Radio Helsinki and Cola Bora Dio will stream bits and pieces in the aftermath of the festival, so they will a good source if you missed parts. A warm thanks to all our radio friends!

The Oscillation Crew

EN FR NL

The fourth week of features a video by Alison O’Daniel: The Tuba Thieves – Scene 55: The Plants Are Protected (2015), which is available from Tuesday 27 April until Monday 3 May.

The Plants are Protected is part of Alison O’Daniel’s complex, gradually unfolding film project The Tuba Thieves. For this project, O’Daniel reverses the usual process of filmmaking by inviting composers to make scores that inform the story and process.

The Plants are Protected responds to a sound score made by artist Christine Sun Kim. A man drives a moving truck during a rainstorm. In the cargo of the truck, plants begin to shake and vocalise, becoming a chorus.

Captions describe the actual sound, but also offer other narrative possibilities and refer to the original references provided to Kim by O’Daniel, elements of her score, and discussions the two artists had while making the score.

View here.

is an online platform that critically engages with captioning as a singular artistic form of expression.

Image description: A variety of plants: orange, green, purple and pink succulents, cacti and tropical plants are stacked on cardboard boxes and situated on a wooden floor inside of the cargo of a moving van truck. The truck has a translucent bright white ceiling, letting in sunlight and two panels of maroon and red cover part of the wall toward the back right of the truck. Wood and metal beams run along the walls parallel to the floor and ceiling. The image is framed by black widescreen bars above and below. In the bottom widescreen bar, yellow text in all caps and brackets reads: [PLANT 1 – MMM, MMMMMMMM, MMMM, MM].

FR

La quatrième semaine d’ propose un vidéo de Alison O’Daniel: The Tuba Thieves – Scene 55: The Plants Are Protected (2015), qui est disponible du mardi 27 avril au lundi 3 mai.

The Plants are Protected fait partie d’un projet filmique complexe au déroulement progressif, intitulé The Tuba Thieves. Dans ce projet, Alison O’Daniel inverse le processus habituel de réalisation de films en invitant des compositeurs à créer des partitions qui éclairent l’histoire et le processus.

The Plants are Protected fait écho à une partition sonore réalisée par l’artiste Christine Sun Kim. Un homme conduit un camion de déménagement pendant un orage. Dans la cargaison du camion, les plantes se mettent à trembler et à vocaliser, formant peu à peu un chœur.

Les légendes décrivent le son réel, tout en offrant d’autres possibilités narratives, et renvoient aux références originales fournies à Kim par O’Daniel, aux éléments de sa partition et aux discussions que les deux artistes ont eues pendant la création de la partition.

Voir ici.

est une plateforme en ligne qui s’intéresse de manière critique au sous-titrage en tant que forme d’expression artistique singulière.

Description de l’image: Une variété de plantes : des succulentes, des cactus et des plantes tropicales orange, vertes, violettes et roses sont empilées sur des boîtes en carton et situées sur un plancher en bois à l’intérieur du chargement d’un camion de déménagement. Le camion a un plafond translucide blanc brillant, laissant entrer la lumière du soleil, et deux panneaux de couleur marron et rouge recouvrent une partie du mur vers l’arrière droit du camion. Des poutres en bois et en métal courent le long des murs, parallèlement au sol et au plafond. L’image est encadrée par des barres noires d’écran large au-dessus et au-dessous. Dans la barre inférieure de l’écran large, un texte jaune en majuscules et entre parenthèses indique : [PLANT 1 – MMM, MMMMMMMM, MMMM, MM].

NL

De vierde week van presenteert een video van Alison O’Daniel: The Tuba Thieves – Scene 55: The Plants Are Protected (2015), die beschikbaar is van dinsdag 27 april tot en met maandag 3 mei.

The Plants are Protected maakt deel uit van Alison O’Daniels complexe, zich geleidelijk ontvouwende filmproject The Tuba Thieves. Voor dit project keert O’Daniel het gewone proces van het filmmaken om, door aan componisten te vragen om muziek te maken die informatie geeft over het verhaal en het proces.

The Plants are Protected reageert op een soundscore die is gemaakt door de Dove kunstenaar Christine Sun Kim. Een man bestuurt een rijdende vrachtwagen tijdens een regenstorm. In de lading van de vrachtwagen beginnen planten te trillen en te vocaliseren zodat ze een koor vormen.

De captions beschrijven het eigenlijke geluid, maar bieden ook andere narratieve mogelijkheden en verwijzen naar de originele referenties die O’Daniel aan Kim gaf, elementen uit haar filmmuziek, en de gesprekken tussen de twee kunstenaars terwijl ze de muziek maakten.

Bekijk hier.

is een online platform dat ondertitels en captions op een kritische manier benadert als een unieke artistieke expressievorm.

Beeldbeschrijving: Een verscheidenheid van planten: oranje, groene, paarse en roze vetplanten, cactussen en tropische planten zijn gestapeld op kartonnen dozen en liggen op een houten vloer binnen in de lading van een verhuiswagen. De vrachtwagen heeft een doorschijnend helder wit plafond, dat zonlicht binnenlaat en twee panelen van kastanjebruin en rood bedekken een deel van de muur rechts achterin de vrachtwagen. Houten en metalen balken lopen langs de wanden, evenwijdig aan de vloer en het plafond. Het beeld wordt omlijst door zwarte breedbeeldbalken boven en onder. In de onderste breedbeeldbalk staat in gele tekst in hoofdletters en tussen haakjes: [PLANT 1 – MMM, MMMMMM, MMMM, MM].

Dear Attuned and Detuned followers,

Welcome to the second episode of the oscillation bulletin. The festival has started!

We are now halfway in a series of workshops. Tomorrow you can experience together with Aela Royer how to tune your vocal chords to a machine; and there is an online Live Coding Visuals session with Olivia Jack. Wednesday Sarah van Lamsweerde, Esther Mugabi & Raoul Carrer guide you towards a collective consciousness by tuning in to a natural environment; and Celeste Betancur will delve deeply into Live Coding Sound. Some spots for the workshops are still available, so be quick to inscribe!

Thursday we open the festival broadcast; so we kindly invite you to tune into www.oscillation-festival.be at 20:00. 

As a warm-up we prepared for you a Festival Reader with texts that give you some deeper insight in the program. There’s an online version available, and you can order a limited edition physical copy by mailing

As you will know by now: Oscillation ::: Tuned Circuits is a live radio festival. For the occasion we pirate here and there some fellow radio friends with previews. You can re-listen our show at Kiosk here and there is a radioshow at Lyl Wednesday 28th at 13:00.

That’s all for now, folks. The next days some more stories.

The Oscillation Büro

In Kürze

11.05.–15.08.2021
Helen Anna Flanagan
GESTICULATING… WILDLY

Eröffnungstag: Sonntag 09.05.2021, 13-18 Uhr (hier anmelden!)

Das IKOB – Museum für Zeitgenössische Kunst präsentiert mit „Gesticulating… Wildly“ die erste institutionelle Einzelausstellung der in Rotterdam lebenden Künstlerin Helen Anna Flanagan. Die Ausstellung bringt erstmals Flanagans Filmtrilogie „Gestures“ (2019-2020) zusammen, in der die Künstlerin ihre kuriosen Charaktere an einem bestimmten Schauplatz auf eigentümliche Weisen kollidieren lässt. In Anlehnung an diese choreografische Herangehensweise sind ihre Filme in eine spielerische Installation in den Ausstellungsräumen des IKOB eingebettet. Das Erlebnis des Betrachters wird durch Elemente wie minimalistische Backsteinwände, Bodenmarkierungen und Skulpturen, die sich auf verschiedene Filmszenen beziehen, zugleich strukturiert und verunsichert. Flanagan stellt sich die soziologische Frage, wie und warum Menschen sich so verhalten, wie sie es tun. Dies bringt sie in ihrer Arbeit dazu, sich auszumalen wie verschiedene Personen auf die Strukturen von Gesellschaft und Macht reagieren und dazu Stellung beziehen.

Wie die Stubenfliegen, die sich als wiederkehrendes Motiv durch ihre Videos streuen, binden Flanagans Arbeiten den Betrachter abwechselnd als passiven Beobachter, Informationsträger oder invasiven Parasiten ein. Damit steht sie im Einklang mit dem Jahresthema des IKOB für 2021, „Gossip“. Das Programm für 2021 setzt sich mit dem Potenzial von Erzählkunst und geteilten Geschichten auseinander, uns als Gesellschaft enger aneinander zu binden, und zielt auf eine kritische Untersuchung der sozialen Kontexte ab, in denen erzählungsauslösende Narrative entstehen und verbreitet werden. Helen Anna Flanagans „Gestures“ Trilogie ist eine wichtige Inspirationsquelle für dieses Konzept, da ihre Arbeit uns Zugang zu Orten der Begegnung zwischen verschiedenen Ideen und Menschen gewährt, wobei Gerüchte und Geschichten als ansteckendes Geflüster durch ihre Werke gewebt sind. 

Die Ausstellung wird großzügigerweise von Mondriaan Fonds und der Botschaft des Königreichs der Niederlande unterstützt, und eine mehrsprachige Publikation zur Begleitung der Ausstellung erscheint im Juni 2021, mit Texten von Brenda Guesnet (Kuratorin, IKOB), Ash Kilmartin (Künstler:in) und Eva Wittocx (Kuratorin, Museum M Leuven).
 

Mehr lesen: ikob.be/ausstellungen/helen-anna-flanagan

Demnächst

13.06.–15.08.2021
Alexandra Tretter
DIE MODULE SPIELEN VERRÜCKT

In ihrer ersten musealen Einzelausstellung zeigt Alexandra Tretter eine neue Serie großformatiger Arbeiten. Mit ihrer ausgeprägten Bildsprache aus sich wiederholenden Formen und Farben, erforscht sie die Transformationen und die verschiebenden Grenzen des menschlichen Körpers und Geistes.

ikob.be/ausstellungen/alexandra-tretter

Letzte Gelegenheit

Bis zum 25.04.2021
Daniel Knorr

FLAGSHIP STORE

Die erste Einzelausstellung des Künstlers Daniel Knorrs in Belgien zeigt eine Übersicht seines bildhauerischen Schaffens der letzten drei Jahre. Spielerische Reflexionen über Kunstgeschichte, undogmatische Befragung des Kunstsystems, sowie Vermischungen mit Zeichen der Popkultur ziehen sich als roter Faden durch die Ausstellung.

Mehr lesen: ikob.be/ausstellungen/daniel-knorr

Weiterlesen und -schauen

Falls ihr die Ausstellungstour auf Instagram Live mit Daniel Knorr verpasst habt, ist das IGTV Video hier zu sehen (EN).

“Vom Überschwang zur Prägnanz”: Michel Voiturier rezensiert ‘Flagship Store’ für Flux News (FR)

“Zum Abschluss von „Flagship Store“ führt Brenda Guesnet die Gäste persönlich durch die Ausstellung”: Der BRF berichtet über unser kommendes Programm und die persönlichen Führungen am letzten Tag der Ausstellung (DE)

Caption:
Jonah Freeman & Justin Lowe – Artichoke Underground, 2013
Courtesy of the artists and Philara Collection, Düsseldorf
Photo: Susanne Diesner

EN FR NL

The third week of features a video by Amalle Dublon & Constantina Zavitsanos: April 4, 1980 (2018), which is available from Tuesday 20 April until Monday 26 April.

The speed of dialogue in most films and videos usually privileges hearing and sighted audiences. This often doesn’t leave enough space without dialogue to fit in audio description and enough time for captions to appear legibly on screen.

In Amalle Dublon & Constantina Zavitsanos’s video April 4, 1980, the screen is black, showing only captions. The audio speed is slowed; caption reading is primary.

The video ponders the mysteries of love and space-time. Vocoded narration states that “matter isn’t mass,” asking “what it is to fall in love when we can’t even fall through space-time?”

View here.

is an online platform that critically engages with captioning as a singular artistic form of expression.

Image description: A video still of a black screen hosts two lines of white captions at its bottom that read: “And what is it to fall in love when we can’t even fall through space-time?”.

FR

La troisième semaine d’ propose un vidéo de Amalle Dublon & Constantina Zavitsanos: April 4, 1980 (2018), qui est disponible du mardi 20 avril au lundi 26 avril.

La rapidité des dialogues dans la plupart des films et vidéos privilégie généralement les publics entendants et voyants. Souvent, il n’y a pas assez d’espace sans dialogue pour faire place à la description audio et pas assez de temps disponible pour permettre au sous-titrage de s’afficher lisiblement sur l’écran.

Dans la vidéo 4 avril, 1980 d’Amalle Dublon & Constantina Zavitsanos, l’écran est noir et ne montre que le sous-titrage. La vitesse du son est ralentie; la lecture du sous-titrage est primordiale.

La vidéo médite sur les mystères de l’amour et de l’espace-temps. La narration vocodée affirme que “la matière n’est pas une masse”, demandant “ce que c’est que de tomber amoureux quand on ne peut même pas tomber à travers l’espace-temps ?”

Voir ici.

est une plateforme en ligne qui s’intéresse de manière critique au sous-titrage en tant que forme d’expression artistique singulière.

Description de l’image: Une image vidéo d’un écran noir comporte deux lignes de légendes blanches en bas de l’écran, qui se lisent comme suit: “And what is it to fall in love when we can’t even fall through space-time?”.

NL

De derde week van presenteert een video van Amalle Dublon & Constantina Zavitsanos: April 4, 1980 (2018), die beschikbaar is van dinsdag 20 april tot en met maandag 26 april.

De snelheid van de dialogen in de meeste films en video’s is over het algemeen vooral gericht op een horend en ziend publiek. Hierdoor is er vaak onvoldoende dialoogvrije ruimte om de audiodescriptie in te lassen en onvoldoende tijd om de captions leesbaar op het scherm te laten verschijnen.

In April 4, 1980, de video van Amalle Dublon & Constantina Zavitsanos, is het scherm zwart en zijn er enkel captions te zien. De audiosnelheid is vertraagd: het lezen van de captions is het belangrijkste.

De video peinst over de mysteries van de liefde en van ruimte-tijd. Een elektronisch vervormde stem poneert “materie is geen massa” en vraagt “wat het betekent om voor de liefde te vallen als we zelfs niet door de ruimte-tijd kunnen vallen?”

Bekijk hier.

is een online platform dat ondertitels en captions op een kritische manier benadert als een unieke artistieke expressievorm.

Beeldbeschrijving: Een video still van een zwart scherm met onderaan twee regels witte onderschriften die luiden: “And what is it to fall in love when we can’t even fall through space-time?”.