Staging Curiosity-Moodboard

staging curiosity

Lyrik als Theatertext.

Gebäude die schutzten. Ein Bunker.

Der Raum als Apparatus.

Sprache/Übersätzung/Gebärdensprache.

der Babel Turm.

Sound.

Ein Podium/Lesenpult.

Eine Festung. Ein Labyrinth.

ist Labor und Konzeptentwicklung, für eine Raum- und Textinstallation im Tiefbunker am Berliner Tor in Hamburg.

von Sophia Barthelmes und Anthoula Bourna.

Sicht- und Unsichtbarkeiten. Ein Moodboard.

Poesie der abwesenden.

Poesie der die nie da geschutzt waren.

Lyrik über Umgangsarten mit dem Sterben und Nicht-Sterben in Text und Architektur.

Description of the artwork «Tower of Babel». Source paintings by Peter Bruegel "The Tower of Babel" - The Book of Genesis, which tells of the fertile land in the valleys of the Tigris and Euphrates rivers. There, people puffed up, conceived to build a tower that reaches the sky. Angry, God confused their tongues. People stopped understanding each other, and the tower was never built. The Tower of Babel was one of the most common motifs of Dutch painting of the 15th-16th centuries. This was due to interest not so much to the Bible as to modernity. Seaside cities grew rapidly, they were crowded with visiting merchants and preachers, various religious groups formed and immediately entered into conflicts. Only in the first half of the 16th century did the population of Antwerp, where Bruegel worked, doubled; at least a thousand of its inhabitants were foreigners. All this created a strong multicultural tension, which allowed to compare modern Breugel the Netherlands with Babylon. But, despite the prevalence of the plot, no one before Bruegel could so reliably convey the monstrous dimensions of the structure. His “Tower of Babel” amazes with its scope, thorough knowledge of engineering subtleties and elaboration of the smallest details. It best manifests the unique Bruegel method, combining the hardly compatible - panoramic painting and miniature. In appearance, the Bruegel tower is a cross between a lively anthill or a hive and the Colosseum, which the artist could undoubtedly see in Rome. In the lower left corner, Bruegel portrays King Nimrod, surrounded by a retinue, who came to inspect the progress of construction, and the masons who fell before him to his knees. Bruegel shows how stones and logs are brought to the construction site along the river (similarly, building materials were delivered to Antwerp). Ladders, scaffoldings, a lifting mechanism, borrowed directly from the market square of Antwerp, buttresses surrounding the tower, are needed to counteract lateral spreading - the artist is very accurate in conveying engineering moments. Tower erected unevenly. Different levels of construction are shown at different levels. The lower floors of the tower have already been inhabited - in the windows and doorways, you can see the inhabitants, and the upper levels are full of work. But its inconsistency, which gives the tower a surrealistic look, says that the separation of languages has already happened or is about to happen, that people have already stopped communicating with each other and the matter is unlikely to be brought to completion. It is known that Bruegel painted pictures on this story at least three times. Two of them survived: the “big” “Tower of Babel” is kept in Vienna, and "Small" - in Rotterdam.Author: Anna Yesterday

https://desertx.org/dx/archive/a-concise-passage desert X AlUla ‘a concise passage’ by rashed alshashai all images by lance gerber

https://www.newyorker.com/books/page-turner/light-as-touch-jenny-holzers-nighttime-poetry-projections “For New York City,” by Jenny Holzer, featuring “To the Forty-third President,” from “Blackbird and Wolf,” by Henri Cole. Cathedral Church of Saint John the Divine, New York City, 2004.

https://new.lifa-research.org/en/artworks/magic-hour/ David Batchelor Magic Hour, 2004/2007 Installation View Light Show Hayward Gallery, 2013 © The Artist 2015 Photo: Marcus J Leith https://www.henrikrylander.com/power-model-iv-agitator-agitated/ Henrik Rylander 2006 2 megaphones hanging from the ceiling, pointing at each other.

Due to the cross-connection of the megaphone microphones, the sound is bounced back to the agitator.

The installation was made at 300m3 Art Space, Göteborg, Sweden, 2006

https://stories.thejewishmuseum.org/in-line-for-polish-an-illustrators-response-to-leonard-cohen-23af3cedf326

https://www.behance.net/gallery/13820877/To-Touch-Rachel-Ossip

To Touch Ari Folman, Depression Chamber, 2017. Interactive computer- animated video installation, live camera, Kinect sensor, black-and- white and Rachel Ossip | 2015 | Graphic Design & Comparative Literature colour with sound, 5 min., 10 sec., including resting platform. Installation view of the exhibition Leonard Cohen: A Crack in Everything presented at the Musée d’art contemporainde Montréal, 2017-2018.

Courtesy of the artist.

Photo: Guy L’Heureux Welcome to the neighborhood. The neighborhood is a poem.

Poems are traditionally intimate, two-dimension entities that create a single channel from author to reader. As the academic consideration and craft-basis of poetry becomes increasingly emphasized, its original purpose as entertainment is too often forgotten. The performance of a poem would gather a crowd, and its existence mutated as it passed from one bard to another. Now, they are too-often solitary and static.

But poems need people: to read them, and to write them. And people need poems, or have we forgotten? Forgotten the fascinating way in which a particular arrangement of words can cause the blood to rush?

What would it be like if a poem was a landscape? Something you could touch? Something you could mould? Something that would show evidence of your fingerprints, visibly?

https://spruethmagers.com/exhibitions/barbara-kruger-forever-berlin/ An installation view of Barbara Kruger’s “Forever.”Credit...Timo Ohler

https://bookpatrol.net/the-latest-from-google-an-interactive-art-installation-that-turns-your-words-into-poetry/ Google has unveiled Poetrics, an interactive art installation at the future site of their new offices in the Kings Cross neighborhood of London.

Poetrics is the result of a competition run in partnership with University of the Arts London’s Central Saint Martins to create an “interactive experience for the Kings Cross community”.

https://www.cnet.com/tech/home-entertainment/hundreds-of-speakers-form-sound-sculpture/ Art Museum of Estonia. "The Wave," by Villu Jaanisoo, is a sculpture with hundreds of working speakers that play the sounds of ocean waves. Better yet, the sounds move across the sculpture like a wave.

https://designobserver.com/feature/composing-in-space-tactile-poetry-of-farhad-fozouni/38096 Composing in Space: Tactile Poetry of Farhad Fozouni Farhad Fozouni is a leading figure in the contemporary Iranian graphic design with an international reputation and impressive list of accomplishments and recognitions. (1) Fozouni dares himself to get out of his comfort zone for the sake of creating new aesthetic experiences and meanings for himself as well as his viewer by creating unique poems. His tactile poetry not only reveals his continuous experimentation and discovery of new forms of artistic expression but also displays his desire to fully engage his viewers by getting them to touch and feel his words/images. The central role of poetry in Fozouni’s life is similar to that described by the renowned Iranian poet Forough Farrokhzad: “Poetry is a tool for me to relate to the world, relate to existence in a broader sense. When you compose poetry, you can say: I exist or I existed otherwise how can you say I exist or I existed? I don’t search for anything in my poetry, I actually find myself in my poetry.”

https://www.kunstmeranoarte.org/de/ausstellungen/vorschau/the-poetry-of-translation.html THE POETRY OF TRANSLATION Eröffnung: 12.11.2021, 19:00 Uhr Dauer: 13.11.2021 - 13.02.2022 Künstler*innen: Amelia Etlinger, Anna Esposito, Annika Kahrs, Anri Sala, Augusto De Campos, Babi Badalov, Ben Vautier, Carla Accardi, Cerith Wyn Evans, Christine Sun Kim & Thomas Mader, Elisabetta Gut, Ettore Favini, Franco Marini, Franz Pichler, Freundeskreis, Jorel Heid & Alexandra Griess, Heinz Gappmayr, Irma Blank, Johann Georg Hettinger, Jorinde Voigt, Kader Attia, Katja Aufleger, Ketty La Rocca, Kinkaleri, Lawrence Abu Hamdan, Lawrence Weiner, Leander Schwazer, Lena Iglisonis, Lenora De Barros, Lucia Marcucci, Maria Stockner, Marilla Battilana, Michele Galluzzo & Franziska Weitgruber, Mirella Bentivoglio, Otto Neurath, Siggi Hofer, Slavs and Tatars, Tomaso Binga. kuratiert von: Judith Waldmann Inspiriert von der gelebten Mehrsprachigkeit in Südtirol und seiner bewegten Geschichte interethischen Zusammenlebens, bietet Kunst Meran Merano Arte den idealen Kontext für eine Ausstellung, die sich der Übersetzung widmet und Fragestellungen zu Identität, Multikulturalismus und Diversität aufruft.

https://www.moma.org/calendar/exhibitions/964/installation_images/5038 Installation view of the exhibition, "Marina Abramović: The Artist is Present" March 14, 2010–May 31, 2010. IN2112.66. Photograph by Jonathan Muzikar.

https://cardiffmiller.com/installations/dark-pool/ Menacing ... Janet Cardiff and George Bures Miller's Dark Pool, 1995. Photograph: Courtesy the artists and Gallery Barbara Weiss, Berlin and Luhring Augustine Gallery, New York On entering the doorway to The Dark Pool, one encounters a realm of suspended animation, an elaborate assemblage of furniture, carpets, books, empty dishes and mechanical paraphernalia. As viewers move through the installation, they activate acoustic components of the work – the silence of the space is broken by strands of music, echoes of stories and fragments of dialogue.

https://www.jeffreyshawcompendium.com/portfolio/recombinatorial-poetry-wheel/ https://zkm.de/en/artwork/recombinatorial-poetry-wheel Artist / Artist group Jeffrey Shaw, Sarah Kenderdine, Edwin Nadason Thumboo Title Recombinatorial Poetry Wheel Category computer-based, installation, Video installation Material / Technique interactive computer-based installation; computer: PC (graphics card: Nvidia Geforce FX 1060), operating system: Windows 64 bit 7/10; programming language: C#; software: driver for PowerMate Controller; additional devices: Griffin PowerMate USB Dimensions / Duration dimensions variable Collection ZKM | Center for Art and Media In the tradition of the OuLiPo—workshop of potential literature, this interactive installation gives visitors the opportunity to recombine the poetic ensemble of the preeminent Singaporean poet Edwin Thumboo. Twenty-seven of his best-known poems are redefined as polyvocal readings that de- and reconstruct his original oeuvre, creating a live performance with continuously emergent vectors of meaning.

The 200 cm-diameter, round wall-projected image shows a clock-like circle of twenty-seven figures of the poet. The visitor uses a circular knob to rotate a white dot around the edge of the circle to choose one of the figures and thereby trigger his reading of a particular poem that will continue until another figure is chosen. By moving the marker from one figure to another the viewer interrupts the ongoing reading and jump-cuts to a different poem and reading. The resulting indeterminate machination of Thumboo’s poetry readings, shown also as printed texts across the center of the screen, constructs an infinitely recombinatory new poetic entity out of his oeuvre.

Recombinatorial Poetry Wheel 2018 Karlsruhe, Germany Coauthors: Jeffrey Shaw, Sarah Kenderdine, Edwin Nadason Thumboo

https://zkm.de/en/magazine/%5Bnode%3Ablog-post-date%3Avalue%3Acustom%3AY%5D/%5Bnode%3Ablog-post-date%3Avalue% 3Acustom%3Am%5D/william-kentridge-more-sweetly-play-the-dance William Kentridge, still from More Sweetly Play the Dance, 2015, 8-channel high definition video installation, 15:00 minutes, with 4 megaphones. National Gallery of Canada, Ottawa. Purchased 2016. © William Kentridge courtesy of Marian Goodman Gallery

https://www.estherschipper.com/content/feature/1045/viewing-room-21-rosa-barba-selected-works/artworks_panel25149/ Rosa Barba Aggregate States of Matters, 2019 35 mm film (color, optical sound) Duration: 18 min Edition of 5

http://www.emiliolopez-menchero.be/PASIONARIA?lang=en Pasionaria is literally a megaphone for people to go up and yell their happiness or frustrations through. Installed close to the Midi train station, the artist Emilio Lopez-Menchero dedicated this piece to all migrants. Indeed, the location is key since it is the best visual example of the mixture of the multicultural environment in Brussels. Our local Renata likes to go up to shout some thought at the passers-by.

“ Sound Poem (Kurt Schwitters) installation by Pavel Buchler. Denver 2013. ” https://www.tanyaleighton.com/content/2-artists/4-pavel-buechler/buchler_aesthetica_june-july-2013.pdf