voices from the past provoking presence – book three of four

Page 1

A passage of writing extending from the workshop Echoes from the Black Mountain Florian Feigl with guest contributors

voices from the past provoking presences

the as if it ’ s just about to happen series–book three of four


Intro­d uction

The as if it ’ s just about to happen book series invites a reengagement with four workshops, facilitated within HZT Berlin’s BA Dance, Context, Choreography programme between 2014–2016. Four of HZT ’ s teaching staff initiated a collaborative writing project with colleagues, HZT students and alumni to access what persists through the entanglement of their artistic and pedagogic practices. They returned to the pedagogic events with the question “What was and is it doing and what can we create with it now?” Initial experiences, notes and memories from the workshops were approached with a strategy of interruption. A specific set of para­meters informed a structure of excerpts, footnotes, invitations and responses that produced a new order of connections based on selectivity, discontinuity and proliferation. As a reader you are encouraged to be involved with the passages of writings and drawings within these four books and online at the HZT website — to follow, skip across, take apart, expand, reassemble, rewrite and respond further. You are invited to expe­rience what is still creating itself, as if it’s just about to happen.

Writing structure

a poem

a footnote

an invitation

a response

of eight excerpts from the workshop experience

of 100 words elaborates every six-word excerpt as a mini-essay, index, archive or script

of maximum 50  words addresses an inquiry about every excerpt and its footnote

of 250 words or a drawing follows after every excerpt, footnote and invitation

Book three of four has one central author, interwoven with guest contributions.


voices from theFeigl past with provoking presences Florian guest contributors

voices from the past provoking presences

the as if it ’ s just about to happen series–book three of four


book 3

Florian Feigl with guest contributors

a poem

fuck this drop (in which water?) where’s the rock in rocking chair some sonic miracles: echo–doppler effect digital art (the fingers of Josef ) digital art (the fingers of Anni) voices from the past provoking presences learning in crisis. learning as crisis and suddenly this whale wakes up

( 1  ( 2 ( 3 ( 4 ( 5 ( 6 ( 7 ( 8


voices from theFeigl past with provoking presences Florian guest contributors

voices from the past provoking presences

the as if it ’ s just about to happen series–book three of four


book 3

Florian Feigl with guest contributors

book 3 Florian Feigl with guest contributors

Invitation to Litó

Dear Litó, You are invited to describe a way or a practice of how you set a mood or sound for a working situation. Allowing in your own experience of adjustment, settling in, balancing when setting the tone.

1  )

arranging

a poem

fuck this drop (in which water?) where’s the rock in rocking chair some sonic miracles: echo–doppler effect digital art (the fingers of Josef ) digital art (the fingers of Anni) voices from the past provoking presences learning in crisis. learning as crisis and suddenly this whale wakes up

( 1  ( 2

re-arranging

( 3

a space

( 4

a space to work

( 5 ( 6

environments I

( 7 ( 8

Me just me. No pupils near or far — Kafka already excited before entering put the coat on a hanger and start coming in to observe always busy everyone always busy immediate reason immediate responses and space to calm down nothing stops those manifold activities reaching out for equilibrium


voices from the past provoking presences

All of a sudden we arrive in the middle in the middle of a celebration. All of a sudden there’s pollen and dust. There’s clouds of dust. All of a sudden in the middle of a celebration there’s pollen and there’s dust, there’s clouds of dust. And there’s a process by which something turns to something else and could continue. That’s the process. It could continue. The process is something that turns into something else. And there’s traces that point to reconstruction. There’s traces. There’s pollen and dust and a cloud, of dust. And there’s traces that point not to recognition but to reconstruction. Something that already happened, something that was already there. Like the light of a dead star. The light of a dead star has a trace when it’s no longer accessible. The light of a dead star has a trace when it is no longer accessible. There’s traces, like dust. Clouds of dust. Or pollen. Pollen too. There’s traces that point to a reconstruction not a recognition, not a reconstruction, but a trace. This is the exploded view and the other. To play to teach the ideas is the exploded view and the other. To play to teach to play is to teach. To play is to teach ideas exploded, this is the exploded view and the other. And then suddenly without warning, it could continue. Already, it could continue, like a soliloquy. Like a soliloquy. Standing, sitting on the knees crunched over, moving in space, walking.

2

3

Response from Litó


book 3

Florian Feigl with guest contributors

book 3 Florian Feigl with guest contributors

Invitation to Tabea

Dear Tabea, Over the duration of my visits at the exhibition the logos of Black Mountain College, the circle, and HZT Berlin, the honeycomb, became a strong impression and point of daily meditation. You are invited to create a graphic composition starting from those two shapes, the circle and the hexagon.

2  )

environments II

a poem

fuck this drop (in which water?) where’s the rock in rocking chair some sonic miracles: echo–doppler effect digital art (the fingers of Josef ) digital art (the fingers of Anni) voices from the past provoking presences learning in crisis. learning as crisis and suddenly this whale wakes up

( 1  ( 2 ( 3 ( 4

an openness in the back, the awareness and the awareness of awarenesses, wooden floor,

( 5

windows, outside a yard with tarmac, always an outside, inside a typewriter creating patterns,

( 6

sonic, visual, producing mild distraction, various offers, movements of bodies, of pages, of

( 7

images, of sounds

( 8 analysis of spatial arrangements, material qualities of a room, the various spaces we use and move in, the effects they are producing in our being together, working together, teaching and learning situations, conversations which continue, conversations that are interrupted, difficulties to end, difficulties to recognise beginnings studios, yard, kitchen, offices veranda, dormitory, dining hall, lake, mountains, fields


voices from the past provoking presences

4

5


book 3

Florian Feigl with guest contributors

book 3 Florian Feigl with guest contributors

Invitation to Arnold

Dear Arnold, Please describe the notion of before and after in two documents, artefacts, elements you chose for your composition. One that resonated strongly with you maybe even changed your perspec­tive or conceptual thoughts. A second one that changed its qualities in the course of your work with it.

3  )

echoes

a poem

fuck this drop (in which water?) where’s the rock in rocking chair some sonic miracles: echo–doppler effect digital art (the fingers of Josef ) digital art (the fingers of Anni) voices from the past provoking presences learning in crisis. learning as crisis and suddenly this whale wakes up

( 1  ( 2 ( 3 ( 4 ( 5

sonic event, bouncing back, reflection

( 6

call and twisted response

( 7

giving ideas of distances and spatial dimensions

( 8 who calls who responds who moves who is being moved processes of ephemeral sculpting exposing the caller, exposing the responder to movement and change postcards, b/w photographs, rocking chairs, menus, evening programs, invitations, interviews, scores, partitures, few moving images, pamphlets, manifestoes, sketches, sculptures, memories, notes, architectural plans doppler effect something coming at you something meeting you something passing you changing quality coming at something meeting something passing something changing quality determining a here, a now allowing relations between a source and opening towards potential futures


voices from the past provoking presences

Two Documents: Opening the exhibition at the Hamburger Bahnhof was the correspondence between Josef Albers in Berlin and Ted Dreier at Black Mountain College in North Carolina in 1933. The list of German (mostly Jewish) intellectuals who followed this letter is very long, especially through to the end of the Second World War. This, the first exhibition on the college on German soil in 2015, long after the waves of influence from Post-War American art and academic practice had first made their presence felt. The realisation, that it hadn’t ended, and that we should actually already know that. And that I, now here, making this, as a born New Yorker, are a product of those waves which came north when BMC dissolved in 1957, the “dispersion.” And then: On the morning of the first day of the exhibition: An elderly couple from South Germany addresses me. They read about it in the Bahn Magazine. The husband must speak for his wife, she is too ill to speak. He tells me that she had a relative, Viola Farber, who studied at Black Mountain, from a part of the family who had to leave Germany quickly. I showed them two original performance programs at Black Mountain in which Viola Farber is mentioned, and gave them copies of the documents from the archive. Farber was one of the founding members of the Merce Cunningham Dance Company, who she met at Black Mountain. an endless dispersion

6

7

Response from Arnold


book 3

Florian Feigl with guest contributors

book 3 Florian Feigl with guest contributors

Invitation to Johannes

Dear Johannes, Remembering your focus on experiencing as key to making and witnessing, teaching and learning of and as performance art: Describe an action —  artistic or non-artistic — that is past or in the process of vanishing and the details of experiences in this process of something someone did in the past.

4  )

Josef holds up a disc, a crowd follows its shape with fingers in the air

a poem

fuck this drop (in which water?) where’s the rock in rocking chair some sonic miracles: echo–doppler effect digital art (the fingers of Josef ) digital art (the fingers of Anni) voices from the past provoking presences learning in crisis. learning as crisis and suddenly this whale wakes up

( 1  ( 2 ( 3 ( 4 ( 5

the ones close with bigger circles, activating the hole arm, the ones farther away moving in

( 6

smaller circles

( 7

then watch out:

( 8

Josef tilts the disc and arms move in ellipsoid shapes — some bigger some smaller — and the display of amazement and happiness on those faces watch out again: Josef puts the disc down on the floor the crowd moves around it in circles, with stretched out arms, some closer to the disc, some with a bit more distance fully focused in the moment, in the movement


voices from the past provoking presences

The electric mower was damaged. You gonna find an old scythe in the corner of a garden shed and getting it out of the dusty cobwebs the spiders have woven during decades. You have to look for a whetstone to sharpen it and then start to dance with the tool. The high grass is waiting for a cut and you get into a swing that forms a sequence of arches through the blades of grass and blossoming herbs in front of you, sending out intense perfumes. As the iron blade is falling from the wooden handle you have to stop. Now find out how the joint works. It is an old one that has an iron ring holding the end of the blade at the wooden leg and is fixed by an iron wedge. To avoid the iron damaging the wooden handle it requires a piece of leather between the wedge and the wood, to compensate the forces generated by the movements between the four parts of the joint. When it is fixed, the smoothness of the cutting is fading and you have to use the whetstone frequently.

8

9

Response from Johannes


book 3

Florian Feigl with guest contributors

book 3 Florian Feigl with guest contributors

a poem

fuck this drop (in which water?) where’s the rock in rocking chair some sonic miracles: echo–doppler effect digital art (the fingers of Josef ) digital art (the fingers of Anni) voices from the past provoking presences learning in crisis. learning as crisis and suddenly this whale wakes up

( 1  ( 2 ( 3 ( 4 ( 5 ( 6 ( 7 ( 8


voices from the past provoking presences

10 11


book 3

Florian Feigl with guest contributors

book 3 Florian Feigl with guest contributors

Invitation to Litó

Dear Litó, You are invited to start from the idea of weaving. The relation between patterns which emerge in the making, practice, duration, repetition based on regular sequences. Closeness to a material. Reciprocal processes of making in conversation with a material.

5  )

the most touching pieces in the exhibition

a poem

fuck this drop (in which water?) where’s the rock in rocking chair some sonic miracles: echo–doppler effect digital art (the fingers of Josef ) digital art (the fingers of Anni) voices from the past provoking presences learning in crisis. learning as crisis and suddenly this whale wakes up

( 1  ( 2 ( 3 ( 4 ( 5 ( 6

how she was using the typewriter to create patterns

( 7

her weaving samples

( 8

how her practices are interwoven with techniques of her partner putting colour on canvas how her practices are interwoven with pre-columbian architecture becoming patterns in a painting the importance of making, of practice, the interaction with mechanical tools I imagine an early morning at Lake Eden sitting with the back to the buildings a first key hitting the paper splitting the air followed by a regular rhythm of keys hitting paper interrupted by an occasional bell chiming and moments of silence


voices from the past provoking presences

touching the fingers of Anni (in a rectangular rhythm)

12 13

Response from Litรณ

early morning (time) early morning lake eden (place) lake eden back (tool, place) back key (tool) key paper (tool) paper air (tool) air regular rhythm (time, tool, shape) rectangular rhythm occasional (time) occasional bell (tool) bell moments (time) moments silence (time, tool, shape, place) silence

------------------ imagine imagine (heart imagine (heart (time imagine (heart (time (touching ------------------ sit sit (material sit (material (place sit (material (place (using ------------------ hit hit (excitement hit (excitement (tool, place (creating ------------------ split split (restraint split (restraint (tool (weaving ------------------ follow follow (handwork follow (handwork (tool (putting ------------------ hit (corollary hit (corollary (tool hit (corollary (tool (becoming ------------------ interrupt interrupt (process interrupt (process (time, tool, shape (making

chime (time ----------- touching (heart) ------------ using (material) ---- creating (excitement) -------- weaving (restraint) ------- putting (handwork) ----- becoming (corollary) ----------- making (process)

practice imagination time) early morning -----------------------------place) lake eden -----------------------------------tool, place) back -----------------------------------tool) key ----------------------------------------------tool) paper -------------------------------------------tool) air -----------------------------------------------time, tool, shape) rectangular rhythm ---time) occasional -----------------------------------tool) bell ----------------------------------------------time) moments -------------------------------------time, tool, shape, place) silence --------------


book 3

Florian Feigl with guest contributors

book 3 Florian Feigl with guest contributors

Invitation to Arnold

Dear Arnold, Please choose one or two compositional, structural elements from the composition you devised for the Black Mountain College exhibition at Hamburger Bahnhof and describe an example. The element and example you choose can include a spatial situation at the exhibition, specific documents or an excerpt from the score you devised.

a poem

fuck this drop (in which water?) where’s the rock in rocking chair some sonic miracles: echo–doppler effect digital art (the fingers of Josef ) digital art (the fingers of Anni) voices from the past provoking presences learning in crisis. learning as crisis and suddenly this whale wakes up

( 1  ( 2 ( 3 ( 4 ( 5 ( 6

6  )

reading documents

( 7

decoding a score

( 8

a map that leads into and through an archive, addressing specific documents, indicating given durations, directing to selected locations creating situations, creating a time-based architecture of voices from the past intersecting realities the multiplicity of voices, reminder of contingencies provoking a specific here and now I hear this — why should I hear this I read this — why should I utter this Reading in front of those people Reading in front of no-one changing its quality when passing by changing me when reaching who calls, who responds


voices from the past provoking presences

Score: who reads performs which document where when a moment in the score planned unplanned

a memory (who) (where) she reads on the stairs (what) Anni Albers, “Work with Material”, 1938, AA-1 (when) 13:35 (when) simultaneously: (when) (before) (after) (who) “Versatorium”, Vienna, in residence, with chance audience members: (where) Table Discussion (what) collaborative endless translation discussion (what) Charles Olson, “Projective Verse”, 1950, CA-12 (where) Laptop on Table (what) (who) Afghan Refugee translates into Pashtun reads back (where) Grand Piano (what) (who) Composer prepares piano, plays sometimes all together now

14 15

Response from Arnold


book 3

Florian Feigl with guest contributors

book 3 Florian Feigl with guest contributors

Invitation to Johannes

Dear Johannes, “How do artists learn?” As artist, documenter, art historian, maker and teacher of performance please relate to the idea of crisis in making and learning. This can be personal, political or historical.

a poem

fuck this drop (in which water?) where’s the rock in rocking chair some sonic miracles: echo–doppler effect digital art (the fingers of Josef ) digital art (the fingers of Anni) voices from the past provoking presences learning in crisis. learning as crisis and suddenly this whale wakes up

( 1  ( 2 ( 3 ( 4 ( 5 ( 6 ( 7 ( 8

7  )

next to WW II next to Bauhaus next to rocking chairs next to Josef’s finger next to Anni’s fingers next to poverty next to no next to yes next to segregation next to work on the fields next to isolation next to new beginnings next to a devastated past next to next to next to building next to setting up what cannot stand next to next to


voices from the past provoking presences

An explosion next to the left ear resonated inside and made me hearing minimal music for the first time in my life. Audio recording of a talk, but missing the proper button, lead to writing down what was told on a sticky table in a coffee shop next to a subway station on a folder announcing the program of a performance festival A big hammer hit the table and made my hand holding a pencil jump. The oscillating lines generated an automatic drawing on a worn piece of cardboard. The forehead of the pig was hit by a shot. While it fell on its side a knife was driven into the artery of the throat. While the animals’ legs were running in agony the blood was collected in a bowl. The container was full soon and the light red fluid spilled over the grey concrete forming a colour-field with expanding boundaries. The hair of the animal was sold to a factory, which produced brushes for artists.

16 17

Response from Johannes


book 3

Florian Feigl with guest contributors

book 3 Florian Feigl with guest contributors

Invitation to Tabea

Dear Tabea, Spatial structures like various platonic solids resonated with ideas of relating our practices to the archival material increasingly. This was accompanied by also increasing interest in basic and more complex fractal structures. Please respond to the footnote using the mentioned structures as starting points.

8  )

The hardly recognisable sound of small electric engines. Closing blinds to preserve this Franz

a poem

fuck this drop (in which water?) where’s the rock in rocking chair some sonic miracles: echo–doppler effect digital art (the fingers of Josef ) digital art (the fingers of Anni) voices from the past provoking presences learning in crisis. learning as crisis and suddenly this whale wakes up

( 1  ( 2 ( 3 ( 4 ( 5 ( 6 ( 7 ( 8

Kline from the touch of direct sunlight. A purring mechanical sound: faint echo of the thunder of Kline’s gesture. Faint echo of braveness, roughness, madness, danger of this moment. Setting the painting free. Meant to lock the sunlight out every day for half an hour this sound of small electric engines creates a tunnel that allows this painting to be not only a painting. A moment when it hits hard, is let loose, comes in as an all consuming wave at a viewer.


voices from the past provoking presences

18 19


book 3

Sources

Florian Feigl with guest contributors

Anni Albers, Work with Material, 1938 Charles Olson, Projective Verse, 1950 Franz Kafka, Aphorismen. Betrachtungen über Sünde, Leid, Hoffnung und den

Workshop description

wahren Weg, 1970

Echoes from the Black Mountain In May 2015 Florian Feigl and Johannes Lothar Schröder accompanied a group of BA HZT students through a research of Black Mountain College to reflect on what structures, methods and dynamics need to be developed and accommodated for a contemporary liberal arts education. Through research and practice the students learned about works and artists of historic avant-garde as well as critically reviewing and understanding structures and methods employed in the present situation of teaching, learning and living to develop experimental ways of learning for now. The workshop included access to Arnold Dreyblatt’s catalogue of artefacts and evolved into a one-week residency within the framework of the exhibition “Black Mountain — Lernen und Lehren als Aufführungskünste” at Hamburger Bahnhof — Museum für Gegenwart — Berlin in July 2015.



book 3

Sources

Florian Feigl with guest contributors

Anni Albers, Work with Material, 1938 Charles Olson, Projective Verse, 1950 Franz Kafka, Aphorismen. Betrachtungen über Sünde, Leid, Hoffnung und den

Workshop description

wahren Weg, 1970

Echoes from the Black Mountain In May 2015 Florian Feigl and Johannes Lothar Schröder accompanied a group of BA HZT students through a research of Black Mountain College to reflect on what structures, methods and dynamics need to be developed and accommodated for a contemporary liberal arts education. Through research and practice the students learned about works and artists of historic avant-garde as well as critically reviewing and understanding structures and methods employed in the present situation of teaching, learning and living to develop experimental ways of learning for now. The workshop included access to Arnold Dreyblatt’s catalogue of artefacts and evolved into a one-week residency within the framework of the exhibition “Black Mountain — Lernen und Lehren als Aufführungskünste” at Hamburger Bahnhof — Museum für Gegenwart — Berlin in July 2015.


HZT teaching staff

Josephine Findeisen

Alistair Watts

Judith Förster

Simone Gisela Weber

Florian Feigl 1

Juan Felipe Amaya Gonzalez

Sheena McGrandles

Renen Itzhaki

Litó Walkey 1

Camille Jemelen

Britta Wirthmüller

Suvi Kemppainen

Katerina Bakatsaki

HZT student

&

alumni

guest writers

Authors 1

b ook three

guest writers

Julek Kreutzer

Derrais (d.a.) Carter

Katrine Staub Larsen

Jeanine Durning

Anna Lena Lehr

Arnold Dreyblatt 1

Myriam Lucas

Essi Kausalainen

Johanna Ackva

Liina Mariudottir

Johannes Lothar Schröder 1

Asaf Aharonson

Magdalena Meindl

Joy Mariama Smith

Cécile Bally

Johanne Merke

Rhys Martin

Sandhya Daemgen

Josefine Mühle

Helen Mirra

Katerina Delakoura

Lyllie Rouvière

Anne Schuh

Xenia Taniko Dwertmann

Zhenya Salinschi

William Wheeler

Ewa Dziarnowska

Sunayana Shetty

Rosemarie Eberl

Grėtė Šmitaitė

Ivan Ekemark

Julia Keren Turbahn

Forough Fami

Aabshaar Wakhloo

Tabea Xenia Magyar

all drawings

project editor : Litó Walkey copy editor : Karen Christopher publisher : HZT, UdK Berlin graphic design : Milchhof Atelier: Andreas Töpfer, Carsten Stabenow printing  : Steinmeier, Deiningen Special thanks to Tabea Xenia Magyar and all guest writers for their contributions to this publication. Thanks to Chrysa Parkinson and DOCH for inspiration from the format of The Dancer as Agent Collection publication. Thanks to Matthew Goulish and Lin Hixson for inspiration from their assignment for reading essays, recounted in the introduction by Jane Blocker for Matthew Goulish ’ s publication The Brightest Thing in the World. HZT — Inter-University Centre for Dance Berlin is the joint responsibility of the Berlin University of the Arts (UdK) and the Hochschule für Schauspielkunst “Ernst Busch” (HfS) in cooperation with TanzRaumBerlin, a network for the professional dance scene. Weblink : www.hzt-berlin.de ISBN : 978-3-00-055501-5

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