Residency Period: 16/Mar – 31/Mar 2018
Artists: Ayu Permata, Baly Nguyễn, Colin Hacklander, Farahnaz Hatam, Shian Law, Stefanie Wenner, Tara Transitory, Thanisa Fah and Thorsten Eibeler.
NOISE started out as apparatus:noise and initially was a collaboration of apparatus (Berlin) and e x t a n t a t i o n (Chiang Mai) with the support of the International Coproduction Fund of the Goethe Institute.
A physical, psychological and aural investigation into noise and how it sensed when in movement, thoughts, emotions, communication and sound. We carried out various sessions each day with a different artist leading each session, this functioned as a sort of introduction to the working interests and processes of each of the artists as well as creating a feedback of sorts where each of these processes was simultaneously divorced and co-dependent of the previous processes. Some themes that came out of the 2 week residency include feedback(noise), consent, power(relations), dependency, gender, structure, sexuality, (dis)comfort, privilege, cultural+identity(politics), tension, geopolitics(poetics), (in)exclusion and (ab)normativity.
Matter is neither passive, nor silent. In this shared project, we dedicate ourselves concretely to its sounds and resonance. This apparatus will deal with noise. We are not directly interested in the musical form of noise, but noise as a methodology. We want to transmit the logic of noise onto dancing bodies and choreography. Emerged at the end of the 1970s, noise begins with a musical disruption between sender and receiver. Accordingly, noise could be defined as „a signal the sender does not want to transmit“ (Colin Hacklander). Initially inspired by protagonists such as Lou Reed, England developed as a center for noise, which had its counterpart in a lively scene in Japan. The aforementioned suspension of the sender-receiver model continued to be an important topic and with it the neutralization of authorized intention. The goal is interference, or to look for sounds that counteract the typical spectrum of whatever instrument is being used, to contradict this sound and make it perceivable in new ways.
A main focus of this apparatus will be interacting with the form of dance. Dance as a tool of the performing body is usually narrowed down to its visual aspect. It is understood that dance has to be seen in order to be perceived. What remains if we strip dance of dance, but we remain in motion? What if movement is not used to portray a specific movement pattern but offers the audience something else instead? What remains is an opportunity to suspend the visual perception of bodies and to break the normative ideals that are connected to it. What could this kind of suspension look like? And moreover, how could it feel for the collective body in the room, meaning audience, witnesses and performers alike?
What would happen if the performing body would not react to noise as a musical genre but itself become noise, which is unwanted and intrusive (Hegarty), as well as disruptive? Bodies make noise, are loud and uncontrollable. The body incessantly sends out bodily signals that it does not want to send. It reveals and gives rise to something that disturbs. What is dance for the witness, or for someone who watches the dancing body? What is the intention of a moving body that deals with itself and at the same time with the act of being observed? How can the “noisy” body be brought forward from its distant position and made tangible?
Human bodies not only generate language, but also have a sound of their own. This corresponds to an investigation with non-human bodies and their resonance fields in the room. Can objects dance? Is choreography inherent in matter? Following this line of thinking, we connect back to the research of apparatus, which centers around creating better representations of reality through working with non-human actors. Together with e x t a n t a t i o n, we will invite artists into an experimental system who take into account matter and material, the disruption of silence, contemplation and the unintentionally emerging expression of things.
As research between genres, the project begins in March 2018 with a two-week-long residency in Chiang Mai. As in the previous apparatuses, here too we invite the surrounding neighborhood to regularly take part in our process.
Through the shift to another place with another language and a completely new surrounding, a new form of exchange between artists will evolve for apparatus, which we will continue at stations in Europe and link with local audiences. At the invitation of the Impulstanz Festival in Vienna, we will play at the Court Stables as part of the Museum for Modern Art (mumok) for one week where we will work with the simultaneous exhibition on music and fine art at mumok. Finally, apparatus and e x t a n t a t i o n will present the collectively acquired materials in the form of 2 showings in the Court Stables.
Over the past several years, apparatus has created a variety of production processes that extend beyond the boundaries of theatre, fine art, music, dance and science. Since the beginning, we have dedicated ourselves and the work to dealing with matter and materiality. In Mykorrhiza (2014), we took the connections between plants and mushrooms as an example for artistic collaboration. In DRECK (2016), it was an archive of garbage that served as a cabinet of wonders, or a kitchen and a cold chamber that functioned as a unified stage, laboratory facilities or an alchemy workshop for the invited artists. Over a period of six weeks, the artists worked side by side and together with one another on the respective topic. Lectures, communal meals, concerts and open houses were held weekly at which the artists invited audiences into the studio. At our last apparatus in September 2017, Pharmakos/n, stones and piles served as the tools for our work on the image of the human. Together with our partners from Thailand, we are now developing another apparatus focusing on the topic of NOISE.
e x t a n t a t i o n was founded as a project space in 2016 in Chiang Mai. Closely interwoven with the local art scene, it is a space for residencies and performance of any kind. e x t a n t a t i o n is situated at the foothills of the Himalayas and is thus located in an area that historically offered people a haven away from political prevalence and the noise of the world. Chiang Mai, on the other hand, is a modern city. The street on which e x t a n t a t i o n stands embodies in this sense the idea of the in-between, where the experience to live in between worlds is part of everyday life. Here we give ourselves to the extant, the forgotten, the marginalized, the un-categorized as well as the categorized, the invisible and those who fall in between the cracks, artistically and biographically. e x t a n t a t i o n used to be a bakery. The building is pieced together. It is noticeably built by different people over different periods of time. It is big enough to work there with a group, to live and cook together. There is space to rehearse, but it was a conscious decision not to build a stage. Instead, several empty rooms were built, which function as studios that can be adapted to various needs and be transformed into performance spaces.
About The Artists
Nguyễn Baly (sound artist, Germany+Vietnam) is a non-binary sound and performance artist who lives and works in Berlin. In their work Nguyễn deals with postcolonial discourses, queer feminism as well as issues of the Vietnamese diaspora. Artistically, they are working together with Tara Transitory as Nguyễn + Transitory on trying to approach sound, synthesis, noise, rhythm and performance from a less colonial angle as well as trying to learn more empirically about Vietnamese / Southeast Asian diaspora and queer existences with a non-academic perspective. Nguyễn is working between sound and performance since 2010 in various collaborations such as with Anna Geist, Elisabeth Hampe, Tümay Kılınçel and blend (Katharina Hauke and Fanny Sorgo) amongst others.
Thorsten Eibeler (theatre maker, Germany) – studied Applied Theater Studies in Gießen and is a founding member of the performance collective Showcase Beat Le Mot with which he has been producing theater pieces, peformances, art installations and music videos since 1998. His collaboration with Stefanie Wenner began in May 2014. Together, they founded apparatus GbR in January 2015.
Thanisa Fah (performance artist, Thailand) is a young Thai video-performance artist. Her works are usually performances made for the video medium and explore the themes of gender, transhumanism and the grotesque. (Link to one of her works: https://www.youtube.com/watch? v=3Yq2GS6qzOY )
Colin Hacklander & Farahnaz Hatam (musicians, Germany) is the hard-hittin’ drum + electronic music duo of Colin Hacklander & Farahnaz Hatam. Interested in transparency, liberation, rhythmic stability & its absence, the depth of radical material heteronomy in contemporary capitalism & the nature of our mobilised conditioning; sound as sculptural material; sound as a medium in which ideas are communicated; digital sound synthesis with SuperCollider; drums, percussion & gongs. (http://hacklander-hatam.com/)
Shian Law (artist, Malaysia/Australia) is an artist who works across the disciplines of choreography, live art and trans-media performance. He has worked as a performer, dancer, choreographer and dramaturg. Shian has worked closely with choreographer/mentor Jo Lloyd, Phillip Adams, Deanne Butterworth, Victoria Chiu, Melanie Lane, Mikala Dwyer, Brooke Amity Stamp, Lara Thoms and Liz Dunn. His commission portfolios include a number of national festivals and institutions, such as Dance Massive Festival, Sydney Dance Company, Next Wave Festival and National Gallery of Victoria. He received Tanja Liedtke Scholarship and Ian Potter Travel Grant to work in Berlin and New York, and international residencies at Cité International des Art as well as Ménagérie de Verre (Paris) supported by the Australia Council for the Arts, in addition to independent queer arts space Extantation (Chiangmai) and Q-Space (Beijing) through Asialink Residency. He is the inaugural artist-in-residence at The Temperance Hall under the stewardship of Phillip Adams’ Balletlab.
Tara Transitory (musician, director e x t a n t a t i o n , Chiang Mai) aka One Man Nation makes work which some consider art, some consider music and some consider trash. But clearly, it never quite fits into contemporary categories. She is trans, nomadic and is exploring the intersections of gender, noise and ritual through performance and the collective trance. (http://www.onemannation.com)
Stefanie Wenner (co-director apparatus, Berlin) doctorate in philosophy at FU Berlin, since 2015 professor of Applied Theatre Studies at HfBK Dresden, previously curator for theatre at HAU (2008 – 2012), dramaturge of the theatre festival Impulse (2013) und since 2014, collaboration with Thorsten Eibeler as part of apparatus. (www.apparatus-berlin.de)