Showing posts with label Germany. Show all posts
Showing posts with label Germany. Show all posts
Sound Installation
in situ
2014


They are not cut yet but their luck is already sentenced.
About 60 trees leave their home in the north wing of the Weimarhallenpark to make room for the new residence of the Neues Bauhaus-Museum.
Birds, bats, banks and the others trees will say goodbye to this group of future outcasts.
adieu is an interactive sound-installation that wants to offer the opportunity to Weimarers and other habitants of the city that usually dwell this park to join this mourning’s chorus and begin to say goodbye to the each other.
If the plan is accurate, only five trees located on the other side of the road will survive in its current position and they will be the witnesses of the announced arrival of the new neighbour of 30 meters.



Weimar in Germany has currently nine big parks and the Weimarhallenpark is the only one in the centre of the city. This park was and is a very popular venue for adults and children.

On the other hand Weimar is very well know for be the first quarter of Bauhaus, the school of art founded by Walter Gropius in 1919. Since 1995 a temporary building houses the Bauhaus Museum Weimar that shows a small part of the collection that represent the architectural style of Bauhaus.
Around 2008 the city began planning the construction of a new Bauhaus Museum to replace the existing today, which is too small to host the complete actual collection.
After a huge competition and the redesign of the district planning law the winner was chose in 2012.
Around April 2014 Mr. Röhrich an inhabitant of the city, who grew up and has lived most of his life in the surroundings of the Weimarhallenpark area, contact me with the aim to create a strategy that allowed him to make duel with his memories an the new changes.
The construction of the Neues Bauhaus Museum will remove Mr. Rörich’s preferred wood bench in the Weimarhallenpark as well as the sixty trees that are behind of it. When we began to talk bout his feeling was clear that the result of our actions would be therapeutic art.
The first strategy was to visit the park regularly every Sunday between 11 and 14 hrs. In those sessions, we interviewed locals about their memories in the park as well as their opinion about the site chosen to the construction of the new museum.

I taught to Mr. Röhrich how to manage a Blog and between April and May 2014 he wrote the texts and I was in charge to the sound recordings. The title chosen by him was: Bauhaus oder Hausbau?.


On this process I noticed how the opinions about the places were more frequent than the memories of the place, also because many of the interviewees not grew in Weimar, they arrived in the city after.
Despite the difficulties was possible to collect some of the recollections and create an album, named Bürger zum Weimarhallenpark 
Our fieldwork led me to a few insights that have implications for design an interactive installation and the potential ways of using sound in public spaces and creates an intersection between memory and time.


As the future of the trees is that they will be cut in the autumn of 2014 I choose the Sunday 28 of September as the day to install the piece.
adieu consisted in nine audio tracks of branches being cut with mowers an the sound of trees falling on the grass.

The original idea consisted that at different distances, different audios will be activated with the pass of the pedestrians, but the constant overlapping of tracks showed that it was better to use a single composed track.
The audios were reproduced in the site, and a red and white construction tape was installed around the area of the trees that will be cut, pretended to foresee the future outlook of the area and evoke in the citizens a spirit of solidarity with the trees as well as a moment of mourning and farewell.

Also I provided some yellow labels where people could write messages and leave them hanging in the trees.


Technical Aspects:


To the Audio Installation I used one board of Arduino Duemilanove with a WaveAudio Shield, the use of the Arduino AF_Wave library and a SD card, nine uncompressed 22KHz, 12 bit, mono Wave (.wav) and a pair of head speakers, also a PING))) Ultrasonic Distance Sensor.
For the Audio edition I use the programs Cubase LE AI Elements 6 and Audacity.

 



Installation
in situ
2014


Alphabet der Vier Elemente / Alphabet of Four Elements is a permanent interactive installation, inspired and created in the frame of the workshop: Fahrradnixen- LandArt of Ilmtal-Radweg at Kromsdorf-Germany 

The Ilmtal-Radweg is the most popular cycle route in Thuringia and 4-star quality cycling route. The path of the route is near to the Ilm river that creates the perfect scenario to combine nature and cycling.
The frame of the workshop was precisely explore this relation. Cycling and mermaids were called.

In order to enable the communication between humans and mermaids and also the other elements around, I used the Alphabet of the Magi invented in the 16th century by Philippus Aureolus Theophrastus Bombastus von Hohenheim (also known as Paracelsus). He used it in his time to engrave the names of angels on talismans which he claimed could treat illnesses and provide protection.


This interactive sculpture allows visitors to write little messages (with the letters mounted in the bicycle wheels) that later others can decode and read and also leave new messages, providing the possibility to continuous communication.

 .


Photo taken by Kreuzbube in April 2016 as part as his journey:



 More info about his endless tour in Artfahren Gunter Bubi!


25x12 cm
60 min
2012 / 2013


How many times throughout history people have been thought the "end of the world" was nigh?. If we made a small research we found that our world has been ended at least 527 times until now, in order to create an opportunity to reflect us about our future and our fears.


We really need world-ending moment to shock us out of your daily apathy? if we have the opportunity to turn the sandglass another time probably we can start to live each day as a gift












from 11 to 27 April 2013 in Laboratorio Interdisciplinario para las Artes-LIA.
Bogotá - Colombia.



Installation
in situ
2012
 

The SED Bezirksparteischule* in Erfurt, Germany is for me a building frozen in a particular moment of history - the GDR time.
Walking in the building, the space evokes in me a game of chess. The intervention took place in the long corridor on the right side as soon as you enter the building. The installation consisted of an ambient arrangement of two chairs, one is still directed to the table, the other indicates that the occupant has left the game.

 

One chess clock still running for Whites sits upon the table, and ceases for the Blacks an unfinished game of chess, where only the pawns are present on the board.

  
In chess, some plays or games have a special name. Time, Space & Power is one of those names, named by Henrik Danielsen, the‪ game was played in 1964 in Amsterdam between the Russian Mikhail Tal against the Bulgarian Georgi Petrov Tringov and I chose this name because it fits perfectly with the history of this building.



The intervention also invited the spectator to be there one minute in silence in order to hear the chess-clock and synchronize or stop partially their “times” like that of the building.






Special thanks to Mr. Daniel Wanzek the director and organizer of the chess tournament in Erfurt 2012.



*Bezirksparteischule



Iva Kirova, Andres Londoño,
Angela Parslow, Yomayra Puentes-Rivera,
Luisa Roa & Haiyue Tao


This small intervention, based in the city of Leipzig, was a collaboration between six artists from diverse cultural backgrounds. Being new to Germany (in particular eastern Germany) we used it as an opportunity to demonstrate the collision of own cultural identities with the city of Leipzig.


The piece was comprised of six individually A6 postcards that functioned like a souvenir. These self-made cards featured political quotes from our home countries (Bulgaria, Colombia, China and UK) that were then roughly translated with Google Translate into German and displayed on a typical retailer’s postcard stand on Augustusplatz (located at the east end of the city centre).


Dealing with the ephemerality of meaning we question how does the passing of time affects reception and interpretation. The result was an almost incomprehensible display of political and contextual absurdity that emulated our own sense of cultural displacement.


The A6 postcards.
 
° Andrés Londoño (Colombia) designed his postcard based on the words pronounced by the Colonel Alfonso Plazas Vega in an interview, after coordinated a military action between 6 and 7 November 1985, when the M-19 guerilla made an armed assault on the Palace of Justice of Colombia.
His words were: "Maintaining the master democracy, here they are not going to frighten us or to attack any of the powers or against any of the branches of the public power, at this moment this is an attack on the jurisdictional branch and that must be made very clear;" "That the army is in a position to keep all branches of public power functioning because this is a democracy and for that we are, to make it respected." 



° Between 1990 and 1994 Jaime Garzón (a Journalist, lawyer, peace activist and political satirist) worked at the Casa de Nariño, the Presidential House of Colombia, he helped in the translations of the new Colombian Constitution of 1991 into the indigenous languages and as a presidential adviser in communications.
Yomayra Puentes-Rivera (Colombia) designed her postcard based on the translation of the indigenous Wayúu del Article 12 of the Colombian Constitution compiled by Jaime Garzón, which reads: Articulo 12: “Nadie podrá ser sometido a pena cruel, trato inhumano o desaparición forzada.”
Translation of the indigenous:
Piece ten Two: "No one will be able to carry above his heart to anyone, or make him ill in his person even though he thinks and says differently."


 

° Luisa Roa (Colombia) designed her postcard based on the translation of one sentence in the speech of Jorge Eliecer Gaitán a candidate in 1946 for the presidential elections in Colombia.

"Ellos quieren tener un país paria e imbécil, que trabaje para sus intereses…"




° Iva Kirova (Bulgarien), used quotes from Todor Zhivkov, the leader of the communist party in Bulgaria from 1954 to 1989.


"Всичко това, което ние сме ви казали като какво трябва да правите все едно, че черния дявол ви го е казал! Махнете го това и почнете да мислите."

"Щом немаш пари какво ще решиш ти бе? Ти немаш право да решаваш."


° Haiyue Tao (China) quotes Mao Zedong who led China's Cultural Revolution.

"自立更生 艰苦奋斗”

一切反动派都是纸老虎。



° Angela Parslow (UK)

Installation
in situ
2012


Weimar in Germany is a city that has had at least 70 fountains throughout its history. Currently, only about thirty of them survive in good condition.
My interest in the fountains arises upon recognizing the city as a silent place that is invaded by the sound of water sources. After going on a tour of the existing fountains and those that disappeared I decided to work with a single fountain, a work of German Sculptor Arno Zauche: the Froschbrunnen (frog fountain), a relatively new fountain that replaced an older one.
The intention is to realize an intervention in the fountain, to evoke the story Der Froschkönig oder der eiserne Heinrich (Frog Prince) collected by Grimm’s Brothers and allow children and adults have a different experience with this work that is part of the city.

 

Special thanks to Ms. Christine Tauro of the Weimar City Council - Urban Development Office - Conservation Authority and to Mr. Thierfelder the Fountains Master.



°°°°°°°°
Weimar ist eine Stadt, die in ihrer Geschichte mindestens 70 Brunnen besaß. Derzeit sind nur ungefähr 30 davon in gutem Zustand.
Mein Interesse an den Brunnen entspringt der Erkenntnis, durch sie die Stadt als einen stillen Ort wahrzunehmen, in dem das Geräusch von Wasserquellen eindringt. Nach Besichtigung der bestehenden Brunnen und der Beschäftigung mit den bereits verschwundenen, habe ich mich entschieden, mit einem einzigen Brunnen zu arbeiten, einer Arbeit des deutschen Bildhauers Arno Zauche: dem Froschbrunnen. Es ist ein relativ neuer Brunnen, der einen älteren ersetzte.
Meine Arbeit beinhaltet eine Intervention am Brunnen, welche die Geschichte vom Froschkönig oder vom eisernen Heinrich (Märchenprinz) der Gebrüder Grimm, an die Oberfläche bringt, um damit Kindern und Erwachsenen eine andere Erfahrung mit dem Brunnen zu ermöglichen.


Besonderer Dank geht an Frau Christine Tauro der Stadtverwaltung Weimar - Stadtentwicklungsamt - Untere Denkmalschtzbehörde und Herr Thierfelder der Brunnenmeister.




°°°°°°°° 



Weimar en Alemania es una ciudad que ha tenido por lo menos 70 fuentes en toda su historia. En la actualidad, sólo unas treinta de ellas sobreviven en buenas condiciones.
Mi interés en las fuentes surgió al reconocer la ciudad como un lugar silencioso que es invadido por el sonido de las fuentes de agua. Después de realizar un recorrido por las fuentes existentes y aquellas que desaparecieron, decidí trabajar con una sola fuente, la obra del escultor alemán Arno Zauche: the Froschbrunnen ( la rana fuente), una fuente relativamente nueva que sustituyó a una anterior.
La intención es realizar una intervención en la fuente, para evocar la historia El Rey Rana o Enrique el férreo (Der Froschkönig oder der Eiserne Heinrich) recogida por los hermanos Grimm y permitir a los niños y adultos tener una experiencia diferente con esta obra que es parte de la ciudad.

Un agradecimiento especial a Christine Tauro del Consejo de la ciudad de Weimar - Oficina del Desarrollo de la Ciudad - Autoridad en Protección de Monumentos y al Sr. Thierfelder Supervisor de Fuentes.




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