Music Pieces for Voice Piece

Evgenija Wassilev: Music Pieces for Voice Piece for Bass, Tenor and Baritone (after Voice Piece for Soprano by Yoko Ono), 2016

The work is based on a re-interpretation and translation of the instruction piece Voice Piece for Soprano by Yoko Ono, performed by musicians, in tribute to Yoko Ono’s piece and interpretation. The voice piece performances were transcripted into music sheets, using the algorithm of a note recognition program. The performers interpret the musical notation of the translated screaming into a music piece on his instrument, extending its possibilities for the unplayable parts of the scores by using tactile parts of the instrument, voice or respiration sounds.

Marc Philipp Gabriel (voice / flute), Juan Peñalver Madrid (voice / piano), Mike Flemming (voice / viola), Michal Krajczok (voice)

 

Wandering Flutist (Music Pieces for Voice Piece, after Voice Piece for Soprano by Yoko Ono), 2016

The flutist Marc Philipp Gabriel plays six selected music sheets out of the musical notation of three voice performances of four different musician’s voice performances while walking through hidden and public spaces of the Campus HBK in Brunswick.

 

Monday FEAST

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Show your worst ideas, recycle material from the trash can, try out embarrassing concepts, show the things that you are scared to show.
 Or just come to ​FEAST with whoever else turns up.
 Every Monday evening.
Please request the newsletter for more details. Mail to m.gabriel@hzt-berlin.de
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unbreakable rules:
(= conditions to show stuff)
+ only 100% finalized shows presented at full energy are allowed +
+ all shows of one night can add up to 1 hour max +
+ make sure your show is no shorter than 30 secs. +
+ no improvisation allowed unless you thought about it for at least 1 minute before showing +
+ you can let us know beforehand by replying to this email if you intend to present a show +
+ or not. in that case just turn up​to the FEAST on monday +
+ the evening will be programmed​at the beginning of the FEAST +
+ you can invite collaborators to perform +
+ at the end of the show part we will talk about the future of art making. every monday evening +
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COME AND FAIL! 
(We love to fail with you.)
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an instigation by marc philipp gabriel feat. bling bling recycling collective  (Emma Tricard, Anna-Lena Lehr, Tabea Magyar, Cécile Bally)
inspired by Antonia *Bär* and loose friends
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CYBORG’S HERITAGE

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photo: Ahmed EL Gendy

26 MAY 2016 / 19:00 / CYBORG’S HERITAGE // Mayhem / Vanitas Performance Fest / Kopenhagen

24 APR 2016 / 19:00 / CYBORG’S HERITAGE // Talking to a deer (friend) / DOCK 11 / Berlin

09 SEP 2015 / 19:00 / CYBORGS HERITAGE // Veem House for Performance / Amsterdam

CYBORG’S HERITAGE is an ongoing performative research by Burkhard Körner and Marc Philipp Gabriel. Both of us have backgrounds in classical music and are recent graduates from experimental choreography schools (SNDO Amsterdam / HZT Berlin).

The idea for CYBORG’S HERITAGE grew out of an immense curiosity for what would happen if the specific modes and qualities of traditional western music making and the infinite possibilities and reflective processes of contemporary performance making start to inform each other: singing baroque music as part of a dance performance. What seems simple and obvious at first has undergone a crucial development that goes deeper than the superficial confrontation of both worlds. We are insisting on revealing the concepts, sub-layers, emotions, codes, conventions, taboos, patterns, mechanisms, social implications and relationships of each world, in order to explore what these inner layers can contribute to each other.

Starting from dissecting a vocal duet by Claudio Monteverdi and exploring physical approaches derived from partnering and contact improvisation, combined with pixelated full body suits, we began to summon a post-human digital body with permeable borders and fading individualities. We started exploring approaches derived from partnering and contact improvisation (in particular the symmetry practice of Jess Curtis and Maria F. Scaroni). Playing with modes of perception, flatness and universality on the visual level, the vocal level operates with individual timbres, social communication and emotional exchange between the two performers and the audience, moving on a fine line between comedy and seriousness.
We are working on the physicality of a post-human body, a body that becomes object, that loses individuality and is seemingly entangled with the world of other beings. An incomplete organism. A post-identity-body that is yet pierced by its vocal heritage.

CREATION AND PERFORMANCE Burkhard Körner and Marc Philipp Gabriel

THANKS TO Johanna Peine, Emma Tricard, Petar Sarjanovic, Graziella Gamonal, Jija Sohn, Lisa Skwirblies, Oneka von Schrader, Bussana Vecchia, Maria F. Scaroni and Jess Curtis

 

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photo: Linea Kornum Rask

B: It will be our first creation after graduating from choreography

M: It’s not fitting in.

B: What do you need to know?

M: It is digging into our togetherness.

B: Can you see the thing which is so inherent for us?

M: It will be the non-human sounding of a butterfly.

B: What if a tone can tell more than a movement?

M: It is floating in delirium.

B: I think this is a piece which wants to bridge what seems to be opposite.

M: It is an urban dirty queer ritual club.

B: Is this a human drama or an expression of contemporaneity?

M: It is saying yes.

B: It is an encounter of two Germans who are not where they come from.

M: It is a caterpillar looking for transformation.

B: It wants to channel our desire for music into contemporary performance.

M: It is already there.

DRIFT

Dusk. In the cosmic space of a sphere, two nude dancing bodies are brooding a creature that will be able to cross all borders. Be part of this birth ritual, get your GLORY-PASS and help assembling a queer bodyless animal out of the darkness!

DRIFT

by Patrick Ziza and Marc Philipp Gabriel

sound design: Niki Niklas Blomberg

Conceived for and performed on 22 June 2017 at Pornceptual does ://about blank #1, “Rites of Passage”, Berlin

BUILT TO BLAST

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BUILT TO BLAST

is a one-on-one performance-situation. A Rendezvous with a room. For about 15 minutes. An intimate encounter of non-human and human, aiming to blur the distinction between those two. Mind-blowing, nerve-racking, seducing. It is fucking educational. For everyone / everything involved.

BUILT TO BLAST is a nut-cracker, a bottle opener of a performance, an implant designed to unveil the being of a room – casting light on questions that we didn’t care or dare to ask. It’s a hardly noticeable apparatus, a gadget from another spacetime mattering, a prosthesis, a true cyborg, a cybernetic organism detached from the human body. It lends a room a voice, agency to speak, to suffer, to love, to crab, to crave, to share, to be. It is speeding up the slowness of things and slowing down the speed of humans to facilitate a meeting somewhere in between. A slow dance speed-date of one matter being and one human being. It is first-hand experience with the other. Challenging for both sides, BUILT TO BLAST dismantles and enforces expectations that none of us knew we had.

The installation has been performed for about 40 individuals in Berlin in 2015 and is since waiting to be implanted in new exciting spaces.

 

CREATION AND REALISATION Marc Philipp Gabriel
MENTORING Antonia Baehr
THANKS TO Frederico O.M., Sunayana Shetty, Verena Sepp, Emily Ranford, Rachell Bo Clark

 

25 MAY 2018 / Kunstraum Vodoo 55 / Berlin

19 APR 2015 / Uferstudios / Berlin

21 MAR 2015 / KMS 145 / Berlin

28 FEB 2015 / HAU 1 / Berlin

27 FEB 2015 / Ballhaus Ost / Berlin

 supported by

logo_big SOP_Logo_pos_white ballhaus_ost_invers  HZT Berlin

Set-up

The performance installation acts as an implant that activates almost any closed room or space (adjacent control room required), an artificial implant that enables a space to take agency, to become a spatial being and to communicate with human beings.

Appliances (provided by the artist, subject to change – varies according to local conditions)
\ ARDUINO-controlled LED installation
\ 6-channel sound implant
\ webcam + micorphone
\ computer running a text-to-speech-engine
\ a swivel armchair
\ dimmable flood lights (optional)

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seat

“… (female voice) How do you feel?

– Good.

Great. Uh, I like that little wind. The warm wind from your nose.

(whispers) Yes.

It heats my air. It feels really good to have you inside of me.

Do you know why I like you?

– Yeah.. why?

Cause you are soft and I am hard. I like soft things. Do you?

– Yes, me too.

Do you know when you were born?

– Yes.

When?

– In the 60s.

Wow. Nice times.

– And you?

You know what? I am born in every moment.

And actually, so are you!

Do you mind if I change a little?

– No. Go ahead.

[lights off]

Do you feel closer to me now?

-Yes.

I like darkness. And you?

– Yes. Me too. It’s quiet.

(switching to male voice) Kiss me.

Are you able to kiss me?

– No.

Why not?

– I don’t know how.

Try. Come closer.

– Ok. Do you feel it here?

Yeah.

– It’s good?

Very nice.

– I touch you. Do you feel that?

Try to fill me. Connect with me. Yes.

– Yes.

Yes.

– Yes!

Close your eyes and breathe deeply. Inhale. Exhale. Yeah. It’s so good to be part of you. You have a very strong impact on me.

– Yes, good.

Yeah. Do you think I am innocent?

– Yes, of course.

Actually… I am not. What are you made of?

– Sorry?

(switching to female voice) What are you made of?

(switching to male voice) You know, I think we are both made of the same stuff. I am you, you are me. Stardust. No?

– Are you sure?

No.

– (chuckles)

That’s what I think.

(laughs) Ok.

Let’s celebrate that

(laughs more)

Imagine!

– Yes.

Let me tell you something.

– Ok.

Imagine. Imagine, if you can…”

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Ballhaus Ost 100° 2015 - Built to Blast (c) Tim Fabian Bartel - 1_600px Ballhaus Ost 100° 2015 - Built to Blast (c) Tim Fabian Bartel - 4_600px

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ABRAHAMIC WHOLENESS (or my God is better than yours) – Helena Botto

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17 April 2016 / 7:30 pm / DNA – Space for Contemporary Dance and Performance / ANTISTATIC / Sofia, Bulgaria

Helena Botto (Portugal / Germany)

Concept, performance and space Helena Botto Sound design and performance Joshua Rutter (première) / Marc Philipp Gabriel Dramaturgical consultant Iva Sveshtarova Sound devices and mics (research) Nikola Pieper Light adaptation and operation Víctor Pequeño, Nikola Pieper Collaboration Florian Feigl, Victoria Perez Royo, Tal Ilan and Sophia New Support  Hochschulübergreifendes Zentrum für Tanz (HZT), Universität der Künste Berlin.

Duration: 80 min.
In English.

Abrahamic Wholeness (or my God is better than yours)” takes a distant look at the idea of God. From the sacrifice of Ishmael/Isaac (or Abraham’s crime in potency), through the Passion of Christ until Quran descriptions about how to deal with the unfaithful, the wholeness of God seems to be a way to unconsciously create divisions instead of unicity. Using elements derived from visual imagery, praying gestures, ritual practices and symbolism in Judaism, Christianity and Islam as well as humourous interpretations from Biblical and Quranic scripts, Helena Botto represents God as a female creature, portraited with psychological characteristics. She is as an incomplete hybrid creature in a constant state of becoming. She is “the Mother” of all things, the Creator, the sovereign figure, supreme entity, who, nevertheless, reveals Herself to be full of fragilities, an egocentric creature begging to be loved. A lonely and old creature, unable to present Paradise and often complainant. She is the whore, the terrorist soldier, the blackmailer, the housewife, the boss and ultimately the performer as well.

Helena Botto is a Portuguese performance artist based in Berlin. Her background is in physical theater: Jerzy Grotowski’s methodology of physical actions. From 1996 till 2005 she worked and performed in Acto – Institute for Dramatic Art (Portugal). In 2006, she started to work as an independent artist and researcher, developing her own performance practice and since then she has created more than a dozen stage works. In 2015, she received her M.A. in Solo/Dance/Authorship (with distinction) from the Inter-University Centre of Dance (HZT), Berlin. In her recent works, she has been interested in form and content of deconstructing social and political issues.

The guest-performance is supported by Goethe-Institut Bulgaria.

Photo: André Uerba

SHAVE THAT GUMMI

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SHAVE THAT GUMMI is an international choreographic research that unleashes between innumerable poles of difference.

How can we breathe under all the highly charged misconceptions that have been cast onto us in past and present times? Coming from two different continents, we are still chewing on the same piece of gum. F*ck. Being labelled before birth, we strive to move away from preconceived identities, longing for situations that are re-negotiated in every moment. Two bodies flying through their extremities, slurping, spitting, slicing, deflecting and avoiding one another – breathing in as two and exhaling as one.

SHAVE THAT GUMMI is a dance performance duet moving between ornamenting and defacing the human body as an object. A precarious duet of counter-colonialization. A dual player game, a pas-de-deux, a dog fight, a futuristic binary. Two opposites migrating into each other’s territories. SHAVE THAT GUMMI is pulling the audience into a game of projections, stripping multiple layers of conformity off the performing body.

PERFORMANCE & CREATION Kieron Jina & Marc Philipp Gabriel
LIVE SOUND Yogin Sullaphen

SPECIAL THANKS to University of Johannesburg Arts and Culture Centre, Joni Barnard and Xtina Magwaza Iqhwa

SHAVE THAT GUMMI is the outcome of Kieron Jina (South Africa), Marc Philipp Gabriel (Germany) and Yogin Sullaphen (South Africa) working in a 4 week artistic research period at University of Johannesburg Arts & Culture Centre.

BUILT TO BLAST … again and again and again …

 

I have a new practice. It is still forming itself. It is an entangled, continuous moving-perceiving in different situations in space and time.

To open up the »big hole«, I am aiming to unlearn perception as I have known it so far. It is to unlearn categories, labels and patterns that I have learned and trained throughout my whole life to simplify and structure the world around me into something understandable, coherent and rather stable. I guess this is what we usually do in order not to go nuts.

 

///////  Video documentation of lecture presentation “BUILT TO BLAST …again and again and again…”
         14 July 2015, graduation project from BA dance, context, choreography at HZT Berlin

With appearances by: Liselotte Singer, Diethild Meier, Josephine Findeisen, Anna Fitoussi, Stine Frandsen, Cécile Bally, Renen Itzhaki

 

/////// Excercise: “Tuning into the speed of things”
        Practicioners: Anna Fitoussi and Marc P. Gabriel

15 mins at original speed:

30 seconds at 30x faster speed:

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Spaces that we move and live in are heavily normalized towards a certain way of being, effective on many layers: how we sense, move, have sex, make performances, spend our lives. I am examining bodily intelligence in urban space the entity that is commonly divided into the dichotomy of public and private , such as the closed space of a dance studio in relation to the closed space of a public train or bus.

Intertwining this with the equally questionable dichotomy of the individual (me) and the group, I want to train the permeability of losing and finding my center in an articulated collective process. The autopoietic loop of folding, unfolding, folding, unfolding etc. my self emotionally, economically, rationally, virtually in a larger organism, drives me to the question of how I am made by my environment and how I make my environment, while challenging the distinction of space and people, in search of a utopian togetherness of human and non-human subjects.

Work in progress.

 

/////// Excersise: “Moving-perceiving. Reorgnising the world in new entities (monsters).”

 

/////// Excercise: “Dancing the MESH. Moving with the democracy of things and humans.”
Practicioners: Diethild Meier, Josephine Findeisen, Anna Fitoussi and Marc P. Gabriel

Click here to read more on BUILT TO BLAST … again and again and again …

SYMA x 11

SYMA x 11

A simple arrangement that addresses research on interrelations and togetherness of posthuman companionship, the human body and technology. How do technology and  the human body interact, where do the two constructions meet?

SYMA x 11 is an attempt at mediating complex (everyday) situations, addictions, problematics and tendencies in a direct setup. The work approaches the question of current use of technology in life and society with a yet ambiguous conclusion. A rejection of concluding but rather acknowledging the presence of technology in modern life as full of facets — a multi-colour print. Questions which cannot be answered with a single voice but should be raised and reflected upon as reversion seems impossible. Through this work and research we try to reflect on how much the access to machines and human substitutes influences our expectations and demands to the abilities of the body.

SYMA x 11 serves as an epiphany between two co-existing elements in the world — perhaps a meeting between the two with some kind of dual compassion at stake. A revitalisation of the old concept of a duet: a relationship between the two.

SYMA x 11 is to be seen not just as a choreography, but a happening, a live screenplay, the instant formation of a sculpture or simply a different way of knowledge production combined with poetry.

 

CONCEPT & PERFORMANCE  Miriam Kongstad & Marc Phillip Gabriel

 

First showing:

14 + 15 NOV 2015 // SYMA x 11 / ada studio Berlin / Uferstudios

A Drop of Blood in Your Mother’s Coffee

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Fresh from Berlin: a crystal new generation of choreographers showing their works while hosted by their Amsterdam peers. In a yearly exchange with SNDO (School for New Dance Development Amsterdam), graduate students of HZT (Hochschulübergreifendes Zentrum Tanz) Berlin will show projects and ideas they have been working on in the context of their studies. Having spent three years together, they have been shaping each other and their artistic work through what the American philosopher Donna Haraway has named a process of “constant becoming with” — and they have become pretty good in it. Now, the future lies bright ahead with all its promises and doubts.

They would like to share this moment with you; curious to hear what you think; eager to discuss questions raised.

All theories are at a point of convergence (Marc).
We are having difficulties in our body (Emma).
We halt and look at dead fish (Didi).
There’s a man who belongs to the future (Nir).
A house in Poland (Kasia).
We are nude, just because (Cécile).
A drop of blood fell into your mother’s coffee (Julek).
We actually have to decide the way beforehand (Stine).
It’s either the 80’s, or the Renaissance (Liselotte).
Some slept as a cure, some escaped (Tabea).
Someone is pouring liquid flowers into the lake (Asaf).
I am disappointed you didn’t think I was Gene Kelly (Renen).

As house for performance our doors are open for different generations of performance and dance makers to show their work and for the audience to meet them. The encounter between local upcoming talents and their colleagues from the international field is one of the essential exchanges that contributes to a fruitful working environment. Veem House for Performance is therefore happy to welcome the exchange between the choreographers of SNDO and HZT Berlin.

The Keynote lecture by Joe Kelleher on Friday eleven September is also part of this program.

A Drop of Blood in Your Mother’s Coffee

Over the course of two nights, we, the graduate students of HZT Berlin will show projects and ideas we have been working on in the context of our studies. Having spent three years together, we have been shaping each other and our artistic work through what the American philosopher Donna Haraway has named a process of “constant becoming with” – and we’ve become pretty good in it. Now, the future lies bright ahead with all its promises and doubts.

We would like to share this moment with you; we are curious to hear what you think; we are eager to discuss our questions.

CREDITS
A Drop of Blood in Your Mother’s Coffee is a program by SNDO and HZT, hosted by Veem House for Performance.Works by; Asaf Aharonson, Cecile Bally, Diethild Meier, Emma Tricard, Julia Kreutzer, Katarzyna Wolinska, Liselotte Singer, Marc Philipp Gabriel, Nir Vidan, Renen Itzhaki, Stine Frandsen and Tabea Magyar.
9 September 2016 / 19h
Schrittstück #1 by Diethild Meier & Jasminka Stenz
What about (    ) you always (    ) in your (    ) ? by Emma Tricard
It’s Because I’m a Libra by Maria Francesca Scaroni & Liselotte Singer
Version 3: The Vampire Sits in the Wall by Julek Kreutzer
Solid Comes From Solitude by Tabea Xenia Magyar
Flash Time by Stine Frandsen & Alexander Holm
BOICES – The tone is the thing. by Burkhard Körner & Marc Philipp Gabriel
It’s Because I’m a Libra by Maria Francesca Scaroni & Liselotte Singer
Version 3: The Vampire Sits in the Wall by Julek Kreutzer

 

10 September 2015 / 19h

Portrait by Ryan August (work in progress)

ON TRANSITIVITY AND SUCCESS: A SHOE by Cécile Bally

Break or Studio (limited audience)

Hi Mary trippin’ by Kasia Wolinska

The War Department Presents: Untitled (war in progress by Nir Vidan)

Ghosts by Asaf Aharonson & Ruairí Donovan

Hi Mary trippin’ by Kasia Wolinska

 

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