Curated concert serie musiCKlub, Lokal Harmonie Duisburg
2022
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at the Trinkhalle Zur Ecke, in Untermeiderich, Duisburg, Germany
August 6, 2022
I was commissioned, by Interkultur Ruhr and Ruhrtourismus, to curate a program at a Trinkhalle in Duisburg, a local bar, kiosk, traditional meeting place for workers and locals in the Ruhr Area.
I was also commissioned to edit archive material, private photage from a family living in the are of the Trinkhalle, super-8 material, from 1960 – 1975.
Edit, Archive material from the 1960’s and 1970’s of the Duisburger Family Fiedler _ Marie Gavois
Live performance, text, voice over _ Fiona Fabulous
Live sound, music _ Achim Zepezauer
Trailer of the live event:
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Documentation AGGRESSIVE GESTURES part 2
Werkhalle, Dortmund
6-7 July 2019
Aggressive Gestures series is organized by Hiroko Tsuchimoto & Marie Gavois.
With kind support from Stadt Dortmund Kulturbüro and Kunststiftung NRW.
Special thanks to: Achim Zepezauer, MEX Appeal, Yvonne Johannsen, die Urbanisten, Künstlerhaus Dortmund, Vite Joksaite, Transnationales ensemble LABSA, Jessica Manstetten, Tina Dunkel and Rees Archibald.
DAY 1
_PHOTOS by Tina Dunkel_
Yingmei Duan_ Behaviors
Hiroko Tsuchimoto_ Laboratory of Politeness
Jana Stolzer & Alexander Rütten_ Metrodronis – First sequence
Nathalie Wuerth_ As the chrysalis in the cocoon that imprisons itself by its own work
Johan Sundell & Birt Berglund_ A Tin Plate, A Boy
Rebecca Erin Moran_ Reebok Rituals
DAY 2
_PHOTOS by Tina Dunkel_
Organizers, Marie Gavois & Hiroko Tsuchimoto introduction
Rebecca Erin Moran_ Go Fuck yourself
Marie Gavois_ ERASE YOURSELF
Yingmei Duan_ Future imagination: A solo show by Yingmei Duan at Werkhalle in 2022
Seroconversion_ LECTURE: Queer Noise: ASonic Form of Bashing Back
AGGRESSIVE GESTURES is a performance program and seminar series organized by Marie Gavois (Dortmund), Hiroko Tsuchimoto (Stockholm).
AGGRESSIVE GESTURES – part 2
6-7 July 2019
Werkhalle, Dortmund
LINK to fb-event
A two-day performance program and seminar, curated by Hiroko Tsuchimoto & Marie Gavois, presenting the artists:
Birt Berglund
Yingmei Duan
Marie Gavois
Rebecca Erin Moran
Alexander Rütten
Jana Kerima Stolzer
Johan Sundell
Hiroko Tsuchimoto
Nathalie Wuerth
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AGGRESSIVE GESTURES
they are a potential warning sign before an action
they are afraid of doing the action
they are becoming a problem
they are hidden in a smile
they ruin
they protect
they press
they feel oppressed
they rude
they too woke
catch the moment before being edited by the harmony
combination of noise and silence
even at the same time
being
tolerant of intolerance
intolerant of intolerance
intolerant of tolerance
the enemy of our enemy is our frenemy
AGGRESSIVE GESTURES, depending on who you are, depending on your experience, depending on your taste, depending on your fetishes, depending on the weather, depending on the money in your pocket, depending on the day in the month, depending on your levels and directions of sensitivity, depending on your identity that very second, depending on the guards, depending on the traffic you’re in, depending on your neighbors, depending on your friends, depending on your enemies, depending on the cameras, depending on your body, depending on your insurance company, depending on your brain capacity, depending on your humor, depending on your empathy, depending on your sadness, depending on the ground on which you stand, depending on from which position you are operating.
Longing for AGGRESSIVE GESTURES, like wanting someone to be speaking out loud, using only CAPITAL letters, being extremely honest, wipe that politeness away!
That’s how it started, we were saying we miss to experience explosive, aggressive gestures of thoughts and visions, reflections, screwed up, taboos being exposed. That’s how it started, that’s why we do this, that’s why we want to talk about aggressive gestures. Because we miss the artistic aggressive gestures, miss aggressive reactions to overdeveloped ideas, theoretic meta bullshit and snakepit tendencies, and then the single artist geniuses still being presented, get a life!
We are longing for more daredevils! We want to see riots on stage, We want to feel something, We expect only to be blown off our seats, nothing else but going against any kind of normativity is entertaining us.
Fuck frames and discipline.
If you don’t have a feminist way of looking at the world, get out of the way!
We want sweat!
We welcome everyone to our safe place, a yoga free zone.
*we hear what you’re saying and, although we don’t agree with everything you said
*we care about you without a trigger warning
/ Tsuchimoto, Gavois
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Updates and more info: facebook
Entrance is free, but donations are welcome.
Date & Time: 6-7 July, 16:00-22:00
Place: Werkhalle im Union Gewerbehof
Huckarder Straße 10-12, Dortmund
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Co-production with Fylkingen – New Music and Intermedia Art, Stockholm
Supported by Kunststiftung NRW, Stadt Dortmund Kulturbüro
Special thanks to die Urbanisten, MEX-appeal, Künstlerhaus in Dortmund
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Rebecca Erin Moran
“Go Fuck Yourself”
Go Fuck Yourself is part of the whole, a whole of the part, of HARDCORE MEDITATION -%#-XXX series
unzip yourself
unhinge yourself
go inside yourself
arouse your infinite erotic being.
go fuck yourself!
Hypnotherapeutic techniques guide you to fall out of time…
feel your body inside out, lose your body, fuck your body.
Be every body, be no body.
Rebecca Erin Moran is a visual artist based between Reykjavik Iceland and Berlin Germany. She graduated from the Art Institute of Chicago and has been shown around the world such as Gallery Surge in Tokyo, The Reykjavik Art Museum Iceland, The Living Art Museum, and Kunstverein Munich Germany. Rebecca Erin Moran‘s work is research and process base and reveals the complicated relations that define unstable processes. Her most reoccurring themes question our perceptions of a shifting reality; concepts of time and space and non-specificity, narratives that defy definition. Her investigation focuses on the loopholes between, the clash, the conflict, the paradox of. Where opposites meet and create coherency. She has approached these relationships mainly through projection, installation, performance, sculpture and through the medium of 16mm film. Her work is marked by the process of adaptation, change, flux, and repetition: often using structures and materials that adapt or time, or evolve within the piece. who are we, where are we, how are we?
https://www.instagram.com/rebeccaerinmoran
http://www.rebeccaerinmoran.com
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Hiroko Tsuchimoto
“Laboratory of Politeness”
Laboratory of Politeness is a temporary platform to unlearn the notion of politeness and explore the possibility to interpret politeness as an aggressive gesture. The artist and audience members transform the platform by them sharing their knowledge and experience as well as creating new ideas through conversations, group discussions, and behavioral exercises. It is an open platform for everyone. Please come join (smiley)!
Hiroko Tsuchimoto is a visual/performance artist, living in Sweden since 2008. Her works are generally manifested as stage performances and social experiments in public spaces. In her performance pieces, she often provides communal experiences to audience members through physical assignments, dialogues, and collective movement. Since 2008, Tsuchimoto has presented her works internationally both inside and outside art spaces. She is also active as an organizer to promote ephemeral art in Stockholm and as a workshop leader focusing on developing her methods in non-hierarchical and decentralized settings.
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Jana Kerima Stolzer / Alexander Rütten
“Metrodronis – First Sequence”
Return. Higher. Center low.
Common language is not necessary anymore. Commands will only be there
Down. Bring. Let fall.
We will have a dance – becoming partners.
This sound, this awful sound. Be quiet.
Looking at me with its eye, reacting every breath I take.
We are organising togetherness.
I wish we could fly together
Lift of from this planet and in the air you would tear me apart.
Let’s leave this halls.
We would become one.
Be quiet.
Jana Kerima Stolzer + Alexander Rütten
birthyear: 1989
they studied Fine Arts at several art schools
they realize projects together since 2016
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Marie Gavois
“ERASE YOURSELF“
Erasing her body, erasing the social appearance of her body
as aesthetic preferences in dance, speech, entertainment
Erasing her body in public space, erasing the existence of a body
realities of micro harassments, social conventions
the horror of normality To Be In Control
a choleric lecture-performance
on a potential depression
stuff she never told you
her tacky theatre
Marie Gavois is an interdisciplinary artist, based in Dortmund, originally from Sweden. Her artistry materializes issues of economic power and social policy in forms of performing arts, text, music / sound. Organization in labor and independence interests her, especially social sceneries taking place in the borderlands in-between public / private spaces. Focus is on the performative, in which she integrates music and noise dance as well as literary formations.
She’s a member of the sound art and noise duo Sisterloops. 2015-2018 she was the chair woman of Fylkingen – new music and intermedia art in Stockholm.
2008-2012 she was an apprentice in SU-EN Butoh Company in Sweden, participating as a dancer and performer in many projects. 2012, she interrupted the apprenticeship, to continue working independently as an artist and performer. Earlier she studied sculpture at Gothenburg school of art.
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Birt Berglund/Johan Sundell
”A Tin Plate, A Boy”
A Tin Plate, A Boy” is a queer noise performance on the human as a linguistic being, language as (gendered) violence and the ”Boy” as a linguistic subject position of vulnerability.
Seroconversion is a queer noise project formed in 2013 by Birt Berglund and Johan Sundell. By defining ”queer” as unwanted desire and ”noise” as unwanted sound they explore what happens when one combines these two forms of unwantedness and turn them into (un)musical and artistic practices. They have worked in several formats such as performance, sound installation, theoretical writing, lecture and audio walk. Examples of different themes that they have explored are: queer bodies as queer noises, glory holes as graves, public bathrooms as queer spaces and quarantine procedures as ideological production. Since 2018 they also curate Queer Noise Fest in Stockholm, a noise event for LGBTQ-people working within the fields of sound art and experimental music.
www.seroconversion.se
https://www.facebook.com/queernoisefest/
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Yingmei Duan
Performance 1: “Behaviors”
Interactive performance with language, Behavoir and klang… Yingmei hopes to establish a three-dimensional internet between people and people, people and objects, objects and objects, people and space, space and space, inner and outer space.
Performance 2: “Future imagination: A solo show by Yingmei Duan at Werkhalle Dortmund in 2022”
In this performance Yingmei Duan adopts the role of museum guide and provides a speech about her fictitious upcoming solo exhibition at Werkhalle Dortmund in 2022. The spectators are interactively involved in the fiction of the performative speech as they are brought into Yingmei’s fantasy world. They imagine the described artworks and exhibition spaces, as she narrates. These performative lectures are conceived site specifically and relate to the characteristics of the particular environment and culture of the location.
Yingmei Duan was born in 1969 in Daqing, Heilongjiang Province of China. Yingmei Duan is part of the Chinese avant-garde, working creatively for many years living in the legendary art district of Beijing’s East Village. In 1995 she participated in the performance “To Add One Meter to an Anonymous Mountain” which is considered to be one of the classics of Chinese contemporary art. Yingmei Duan is a curious observer who asks questions of all facets of life in order to continuously learn and develop. For the past nineteen years, she has concentrated her energy and creativity on making performance art and researching the medium.
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Nathalie Wuerth
“As the chrysalis in the cocoon that imprisons itself by its own work”
“We have only attempted to consider female domestic reproduction, without going into detail about the psychological implications. At least we have located and essentially outlined the female productivity as it passes through the complexities of the role that women play (in addition, that is, to the actual domestic work, the burden of which she assumes without pay.) We pose, then, as foremost the need to break this role that wants women divided from each other, from men and from children, each locked in her family as the chrysalis in the cocoon that imprisons itself by its own work, to die and leave silk for capital. To reject all this, as we have already said, means for housewives to recognize themselves also as a section of the class, the most degraded because they are not paid a wage.” Excerpt from The Power of Women and the Subversion of the Community by Mariarosa Dalla Costa and Selma James, 1972
Nathalie Wuerth is an artist based in Stockholm, Sweden. Key words in her practice are embodiment, mapping and collective processes. In Wuerth’s work, the voice is used as a material. As such it has been used as an instrument to measure space and to map how far the voice can reach in public space, physically. It has also been used to map and give voice to invisible labor in the form of score making and choir practice. Wuerth’s work is concerned with methodologies for collective processes of making and relating, putting together plural voices in space and time. The work comprises both research into historical and contemporary concerns around gender issues, work and care.
Wuerth has previously presented Closed for Maintenance at Primary, Nottingham, UK (2018) and Clair the ear – a domestic choir at Bommassan (2018) and Konsthall C (2016). She has performed Mmm… at Marabouparken (2017), Scream runs at PAB; Bergen, Norway (2016) and AspIre at Norrtälje konsthall (2016) as well as taken part in Give me Hell at the Index Foundation (2018) in Stockholm, Sweden, at Acud macht neu (2018) and at Spectrum (2016), Berlin, Germany.
http://www.konsthallc.se/upload…/Clair_the_ear_final_web.pdf
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AGGRESSIVE GESTURES _ LECTURE by Seroconversion
“Queer Noise: A Sonic Form of Bashing Back”
In the lecture, Seroconversion will speak about the queer history of violence and resistance by using the term “noise” to describe the violence against queer bodies breaking social norms as well as the queer resistance against these norms. In this way, “queer noise” can be used as an instrument of counter violence, while also providing a way to perform a mourning of the violence enacted upon queer bodies – both as a personal and collective practice. The lecture will include other related topics such as: different ways of understanding “noise”, how to physically act out queer experiences, noise versus voice and HIV/AIDS-activism as a noisy politics of life.
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AGGRESSIVE GESTURES part 1, was made in Gothenburg at the dance venue 3:e Våningen in September 2018.
Participating artists: Hiroko Tsuchimoto, Rut Karin Zettergren, Klas Eriksson, Marie Gavois & Michel Klöfkorn.
“Chicken or pasta, she said, when I fell in love with her” by Michel Klöfkorn & Marie Gavois
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