We are pleased to present an artist talk by Annika Kahrs.
Date: Thursday, November 21, 2024, 6:30-8pm
Venue: Recording Studio, Acoustic Research Center, Ohashi Campus, Kyushu University
Language: English
*If you are interested in attending this event, please register in advance here:
https://forms.office.com/r/PaRZgEC3BY
Max. 50 people
Annika Kahrs (born 1984 in Achim, Germany, lives and works in Berlin, Germany) is a visual artist who predominantly works with performance, film, and film- and sound-installation. In her work, Kahrs explores the edges of what we generally call music. She investigates the cultural and social functions of music, its communicative aspects and its formal nature. Her performances, films and sound installations show in different ways what significance music and sound – acoustic information – play in different social, cultural and political structures of coexistence. In this artist talk, a selection of her works will be presented in excerpts and introduced by the artist, from early works to her most recent productions.
Among other things, Annika Kahrs is going to introduce the following three recent works:
In Completely Invalid, Just A Try (2024), Anton Bruckner‘s „Nullte“, the invalid symphony No. 0, is used as a material basis to focus on everyday and artistic processes of deconstruction and reshaping, production and annulation – of validity in general. Five musicians play Bruckner‘s Symphony No. 0 in a concert hall. During the performance, the original score changes, as it was previously erased, overwritten or added to by hand by young people in different places of music reception and production. In the film, classical interpretations interweave with contemporary strategies of musical form-finding to create a new piece of music.
The film Gravity’s Tune (2023), was made during Kahrs’ Villa Aurora Fellowship in Los Angeles. Here she collaborated with the composer Louis d’Heudières, musicians from Los Angeles, and physicist Dr. Keith Thorne, – to interpret the acoustic signal that helped make gravitational waves audible for the first time. The film shifts back and forth between a concert hall and the science lab LIGO (Laser Interferometer Gravitational-Wave Observatory), that in 2015 was the first to translate gravitational waves into acoustic signals.
In the video installation Le Chant des Maisons (2022), commissioned for the 16th Lyon Biennale, an acoustic and visual process of construction and deconstruction is taking place, conducted by various musicians and several carpenters in the deconsecrated church of St Bernard in Lyon. The performance involving the building of a skeletal supporting structure for a house – or the creation of a transparent new space within an abandoned church – translates endless processes of finding and creating new spaces for various voices to sound, reverberate, and unfold their impact.
Kahrs is currently a fellow of the Mercedes-Benz Art Scope artist-in-residence program in Tokyo. She has exhibited both nationally and internationally, including Hamburger Bahnhof – Nationalgalerie der Gegenwart, Berlin, Germany; 5th Thessaloniki Biennale of Contemporary Art, Greece; Kunsthalle Bremerhaven, Germany; Savvy Contemporary, Berlin, Germany; On the Road exhibition project in Santiago de Compostela, Spain; the Bienal Internacional de Curitiba, Brazil; Hamburger Kunsthalle, Germany; KW Institute for Contemporary Art in Berlin, Germany; Gropius Bau, Berlin; Kunstverein in Hamburg, Germany; Flat Time House London, England, the Velada de Santa Lucia Festival in Maracaibo, Venezuela and MONA Foma, Tasmania, Australia; LAXART, Los Angeles, USA; the 16th Lyon Biennale of contemporary art, France. She has been awarded a number of prizes and scholarships including Villa Aurora, Los Angeles, USA; Casa Baldi – Villa Massimo, Italy; VILA SUL, Brazil; Max-Pechstein-Förderpeis, Stiftung Kunstfonds or the George-Maciunas-Förderpreis, donated by René Block.
http://www.annikakahrs.com/
https://www.a-i-t.net/friends/annika-kahrs/
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