Kira Kira - Fortunate Fires
Saturday, May 29 2010
Doors open at 8 pm - Showtime at sunset
at Tiergarten Eins. Altonaer Str. 1
10557 Berlin-Tiergarten

Fortunately, fires never sound the same. Their sonic texture varies according to the amount of air they get to feed on; hence small fires don’t have much wind in them while grand ones often have great storms to spur them on. But the thing that affects the sound of a fire most is of course the thing that burns.
Strictly speaking there is no way to control disasters, especially not natural disasters. But we die trying. We can capture a volcanic eruption on tape and reverse it. There’s nothing nature can do about that.
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Kira Kira is a constant enigma- extremely hard to define and almost impossible to anticipate. As a founding member of Icelandic art collective Kitchen Motors, she has been a pivotal figure in contemporary Icelandic music, composing music extensively for theatre, dance and film and creating a myriad of sound and film installations everywhere from Beijing to New York. Taking a particular interest in blurring the lines between music and visual arts Kira appears in castle towers, old cinemas, museums or curious hidden places and creates lasting images of singing black holes, dueling smoke machines and exploding cassette tapes across the globe.
Ben Frost.
More info: www.this.is/kirakira / myspace.com/trallaladykirakira / www.this.is/kitchenmotors
PERFORMANCES IN HANSAVIERTEL presents: HANS BERG
Hans Berg: Remixes
A Sound Performance based on the first video animation by Nathalie Djurberg
Friday, December 11
8 pm
at Tiergarten Eins. Altonaer Str. 1
10557 Berlin-Tiergarten

Nathalie Djurberg
Still from Untitled (Sunset), 1999
Oil painting animation, super 8 film, silent
1:03 min.
Courtesy of Zach Feuer Gallery New York and Galleria Gió Marconi Milan
The Sound Performance Remixes by Hans Berg consists of a number of diverse sound pieces which refer to the collaboration of Berg with the visual artist Nathalie Djurberg, for whose video animations Berg composes the sound track. Based on the very first animation of Djurberg – the short 2-minute animation of an oil-painted sunset – Berg changes its perception by the atmosphere the underlying music is implying. He almost exhaustingly plays through the various possible soundtracks and thus dissolves the structure of the image. He directs the attention of the viewer away from watching to listening and sensibilizes the audience for the music’s diversity.
Hans Berg is a Swedish Berlin-based artist and musician, who composes electronic music. He also collaborates with the Swedish video artist Nathalie Djurberg, for who’s he makes the music for her films.
PERFORMANCES IN HANSAVIERTEL is a series of performances based on sound and spoken word, irregularly organized by THE OFFICE.
The events take place at TIERGARTEN EINS in Berlin's neighborhood of Hansaviertel.
THE OFFICE invites artists and other cultural producers to develop a site specific project for the particular acoustics at the ground floor of Eternithaus. The building was constructed by the architect Paul Baumgarten in 1957 for IBA, the International Construction Fair. The city of Berlin has invited numerous, highly prestigious architects such as Walter Gropius, Oscar Niemeyer, Bruno Taut, and others, built a new urban plan according to how they imagined the modern city of the future.
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Featuring members of The Fax Orchestra & Boutros Boutros
conducted by Annika Larsson & Dieter Roelstraete
Wednesday, June 30 2010
8pm
at Tiergarten Eins. Altonaer Str. 1
10557 Berlin-Tiergarten

Piece for Two Gongs (1972)
conducted by Annika Larsson & Dieter Roelstraete
The long-awaited, much-anticipated – in some quarters at least, and by themselves first and foremost – European début of Berlin’s premier gong & mallet instrument ensemble. Featuring Sophie Hamacher, Annika Larsson, Dieter Roelstraete, Micky Schubert, Monika Szewczyk and many other as of yet unconfirmed participants, The Tenth Assault On Kazan will be performing Piece for Two Gongs (1972). With an introduction by the conductors/composers.
0. Introduction: Various Controversial Points of Gnostic Doctrine
1. First Movement: Worshipping the Outer Forms; On Hearing Our Vexations; Arguing Over the Price of Orchids
2. Second Movement: Awaiting the Apostates; The Transference of Sanctity from One Center to Another
3. Third Movement: Assembly of the Sagacious; ‘Drei Abhandlungen über frühe trinitarische Formeln’
4. Fourth Movement: The Cloak of Divine Retribution; Her Majesty’s Severity in Suppression
5. Fifth Movement & Conclusion: Deliverance From Error Through the Apprehension of the Celestial Order of Things; Lustration of the Infant
PERFORMANCES IN HANSAVIERTEL present: STRUCK MODERNISM
An evening with Florian Dombois and friends
Program: Performance - book launch - concert
Thursday November 4th, 6.30 pm at Tiergarten Eins (Eternithaus)
Altonaer Str. 1
10557 Berlin-Tiergarten

PERFORMANCES IN HANSAVIERTEL present: CYCLO
cyclo. – ryoji ikeda & carsten nicolai cyclo. (ryoji ikeda + carsten nicolai)
Sunday, March 6th, 6.00 pm at Tiergarten Eins (Eternithaus)
Altonaer Str. 1
10557 Berlin-Tiergarten
Please rsvp to rsvp@theoffice.li
Admission: 3€

A decade since its inception, Ryoji Ikeda and Carsten Nicolai are relaunching their collaborative project, cyclo., a project that focuses on the visualisation of sound and seeks to create a new hybrid of visual art and music. Both leading electronic composers/artists from Japan and Germany respectively, Ikeda and Nicolai release their second album in March 2011 (CD/EP on raster-noton), that will later be followed by a publication with an extensive presentation of their visuals. Since the beginning of the cyclo. project, the artists have developed a database of sounds composed to produce visual responses when analysed in real time with the help of stereo image monitoring equipment. Phase and amplitude of stereo signals can be illustrated graphically: the audio elements are constructed through the minute editing of frequencies (often beyond the physical range of human hearing) and selected by the artists for their visual characteristics when analysed. Through processes of composition, editing and experiment, cyclo. is amassing an ‘infinity index’ of sound fragments. In building this archive, Ikeda and Nicolai transcend the usual dynamic whereby image acts merely as a functional accompaniment to sound. Instead, the audio element in the process is subservient to the desire and appetite of the image.