17.07.2020 Views

Voices from the past provoking presences

The as if it’s just about to happen book series invites a reengagement with four workshops, facilitated within HZT Berlin’s BA Dance, Context, Choreography course between 2014–2016. Four of HZT’s teaching staff initiated a collaborative writing project with colleagues and HZT students and alumni to access what persists through the entanglement of their artistic and pedagogic practices. They returned to the pedagogic events with the question “What was and is it doing and what can we create with it now?” Initial experiences, notes and memories from the workshops were approached with a strategy of interruption. A specific set of parameters informed a structure of excerpts, footnotes, invitations and responses that produced a new order of connections based on selectivity, discontinuity and proliferation. As a reader you are encouraged to be involved with the passages of writings and drawings within these four books — to follow, skip across, take apart, expand, reassemble, rewrite and respond further. You are invited to experience what is still creating itself, as if it’s just about to happen. IMPRINT Project editor: Litó Walkey. Copy editor: Karen Christopher. Graphic design Milchhof Atelier: Andreas Töpfer, Carsten Stabenow, Printing Steinmeier, Deiningen. Publisher: HZT Berlin and UdK Berlin. 2017.

The as if it’s just about to happen book series invites a reengagement with four workshops, facilitated within HZT Berlin’s BA Dance, Context, Choreography course between 2014–2016. Four of HZT’s teaching staff initiated a collaborative writing project with colleagues and HZT students and alumni to access what persists through the entanglement of their artistic and pedagogic practices. They returned to the pedagogic events with the question “What was and is it doing and what can we create with it now?”

Initial experiences, notes and memories from the workshops were approached with a strategy of interruption. A specific set of parameters informed a structure of excerpts, footnotes, invitations and responses that produced a new order of connections based on selectivity, discontinuity and proliferation.

As a reader you are encouraged to be involved with the passages of writings and drawings within these four books — to follow, skip across, take apart, expand, reassemble, rewrite and respond further. You are invited to experience what is still creating itself, as if it’s just about to happen.

IMPRINT
Project editor: Litó Walkey. Copy editor: Karen Christopher. Graphic design Milchhof Atelier: Andreas Töpfer, Carsten Stabenow, Printing Steinmeier, Deiningen. Publisher: HZT Berlin and UdK Berlin. 2017.

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A passage of writing extending <strong>from</strong> <strong>the</strong> workshop Echoes <strong>from</strong> <strong>the</strong> Black Mountain<br />

Florian Feigl with guest contributors<br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong><br />

<strong>provoking</strong> <strong>presences</strong><br />

<strong>the</strong> as if it’s just about to happen series–book three of four


Intro duction<br />

The as if it’s just about to happen book series invites<br />

a reengagement with four workshops, facilitated within HZT<br />

Berlin’s BA Dance, Context, Choreography programme between<br />

2014–2016. Four of HZT’s teaching staff initiated a collaborative<br />

writing project with colleagues, HZT students and alumni to<br />

access what persists through <strong>the</strong> entanglement of <strong>the</strong>ir artistic<br />

and pedagogic practices. They returned to <strong>the</strong> pedagogic events<br />

with <strong>the</strong> question “What was and is it doing and what can we<br />

create with it now?”<br />

Initial experiences, notes and memories <strong>from</strong> <strong>the</strong> workshops<br />

were approached with a strategy of interruption. A specific set of<br />

para meters informed a structure of excerpts, footnotes, invitations<br />

and responses that produced a new order of connections based<br />

on selectivity, discontinuity and proliferation.<br />

As a reader you are encouraged to be involved with <strong>the</strong> passages<br />

of writings and drawings within <strong>the</strong>se four books and online<br />

at <strong>the</strong> HZT website — to follow, skip across, take apart, expand,<br />

reassemble, rewrite and respond fur<strong>the</strong>r. You are invited to<br />

expe rience what is still creating itself, as if it’s just about to happen.<br />

Writing<br />

structure<br />

a poem<br />

of eight<br />

excerpts<br />

<strong>from</strong> <strong>the</strong><br />

workshop<br />

experience<br />

a footnote<br />

of 100 words<br />

elaborates every<br />

six-word excerpt as<br />

a mini-essay, index,<br />

archive or script<br />

an invitation<br />

of maximum<br />

50 words addresses<br />

an inquiry about<br />

every excerpt and<br />

its footnote<br />

a response<br />

of 250 words or<br />

a drawing follows<br />

after every<br />

excerpt, footnote<br />

and invitation<br />

Book three of four has one central author,<br />

interwoven with guest contributions.


voices <strong>from</strong> Florian <strong>the</strong> Feigl <strong>past</strong> with <strong>provoking</strong> guest contributors<br />

<strong>presences</strong><br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong><br />

<strong>provoking</strong> <strong>presences</strong><br />

<strong>the</strong> as if it’s just about to happen series–book three of four


ook 3<br />

Florian Feigl with guest contributors<br />

a poem<br />

fuck this drop (in which water?)<br />

where’s <strong>the</strong> rock in rocking chair<br />

some sonic miracles: echo–doppler effect<br />

digital art (<strong>the</strong> fingers of Josef)<br />

digital art (<strong>the</strong> fingers of Anni)<br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong><br />

learning in crisis. learning as crisis<br />

and suddenly this whale wakes up<br />

( 1<br />

( 2<br />

( 3<br />

( 4<br />

( 5<br />

( 6<br />

( 7<br />

( 8


voices <strong>from</strong> Florian <strong>the</strong> Feigl <strong>past</strong> with <strong>provoking</strong> guest contributors<br />

<strong>presences</strong><br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong><br />

<strong>provoking</strong> <strong>presences</strong><br />

<strong>the</strong> as if it’s just about to happen series–book three of four


ook 3<br />

Florian Feigl with guest contributors<br />

book 3<br />

Florian Feigl with guest contributors<br />

Invitation<br />

to Litó<br />

Dear Litó,<br />

You are invited to describe a way or a practice of how you set a mood or<br />

sound for a working situation. Allowing in your own experience of<br />

adjustment, settling in, balancing when setting <strong>the</strong> tone.<br />

a poem<br />

fuck this drop (in which water?)<br />

where’s <strong>the</strong> rock in rocking chair<br />

some sonic miracles: echo–doppler effect<br />

digital art (<strong>the</strong> fingers of Josef)<br />

digital art (<strong>the</strong> fingers of Anni)<br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong><br />

learning in crisis. learning as crisis<br />

and suddenly this whale wakes up<br />

( 1<br />

( 2<br />

( 3<br />

( 4<br />

( 5<br />

( 6<br />

( 7<br />

( 8<br />

1 )<br />

arranging<br />

re-arranging<br />

a space<br />

a space to work<br />

environments I<br />

Me just me. No pupils near or far — Kafka<br />

already excited before entering<br />

put <strong>the</strong> coat on a hanger and start<br />

coming in to observe<br />

always busy<br />

everyone always busy<br />

immediate reason<br />

immediate responses<br />

and space to calm down<br />

nothing stops<br />

those manifold activities reaching out for equilibrium


voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong> 2<br />

3<br />

All of a sudden we arrive in <strong>the</strong> middle in <strong>the</strong> middle of a celebration.<br />

All of a sudden <strong>the</strong>re’s pollen and dust. There’s clouds of dust. All of<br />

a sudden in <strong>the</strong> middle of a celebration <strong>the</strong>re’s pollen and <strong>the</strong>re’s dust,<br />

<strong>the</strong>re’s clouds of dust. And <strong>the</strong>re’s a process by which something turns to<br />

something else and could continue. That’s <strong>the</strong> process. It could continue.<br />

The process is something that turns into something else. And <strong>the</strong>re’s<br />

traces that point to reconstruction. There’s traces. There’s pollen and<br />

dust and a cloud, of dust. And <strong>the</strong>re’s traces that point not to recognition<br />

but to reconstruction. Something that already happened, something that<br />

was already <strong>the</strong>re. Like <strong>the</strong> light of a dead star. The light of a dead star<br />

has a trace when it’s no longer accessible. The light of a dead star has a<br />

trace when it is no longer accessible. There’s traces, like dust. Clouds of<br />

dust. Or pollen. Pollen too. There’s traces that point to a reconstruction<br />

not a recognition, not a reconstruction, but a trace. This is <strong>the</strong> exploded<br />

view and <strong>the</strong> o<strong>the</strong>r. To play to teach <strong>the</strong> ideas is <strong>the</strong> exploded view and <strong>the</strong><br />

o<strong>the</strong>r. To play to teach to play is to teach. To play is to teach ideas exploded,<br />

this is <strong>the</strong> exploded view and <strong>the</strong> o<strong>the</strong>r. And <strong>the</strong>n suddenly without warning,<br />

it could continue. Already, it could continue, like a soliloquy. Like a soliloquy.<br />

Standing, sitting on <strong>the</strong> knees crunched over, moving in space, walking.<br />

Response<br />

<strong>from</strong> Litó


ook 3<br />

Florian Feigl with guest contributors<br />

book 3<br />

Florian Feigl with guest contributors<br />

Invitation<br />

to Tabea<br />

Dear Tabea,<br />

Over <strong>the</strong> duration of my visits at <strong>the</strong> exhibition <strong>the</strong> logos of Black Mountain<br />

College, <strong>the</strong> circle, and HZT Berlin, <strong>the</strong> honeycomb, became a strong<br />

impression and point of daily meditation. You are invited to create a graphic<br />

composition starting <strong>from</strong> those two shapes, <strong>the</strong> circle and <strong>the</strong> hexagon.<br />

a poem<br />

fuck this drop (in which water?)<br />

where’s <strong>the</strong> rock in rocking chair<br />

some sonic miracles: echo–doppler effect<br />

digital art (<strong>the</strong> fingers of Josef)<br />

digital art (<strong>the</strong> fingers of Anni)<br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong><br />

learning in crisis. learning as crisis<br />

and suddenly this whale wakes up<br />

( 1<br />

( 2<br />

( 3<br />

( 4<br />

( 5<br />

( 6<br />

( 7<br />

( 8<br />

2 )<br />

environments II<br />

an openness in <strong>the</strong> back, <strong>the</strong> awareness and <strong>the</strong> awareness of awarenesses, wooden floor,<br />

windows, outside a yard with tarmac, always an outside, inside a typewriter creating patterns,<br />

sonic, visual, producing mild distraction, various offers, movements of bodies, of pages, of<br />

images, of sounds<br />

analysis of spatial arrangements, material qualities of a room, <strong>the</strong> various spaces we use and<br />

move in, <strong>the</strong> effects <strong>the</strong>y are producing in our being toge<strong>the</strong>r, working toge<strong>the</strong>r, teaching and<br />

learning situations, conversations which continue, conversations that are interrupted,<br />

difficulties to end, difficulties to recognise beginnings<br />

studios, yard, kitchen, offices<br />

veranda, dormitory, dining hall, lake, mountains, fields


voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong> 4<br />

5


ook 3<br />

Florian Feigl with guest contributors<br />

book 3<br />

Florian Feigl with guest contributors<br />

Invitation<br />

to Arnold<br />

Dear Arnold,<br />

Please describe <strong>the</strong> notion of before and after in two documents, artefacts,<br />

elements you chose for your composition.<br />

One that resonated strongly with you maybe even changed your<br />

perspec tive or conceptual thoughts.<br />

A second one that changed its qualities in <strong>the</strong> course of your work with it.<br />

a poem<br />

fuck this drop (in which water?)<br />

where’s <strong>the</strong> rock in rocking chair<br />

some sonic miracles: echo–doppler effect<br />

digital art (<strong>the</strong> fingers of Josef)<br />

digital art (<strong>the</strong> fingers of Anni)<br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong><br />

learning in crisis. learning as crisis<br />

and suddenly this whale wakes up<br />

( 1<br />

( 2<br />

( 3<br />

( 4<br />

( 5<br />

( 6<br />

( 7<br />

( 8<br />

3 )<br />

echoes<br />

sonic event, bouncing back, reflection<br />

call and twisted response<br />

giving ideas of distances and spatial dimensions<br />

who calls who responds<br />

who moves who is being moved<br />

processes of ephemeral sculpting<br />

exposing <strong>the</strong> caller, exposing <strong>the</strong> responder<br />

to movement and change<br />

postcards, b/w photographs, rocking chairs, menus, evening programs, invitations, interviews,<br />

scores, partitures, few moving images, pamphlets, manifestoes, sketches, sculptures, memories,<br />

notes, architectural plans<br />

doppler effect<br />

something coming at you<br />

something meeting you<br />

something passing you changing quality<br />

coming at something<br />

meeting something<br />

passing something changing quality<br />

determining a here, a now<br />

allowing relations between a source and opening towards potential futures


voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong> 6<br />

7<br />

Two Documents:<br />

Opening <strong>the</strong> exhibition at <strong>the</strong> Hamburger Bahnhof was <strong>the</strong> correspondence<br />

between Josef Albers in Berlin and Ted Dreier at Black Mountain College<br />

in North Carolina in 1933.<br />

Response<br />

<strong>from</strong> Arnold<br />

The list of German (mostly Jewish) intellectuals who followed this letter<br />

is very long, especially through to <strong>the</strong> end of <strong>the</strong> Second World War. This,<br />

<strong>the</strong> first exhibition on <strong>the</strong> college on German soil in 2015, long after <strong>the</strong><br />

waves of influence <strong>from</strong> Post-War American art and academic practice<br />

had first made <strong>the</strong>ir presence felt. The realisation, that it hadn’t ended,<br />

and that we should actually already know that. And that I, now here,<br />

making this, as a born New Yorker, are a product of those waves which<br />

came north when BMC dissolved in 1957, <strong>the</strong> “dispersion.”<br />

And <strong>the</strong>n:<br />

On <strong>the</strong> morning of <strong>the</strong> first day of <strong>the</strong> exhibition:<br />

An elderly couple <strong>from</strong> South Germany addresses me. They read about<br />

it in <strong>the</strong> Bahn Magazine. The husband must speak for his wife, she is too<br />

ill to speak. He tells me that she had a relative, Viola Farber, who studied<br />

at Black Mountain, <strong>from</strong> a part of <strong>the</strong> family who had to leave Germany<br />

quickly. I showed <strong>the</strong>m two original performance programs at Black<br />

Mountain in which Viola Farber is mentioned, and gave <strong>the</strong>m copies<br />

of <strong>the</strong> documents <strong>from</strong> <strong>the</strong> archive. Farber was one of <strong>the</strong> founding<br />

members of <strong>the</strong> Merce Cunningham Dance Company, who she met at<br />

Black Mountain.<br />

an endless dispersion


ook 3<br />

Florian Feigl with guest contributors<br />

book 3<br />

Florian Feigl with guest contributors<br />

Invitation<br />

to Johannes<br />

Dear Johannes,<br />

Remembering your focus on experiencing as key to making and witnessing,<br />

teaching and learning of and as performance art: Describe an action —<br />

artistic or non-artistic — that is <strong>past</strong> or in <strong>the</strong> process of vanishing and <strong>the</strong><br />

details of experiences in this process of something someone did in <strong>the</strong> <strong>past</strong>.<br />

a poem<br />

fuck this drop (in which water?)<br />

where’s <strong>the</strong> rock in rocking chair<br />

some sonic miracles: echo–doppler effect<br />

digital art (<strong>the</strong> fingers of Josef)<br />

digital art (<strong>the</strong> fingers of Anni)<br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong><br />

learning in crisis. learning as crisis<br />

and suddenly this whale wakes up<br />

( 1<br />

( 2<br />

( 3<br />

( 4<br />

( 5<br />

( 6<br />

( 7<br />

( 8<br />

4 )<br />

Josef holds up a disc, a crowd follows its shape with fingers in <strong>the</strong> air<br />

<strong>the</strong> ones close with bigger circles, activating <strong>the</strong> hole arm, <strong>the</strong> ones far<strong>the</strong>r away moving in<br />

smaller circles<br />

<strong>the</strong>n watch out:<br />

Josef tilts <strong>the</strong> disc and arms move in ellipsoid shapes — some bigger some smaller — and <strong>the</strong><br />

display of amazement and happiness on those faces<br />

watch out again:<br />

Josef puts <strong>the</strong> disc down on <strong>the</strong> floor<br />

<strong>the</strong> crowd moves around it in circles, with stretched out arms, some closer to <strong>the</strong> disc, some<br />

with a bit more distance<br />

fully focused in <strong>the</strong> moment, in <strong>the</strong> movement


voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong> 8<br />

9<br />

The electric mower was damaged.<br />

You gonna find an old scy<strong>the</strong> in <strong>the</strong> corner of a garden shed and getting<br />

it out of <strong>the</strong> dusty cobwebs <strong>the</strong> spiders have woven during decades.<br />

Response<br />

<strong>from</strong><br />

Johannes<br />

You have to look for a whetstone to sharpen it and <strong>the</strong>n start to dance<br />

with <strong>the</strong> tool.<br />

The high grass is waiting for a cut and you get into a swing that forms<br />

a sequence of arches through <strong>the</strong> blades of grass and blossoming herbs in<br />

front of you, sending out intense perfumes.<br />

As <strong>the</strong> iron blade is falling <strong>from</strong> <strong>the</strong> wooden handle you have to stop. Now<br />

find out how <strong>the</strong> joint works. It is an old one that has an iron ring holding<br />

<strong>the</strong> end of <strong>the</strong> blade at <strong>the</strong> wooden leg and is fixed by an iron wedge. To<br />

avoid <strong>the</strong> iron damaging <strong>the</strong> wooden handle it requires a piece of lea<strong>the</strong>r<br />

between <strong>the</strong> wedge and <strong>the</strong> wood, to compensate <strong>the</strong> forces generated by<br />

<strong>the</strong> movements between <strong>the</strong> four parts of <strong>the</strong> joint.<br />

When it is fixed, <strong>the</strong> smoothness of <strong>the</strong> cutting is fading and you have to<br />

use <strong>the</strong> whetstone frequently.


ook 3<br />

Florian Feigl with guest contributors<br />

book 3<br />

Florian Feigl with guest contributors<br />

a poem<br />

fuck this drop (in which water?)<br />

where’s <strong>the</strong> rock in rocking chair<br />

some sonic miracles: echo–doppler effect<br />

digital art (<strong>the</strong> fingers of Josef)<br />

digital art (<strong>the</strong> fingers of Anni)<br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong><br />

learning in crisis. learning as crisis<br />

and suddenly this whale wakes up<br />

( 1<br />

( 2<br />

( 3<br />

( 4<br />

( 5<br />

( 6<br />

( 7<br />

( 8


voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong> 10 11


ook 3<br />

Florian Feigl with guest contributors<br />

book 3<br />

Florian Feigl with guest contributors<br />

Invitation<br />

to Litó<br />

Dear Litó,<br />

You are invited to start <strong>from</strong> <strong>the</strong> idea of weaving. The relation between<br />

patterns which emerge in <strong>the</strong> making, practice, duration, repetition based<br />

on regular sequences. Closeness to a material. Reciprocal processes of<br />

making in conversation with a material.<br />

a poem<br />

fuck this drop (in which water?)<br />

where’s <strong>the</strong> rock in rocking chair<br />

some sonic miracles: echo–doppler effect<br />

digital art (<strong>the</strong> fingers of Josef)<br />

digital art (<strong>the</strong> fingers of Anni)<br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong><br />

learning in crisis. learning as crisis<br />

and suddenly this whale wakes up<br />

( 1<br />

( 2<br />

( 3<br />

( 4<br />

( 5<br />

( 6<br />

( 7<br />

( 8<br />

5 )<br />

<strong>the</strong> most touching pieces in <strong>the</strong> exhibition<br />

how she was using <strong>the</strong> typewriter to create patterns<br />

her weaving samples<br />

how her practices are interwoven with techniques of her partner putting colour on canvas<br />

how her practices are interwoven with pre-columbian architecture becoming patterns in a painting<br />

<strong>the</strong> importance of making, of practice, <strong>the</strong> interaction with mechanical tools<br />

I imagine an early morning at Lake Eden<br />

sitting with <strong>the</strong> back to <strong>the</strong> buildings<br />

a first key hitting <strong>the</strong> paper splitting <strong>the</strong> air<br />

followed by a regular rhythm of keys hitting paper<br />

interrupted by an occasional bell chiming<br />

and moments of silence


voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong> 12 13<br />

touching <strong>the</strong> fingers of Anni (in a rectangular rhythm)<br />

Response<br />

<strong>from</strong> Litó<br />

early morning (time) early morning<br />

lake eden (place) lake eden<br />

back (tool, place) back<br />

key (tool) key<br />

paper (tool) paper<br />

air (tool) air<br />

regular rhythm (time, tool, shape) rectangular rhythm<br />

occasional (time) occasional<br />

bell (tool) bell<br />

moments (time) moments<br />

silence (time, tool, shape, place) silence<br />

------------------ imagine imagine (heart imagine (heart (time imagine (heart (time (touching<br />

------------------ sit sit (material sit (material (place sit (material (place (using<br />

------------------ hit hit (excitement hit (excitement (tool, place (creating<br />

------------------ split split (restraint split (restraint (tool (weaving<br />

------------------ follow follow (handwork follow (handwork (tool (putting<br />

------------------ hit (corollary hit (corollary (tool hit (corollary (tool (becoming<br />

------------------ interrupt interrupt (process interrupt (process (time, tool, shape (making<br />

chime (time<br />

----------- touching (heart)<br />

------------ using (material)<br />

---- creating (excitement)<br />

-------- weaving (restraint)<br />

------- putting (handwork)<br />

----- becoming (corollary)<br />

----------- making (process)<br />

practice<br />

imagination<br />

time) early morning ------------------------------<br />

place) lake eden ------------------------------------<br />

tool, place) back ------------------------------------<br />

tool) key -----------------------------------------------<br />

tool) paper --------------------------------------------<br />

tool) air ------------------------------------------------<br />

time, tool, shape) rectangular rhythm ----<br />

time) occasional ------------------------------------<br />

tool) bell -----------------------------------------------<br />

time) moments --------------------------------------<br />

time, tool, shape, place) silence --------------


ook 3<br />

Florian Feigl with guest contributors<br />

book 3<br />

Florian Feigl with guest contributors<br />

Invitation<br />

to Arnold<br />

Dear Arnold,<br />

Please choose one or two compositional, structural elements <strong>from</strong> <strong>the</strong><br />

composition you devised for <strong>the</strong> Black Mountain College exhibition at<br />

Hamburger Bahnhof and describe an example. The element and example<br />

you choose can include a spatial situation at <strong>the</strong> exhibition, specific<br />

documents or an excerpt <strong>from</strong> <strong>the</strong> score you devised.<br />

a poem<br />

fuck this drop (in which water?)<br />

where’s <strong>the</strong> rock in rocking chair<br />

some sonic miracles: echo–doppler effect<br />

digital art (<strong>the</strong> fingers of Josef)<br />

digital art (<strong>the</strong> fingers of Anni)<br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong><br />

learning in crisis. learning as crisis<br />

and suddenly this whale wakes up<br />

( 1<br />

( 2<br />

( 3<br />

( 4<br />

( 5<br />

( 6<br />

( 7<br />

( 8<br />

6 )<br />

reading documents<br />

decoding a score<br />

a map that leads into and through an archive, addressing specific documents, indicating given<br />

durations, directing to selected locations<br />

creating situations, creating a time-based architecture of voices <strong>from</strong> <strong>the</strong> <strong>past</strong><br />

intersecting realities<br />

<strong>the</strong> multiplicity of voices, reminder of contingencies<br />

<strong>provoking</strong> a specific here and now<br />

I hear this — why should I hear this<br />

I read this — why should I utter this<br />

Reading in front of those people<br />

Reading in front of no-one<br />

changing its quality when passing by<br />

changing me when reaching<br />

who calls, who responds


voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong> 14 15<br />

Score:<br />

who reads performs<br />

which document<br />

where<br />

when<br />

Response<br />

<strong>from</strong> Arnold<br />

a moment in <strong>the</strong> score<br />

planned<br />

unplanned<br />

a memory<br />

(who) (where) she reads on <strong>the</strong> stairs<br />

(what) Anni Albers, “Work with Material”, 1938, AA-1<br />

(when) 13:35<br />

(when) simultaneously: (when) (before) (after)<br />

(who) “Versatorium”, Vienna, in residence, with chance audience members:<br />

(where) Table Discussion<br />

(what) collaborative endless translation discussion<br />

(what) Charles Olson, “Projective Verse”, 1950, CA-12<br />

(where) Laptop on Table<br />

(what) (who) Afghan Refugee translates into Pashtun reads back<br />

(where) Grand Piano<br />

(what) (who) Composer prepares piano, plays sometimes<br />

all toge<strong>the</strong>r now


ook 3<br />

Florian Feigl with guest contributors<br />

book 3<br />

Florian Feigl with guest contributors<br />

Invitation<br />

to Johannes<br />

Dear Johannes,<br />

“How do artists learn?” As artist, documenter, art historian, maker and<br />

teacher of performance please relate to <strong>the</strong> idea of crisis in making and<br />

learning. This can be personal, political or historical.<br />

a poem<br />

fuck this drop (in which water?)<br />

where’s <strong>the</strong> rock in rocking chair<br />

some sonic miracles: echo–doppler effect<br />

digital art (<strong>the</strong> fingers of Josef)<br />

digital art (<strong>the</strong> fingers of Anni)<br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong><br />

learning in crisis. learning as crisis<br />

and suddenly this whale wakes up<br />

( 1<br />

( 2<br />

( 3<br />

( 4<br />

( 5<br />

( 6<br />

( 7<br />

( 8<br />

7 )<br />

next to WW II<br />

next to Bauhaus<br />

next to rocking chairs<br />

next to Josef’s finger<br />

next to Anni’s fingers<br />

next to poverty<br />

next to no<br />

next to yes<br />

next to segregation<br />

next to work on <strong>the</strong> fields<br />

next to isolation<br />

next to new beginnings<br />

next to a devastated <strong>past</strong><br />

next to next to<br />

next to building<br />

next to setting up what cannot stand<br />

next to next to


voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong> 16 17<br />

An explosion next to <strong>the</strong> left ear resonated inside and<br />

made me hearing minimal music for <strong>the</strong> first time in my life.<br />

Response<br />

<strong>from</strong><br />

Johannes<br />

Audio recording of a talk, but<br />

missing <strong>the</strong> proper button,<br />

lead to writing down what was told<br />

on a sticky table in a coffee shop next to a subway station<br />

on a folder announcing <strong>the</strong> program of a performance festival<br />

A big hammer hit <strong>the</strong> table and<br />

made my hand holding a pencil jump.<br />

The oscillating lines generated an automatic drawing<br />

on a worn piece of cardboard.<br />

The forehead of <strong>the</strong> pig was hit by a shot.<br />

While it fell on its side<br />

a knife was driven into <strong>the</strong> artery of <strong>the</strong> throat.<br />

While <strong>the</strong> animals’ legs were running in agony<br />

<strong>the</strong> blood was collected in a bowl.<br />

The container was full soon and<br />

<strong>the</strong> light red fluid spilled over <strong>the</strong> grey concrete forming a colour-field<br />

with expanding boundaries.<br />

The hair of <strong>the</strong> animal was sold to a factory, which produced brushes for<br />

artists.


ook 3<br />

Florian Feigl with guest contributors<br />

book 3<br />

Florian Feigl with guest contributors<br />

Invitation<br />

to Tabea<br />

Dear Tabea,<br />

Spatial structures like various platonic solids resonated with ideas of<br />

relating our practices to <strong>the</strong> archival material increasingly. This was<br />

accompanied by also increasing interest in basic and more complex<br />

fractal structures. Please respond to <strong>the</strong> footnote using <strong>the</strong> mentioned<br />

structures as starting points.<br />

a poem<br />

fuck this drop (in which water?)<br />

where’s <strong>the</strong> rock in rocking chair<br />

some sonic miracles: echo–doppler effect<br />

digital art (<strong>the</strong> fingers of Josef)<br />

digital art (<strong>the</strong> fingers of Anni)<br />

voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong><br />

learning in crisis. learning as crisis<br />

and suddenly this whale wakes up<br />

( 1<br />

( 2<br />

( 3<br />

( 4<br />

( 5<br />

( 6<br />

( 7<br />

( 8<br />

8 )<br />

The hardly recognisable sound of small electric engines. Closing blinds to preserve this Franz<br />

Kline <strong>from</strong> <strong>the</strong> touch of direct sunlight. A purring mechanical sound: faint echo of <strong>the</strong> thunder<br />

of Kline’s gesture. Faint echo of braveness, roughness, madness, danger of this moment. Setting<br />

<strong>the</strong> painting free. Meant to lock <strong>the</strong> sunlight out every day for half an hour this sound of small<br />

electric engines creates a tunnel that allows this painting to be not only a painting.<br />

A moment when it hits hard, is let loose, comes in as an all consuming wave at a viewer.


voices <strong>from</strong> <strong>the</strong> <strong>past</strong> <strong>provoking</strong> <strong>presences</strong> 18 19


ook 3<br />

Florian Feigl with guest contributors<br />

Sources<br />

Anni Albers, Work with Material, 1938<br />

Charles Olson, Projective Verse, 1950<br />

Franz Kafka, Aphorismen. Betrachtungen über Sünde, Leid, Hoffnung und den<br />

wahren Weg, 1970<br />

Workshop<br />

description<br />

Echoes <strong>from</strong> <strong>the</strong> Black Mountain<br />

In May 2015 Florian Feigl and Johannes Lothar Schröder accompanied a<br />

group of BA HZT students through a research of Black Mountain College<br />

to reflect on what structures, methods and dynamics need to be developed<br />

and accommodated for a contemporary liberal arts education. Through<br />

research and practice <strong>the</strong> students learned about works and artists of<br />

historic avant-garde as well as critically reviewing and understanding<br />

structures and methods employed in <strong>the</strong> present situation of teaching,<br />

learning and living to develop experimental ways of learning for now. The<br />

workshop included access to Arnold Dreyblatt’s catalogue of artefacts and<br />

evolved into a one-week residency within <strong>the</strong> framework of <strong>the</strong> exhibition<br />

“Black Mountain — Lernen und Lehren als Aufführungskünste” at<br />

Hamburger Bahnhof — Museum für Gegenwart — Berlin in July 2015.


ook 3<br />

Florian Feigl with guest contributors<br />

Sources<br />

Anni Albers, Work with Material, 1938<br />

Charles Olson, Projective Verse, 1950<br />

Franz Kafka, Aphorismen. Betrachtungen über Sünde, Leid, Hoffnung und den<br />

wahren Weg, 1970<br />

Workshop<br />

description<br />

Echoes <strong>from</strong> <strong>the</strong> Black Mountain<br />

In May 2015 Florian Feigl and Johannes Lothar Schröder accompanied a<br />

group of BA HZT students through a research of Black Mountain College<br />

to reflect on what structures, methods and dynamics need to be developed<br />

and accommodated for a contemporary liberal arts education. Through<br />

research and practice <strong>the</strong> students learned about works and artists of<br />

historic avant-garde as well as critically reviewing and understanding<br />

structures and methods employed in <strong>the</strong> present situation of teaching,<br />

learning and living to develop experimental ways of learning for now. The<br />

workshop included access to Arnold Dreyblatt’s catalogue of artefacts and<br />

evolved into a one-week residency within <strong>the</strong> framework of <strong>the</strong> exhibition<br />

“Black Mountain — Lernen und Lehren als Aufführungskünste” at<br />

Hamburger Bahnhof — Museum für Gegenwart — Berlin in July 2015.


HZT teaching staff<br />

–<br />

Florian Feigl 1<br />

Sheena McGrandles<br />

Litó Walkey 1<br />

Britta Wirthmüller<br />

HZT student & alumni<br />

guest writers<br />

–<br />

Johanna Ackva<br />

Asaf Aharonson<br />

Cécile Bally<br />

Sandhya Daemgen<br />

Katerina Delakoura<br />

Xenia Taniko Dwertmann<br />

Ewa Dziarnowska<br />

Rosemarie Eberl<br />

Ivan Ekemark<br />

Forough Fami<br />

Josephine Findeisen<br />

Judith Förster<br />

Juan Felipe Amaya Gonzalez<br />

Renen Itzhaki<br />

Camille Jemelen<br />

Suvi Kemppainen<br />

Julek Kreutzer<br />

Katrine Staub Larsen<br />

Anna Lena Lehr<br />

Myriam Lucas<br />

Liina Mariudottir<br />

Magdalena Meindl<br />

Johanne Merke<br />

Josefine Mühle<br />

Lyllie Rouvière<br />

Zhenya Salinschi<br />

Sunayana Shetty<br />

Grėtė Šmitaitė<br />

Julia Keren Turbahn<br />

Aabshaar Wakhloo<br />

Alistair Watts<br />

Simone Gisela Weber<br />

guest writers<br />

–<br />

Katerina Bakatsaki<br />

Derrais (d.a.) Carter<br />

Jeanine Durning<br />

Arnold Dreyblatt 1<br />

Essi Kausalainen<br />

Johannes Lothar Schröder 1<br />

Joy Mariama Smith<br />

Rhys Martin<br />

Helen Mirra<br />

Anne Schuh<br />

William Wheeler<br />

all drawings<br />

–<br />

Tabea Xenia Magyar<br />

Authors<br />

1<br />

book<br />

three<br />

project editor : Litó Walkey copy editor : Karen Christopher publisher :<br />

HZT, UdK Berlin graphic design : Milchhof Atelier: Andreas Töpfer, Carsten<br />

Stabenow printing : Steinmeier, Deiningen<br />

Imprint<br />

Special thanks to Tabea Xenia Magyar and all guest writers for <strong>the</strong>ir contributions<br />

to this publication. Thanks to Chrysa Parkinson and DOCH for inspiration<br />

<strong>from</strong> <strong>the</strong> format of The Dancer as Agent Collection publication. Thanks<br />

to Mat<strong>the</strong>w Goulish and Lin Hixson for inspiration <strong>from</strong> <strong>the</strong>ir assignment for<br />

reading essays, recounted in <strong>the</strong> introduction by Jane Blocker for Mat<strong>the</strong>w<br />

Goulish’s publication The Brightest Thing in <strong>the</strong> World.<br />

HZT — Inter-University Centre for Dance Berlin is <strong>the</strong> joint responsibility of<br />

<strong>the</strong> Berlin University of <strong>the</strong> Arts (UdK) and <strong>the</strong> Hochschule für Schauspielkunst<br />

“Ernst Busch” (HfS) in cooperation with TanzRaumBerlin, a network for <strong>the</strong><br />

professional dance scene. Weblink : www.hzt-berlin.de ISBN : 978-3-00-055501-5

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