L17_UnrenderByGeso

There is a well-known divide between visuals as they exist in experimental media and live performance and media in the art world. Transitory electronic media fails to fit the traditional mold of value. Digital media is too ephemeral, too temporary. Light on walls can’t be collected; improvised visual performance is something that fades away.

With unrender, we want to embrace just those gaps between worlds, walking along the fractures. We are looking to find the expressive potential of electronic audiovisual media as distinct from what came before. And most importantly, we want to make sure there’s space for all these threads of community to meet in a single environment, whether installation or performance.

It’s a place where the rules of wall and stage can blur.

unrender is a collaboration between myself and CDM and SEEMS, the duo Stefanie Greimel and Johanna Teresa Wallenborn (initiators of LEHRTER SIEBZEHN). In person, it brings together artists in Berlin. It’s also a way of channeling new works online to our international audience, via this platform and venue. As we reboot CDM’s visual side, we’ll be introducing you to the artists we’ve met through unrender this year. That is, if you can’t meet them face to face, you’ll see them here.

In the meantime, you can get a feel for the event series in the film below. We’re now completing the third edition, closing out 2014 at Berlin’s temporary art space LEHRTER SIEBZEHN.

unrender #2 from LEHRTER SIEBZEHN on Vimeo.

Some of the highlights upcoming in this edition:

Gaspar Battha’s “Patterns of Harmony” plays on illusion and geometry with a nod to quantum physics, creating kaleidoscopic patterns of form in reflections.

Patterns of Harmony from Gaspar Battha on Vimeo.

gaspar battha - pattern

gaspar battha -

I love the music of DJ and producer akkamiau, aka hiT͟Hərˈto͞o, electronic shadows to go with our projected light. I’ll be adding visuals to her set.

So, too, I’m enchanted by Andreas Krach’s zero-input mixer work, which is eerily lovely – not simply noise, but the scintillating timbres of the drone that emerges from the circuits.

Polish-born artist Pani K aka electr°cute is working with visual and audio as a single, equivalent medium, producing glitchy fusions of color and sound.

Electrocute/ AV from pani K. on Vimeo.

Abe Pazos leads a group working with live coding; his elegant generative images pictured here are produced by the recorded history of a drawing. He is joined by James Leahy, Ramin Soleymani, Raphaël de Courville, Fredrik Olofsson in a live-coding performance – the perfect example of this meeting point between media art and the once-over, gone-forever world of performance.

They are, in fact, a live coding quintet – first I’ve heard of that:
“Custom software allows them to see, transform and delete each other’s source code, establishing a kind of communication in which the rules are discovered and reinvented each time.”

Those are just a few selections – I’m thrilled about each installation and performance. Visit us in person if you can, but otherwise watch for more details into this community of artists in the coming days on CDM.

Full event details:

It’s flaws and imperfection. It’s what doesn’t fit, what’s left unfinished. It is a beauty of things unconventional, impermanent, and incomplete. It’s the kind of perfect beauty that is seemingly-paradoxically caused by just the right kind of imperfection. This is our aesthetic, forged in the embrace of transience. It’s right because it’s been done wrong. It’s what you find in the moment you very nearly missed, when you thought you might stay home, when you might turn the other way. You found it just before it was used up, just before it closed.
And by tomorrow, it will be gone.

For the third time, art space LEHRTER SIEBZEHN joins creative tech site CDM to curate the top shops and performers working with audiovisual media.

with
[installation]
Armin Keplinger
onformative w/ Frouke ten Velden & Nick Verstand
Jan Goldfuss
Studio Twins
Gaspar Battha

[live]
Abe Pazos, James Leahy, Ramin Soleymani, Raphaël de Courville, Fredrik Olofsson
akkamiau
Klara Ravat & Circuit Splash
electr°cute (Pani K)
Peter Kirn
Andreas Krach

exhibition opened 5 PM I
live performances 8 PM onwards I

[exhibition] curated by Johannar T. Wallenborn & Stefanie Greimel
[live] curated by Peter Kirn

Delicious Korean Cuisine by Matürlich

http://lehrtersiebzehn.de/
CDM

kindly supported by
beamaround
Finsbury & Absolut

From 5pm Saturday 6 December
ENTRANCE FREE

RSVP at the Facebook event

Of course, if you’re in Berlin, I hope you’ll join us. And on CDM, I hope we can take some of what we’re learning by meeting people face to face and share it beyond that one place.

Jan Goldfuss

Jan Goldfuss.

abe pazos -

Abe Pazos.

http://lehrtersiebzehn.de

unrender – the beauty of impermanence

Image at top by my ongoing collaborator Geso, aka Pablo IA, who interprets impermanence and the transformation of temporary architecture with visuals in this original image for unrender.
Geso @ behance

Geso @ Facebook

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  • lala

    The 0input mixer stuff sounds much better then I thought. 🙂

  • lala

    The 0input mixer stuff sounds much better then I thought. 🙂

  • Mutis Mayfield

    Wonderful!

  • Mutis Mayfield

    Wonderful!

  • 2nz

    Good news! I’ve visited Unrender#2 during my stay in Berlin and really like it! Keep doing it. Looking forward to CDMotion reboot.

  • 2nz

    Good news! I’ve visited Unrender#2 during my stay in Berlin and really like it! Keep doing it. Looking forward to CDMotion reboot.

  • Jim Aikin

    “It’s flaws and imperfection. It’s what doesn’t fit, what’s left
    unfinished. It is a beauty of things unconventional, impermanent, and
    incomplete.” I’ll be playing in a community orchestra concert on Saturday, and I feel safe in assuring you that plenty of flaws and imperfections will be audible. The beauty, such as it is, will arise from the moments that are finished, conventional, and complete.

    My personal preference is for things that are as good as the artist can make them, not for things that are slapped together. Artists who slap things together quickly, ignore the fact that they could have done a lot better, and then congratulate themselves on the beauty of their flaws and imperfections … sorry. Even if I were in Berlin, I wouldn’t be tempted by your description of unrender to want to attend an event.

    I might be missing a lot of great stuff! But that rhetoric doesn’t describe what I would consider a responsible artistic process. Possibly the problem is with the rhetoric.

  • Jim Aikin

    “It’s flaws and imperfection. It’s what doesn’t fit, what’s left
    unfinished. It is a beauty of things unconventional, impermanent, and
    incomplete.” I’ll be playing in a community orchestra concert on Saturday, and I feel safe in assuring you that plenty of flaws and imperfections will be audible. The beauty, such as it is, will arise from the moments that are finished, conventional, and complete.

    My personal preference is for things that are as good as the artist can make them, not for things that are slapped together. Artists who slap things together quickly, ignore the fact that they could have done a lot better, and then congratulate themselves on the beauty of their flaws and imperfections … sorry. Even if I were in Berlin, I wouldn’t be tempted by your description of unrender to want to attend an event.

    I might be missing a lot of great stuff! But that rhetoric doesn’t describe what I would consider a responsible artistic process. Possibly the problem is with the rhetoric.