• Doors: 19:30
• Start time: 20:00
• Entrance: 6-10 € (up to your offer)

Quadrature is an artists collective by Juliane Götz, Sebastian Neitsch and formerly Jan Bernstein (until 2016). Their artistic exploration gravitates towards scientific interests and physical experiments, using new technologies or academic research as sources and inspiration. They all share a love for machines and outer space. They have been awarded multiple prizes and grants, including a Residency and Award by the European Digital Art and Science network in collaboration with ESO (European Souther Observatories), an honorary mention at the Prix Ars Electronica, an Artist-in-Residency Stipend by Akademie Schloss Solitude as well as a working grant by Kunstfond Bonn. Their work has been presented in international festivals and exhibitions, such as in Ars Electronica Museum, CYNETART in Hellerau, Künstlerhaus Wien, International Digital Arts Biennial in Montreal or at The Modern Art Museum Santralistanbul in Istanbul. http://quadrature.co/

Orbit
The aesthetics of man-made objects in space, their appearance and especially their orbits are transformed into a minimal audiovisual performance, showing the poetic dance satellites and their trash perform while revolving around us. Seemingly chaotic paths mutate to amazing patterns of an almost organic nature—all of it due to pure physical necessity. When we started working with global satellite data, their information was based on a website maintained by the US Air Force. Yet after some time, based on information from the Union of Concerned Scientists, we discovered that some objects were missing. Fortunately the data on classified satellites is generated by enthusiastic amateur astronomers observing the night skies. Merging the two sources, balancing between artistic autonomy and the necessary scientific rigorousness, the performance is an aesthetic and intuitive live experiment, revealing this new layer of human infrastructure.

 

Antonis Anissegos, based since 1998 in Berlin, is working as a composer, pianist (interpreter/improviser) and electronic artist (alias “unu”). His current projects are: Trio IAMA (w/ Jannis Anissegos, Maria Anissegou), Grix (w/ Floros Floridis, Yorgos Dimitriadis), ΣΩΜΑ (w/ Thymios Atzakas), best before unu (w/ bestbefore), ddaA (w/ Oliver Steidle), Card Castle (w/ Mike Majkowski, Christian Marien).

In 2015, collaboration with the violinist Biliana Voutchkova, the theater ensemble “Werkgruppe 2” in Braunschweig and the Ensemble Adapter. Since 2014 member of Dine Doneff’s “Lost Anthropology” and Silke Eberhard’s “Potsa Lotsa Plus”. In 2013, concerts with Gebhard Ullmann’s “Berlin Suite” and a Japan Tour with ΣΩΜΑ & Shoji Hano.

Since 2006 he is performing together with the butoh-dancer Yuko Kaseki as duo KAYA with many appearances in Germany, Switzerland and Greece. Their common dance-music piece “Umbra” in collaboration with the Theater Thikwa received many performances in 2009/10.

Together with the video artist Erika Matsunami he presented in Kyoto Art Center (Japan) a workshop and the performance “rasenjou no jikan / deflection” (April 2005). Their duo OIO worked together till 2009 with performances in Berlin (Transmediale, Haus der Kulturen der Welt), Wuppertal, Venice (Biennale), Seoul (Exis Festival). Many concerts with the Taner Akyol Trio, the Kemal Dinc Ensemble and various projects with Nicolas Simion and Jürgen Grözinger over the last decade. http://enstase.com

Best before (Andreas Karaoulanis)
Born in Thessaloniki (Greece), studied in the UK computer science & animation. Since 2003 been working as a freelancer worldwide dealing with interactive arts and animation. http://bestbefore.gr/blog/

 

The hours of obsessive experimentation with raw sound (both acoustic and electronic, meticulously arranged and fortuitously captured) that Jim Campbell has dubbed to countless compact cassette tapes over the course of nearly two decades serve as the underlying otherworld behind the contingent worldly manifestations of his performances and installations. His freeform, improvised sets as The Preterite combine chance practices and new skillz in a deep, essentially duo-like dialogue with the tightly-wound material as continually re-examined from different angles. Using a custom-made kit composed of cast-off relics of the Tape Age (foremost among them his trusty modified Fostex analogue multi-tracker) and surrounded by piles of said cassettes, he assembles complex abstract emotive tone poems on the fly, one re-contextualised fragment at a time, drawing from the formative inspirations of radical scratch culture, Cagean thought, early tape music, musique concrete and various strains of free music practice. www.the-preterite.com