©Jack Hogan
 

ACTING PRESS presents “CLUB DIGITAL” at OHM, berlin on SATURDAY, 08 FEB in conjunction with the launch of MITCH SPEED’S new book “FIORUCCI MADE ME HARDCORE” from AFTERALL BOOKS london’s ONE WORK SERIES.

doors at 20:00 – entry 5€ BEFORE midnight and 9€ AFTER. 24:00 ONWARD will be the release party of INTe*ra: Aqueduct, a new record from ACTING PRESS – with SVN, DYNAMO DREESEN, PG [sued, acido, LIVE], HASHMAN DEEJAY [future times, ca], PLO MAN [acting press, de], C3D-E [acting press, de]. BEFORE midnight will be the book launch, with a screening of FIORUCCI MADE ME HARDCORE, a film by MARK LECKEY, a talk between MITCH SPEED and KIRSTY BELL, and performances by TRJJ [stroom, de], ENGINES OF ENTROPY [inger wold lund, maru mushtrieva, aseptic stir, de], SHREWS ETC. [madrid, es], BITSY KNOX [berlin, de], LUZIE MEYER [berin.de].

@Lucas Casso

“Variations on a room’s vocabulary”, Performance at Sweetwater Gallery Berlin, 2nd December 2019, in the context of my solo show “Duplicitous Consent”

 

Sketch II mit Musikperformances von Luzie Meyer, Dawn Mok und Joanne Robertson
Sonntag, Halle für Kunst Lüneburg, 28. April 2019

Ort: Halle für Kunst Lüneburg, Reichenbachstrasse 2, 21335 Lüneburg

Eintritt frei

Sketch ist eine Musikperformancereihe, die den Versuch unternimmt, ein fluides Verständnis von künstlerisch-musikalischen Produktionsformen anhand unterschiedlicher Musik- und Soundperformances zu skizzieren. So zeichnen sich die teilnehmenden Künstler*innen in ihrer Arbeitsweise dadurch aus, dass sie sich irgendwo zwischen Musik, Sound, Performance und Bildender Kunst ansiedeln und deren Materien miteinander verbinden. Die institutionalisierten Grenzen zwischen den Disziplinen der “Kunst” und der “Musik” oder den Bezeichnungen “Künstler*in” und “Musiker*in” werden dadurch auf ein zeitgemäße Sinnhaftigkeit hin überprüft und in Frage gestellt. Der erste Teil der Musikperformancereihe mit Enver Hadzijaj, Rosa Rendl und Steven Warwick fand am 24. März 2019 in der Halle für Kunst Lüneburg statt.

Das Programm wurde zusammengestellt von Florentine Muhry.

Bild: Elisa Barrera, Untitled, 2019.

Luzie Meyer (*1990, Tübingen) lebt in Berlin. Arbeiten der Künstlerin wurden u.a. gezeigt im Gästezimmer des Kunstverein Braunschweig (2018), bei Éclair, Berlin (2018), im Nassauischen Kunstverein Wiesbaden (2017) und auf der Biennale Montreal (2016). Filme und Performances von Luzie Meyer waren zu sehen bei CACBM, Paris (2019), im Külnischen Kunstverein (2018) und in den KW Institute for Contemporary Art, Berlin (2018).

Dawn Mok (*2015, Berlin) ist ein internationales Kollektiv aus Künstler*- und Musiker*innen und gelegentliches Alter Ego von Felix Mura (*1986, Berlin, lebt in Berlin). Bisherige Veröffentlichungen waren “Am” (2015, Beastonleash), “All” (compilation) (2015, Dial), “Eternal Love” (2015, Dial), “Modern Lovers” (mit Juliette Blightman) (2016, Never Work) und “Never had you” (2016, i-D). Performances von Dawn Mok waren u.a. zu sehen bei New Theater, Berlin (2016, 2014), bei Stadtansichten München (2016), im Istituto Svizzero, Rom (2016), im SALTS, Basel (2015) und im Schinkel Pavillon, Berlin (2015). Arbeiten von Dawn Mok wurden u.a. gezeigt im Whitney Museum, New York (2018), in der Kunsthalle Bern (2016), bei Project 1049, Gstaad (2016), bei Mavra, Berlin (2016), im HHDM, New York, Niederoesterreich (2016, 2015) und in der Halle für Kunst Lüneburg (2015).

Joanne Robertson (*1979, Manchester, lebt in Glasgow) veröffentlichte drei Solo Alben: “The Lighter” (2007, Textile), “Black Moon Days” (2015, Feeding Tube) und “Wildflower” (2016, Escho). Außerdem kollaborierte sie mit Dean Blunt und nahm mit ihm zusammen “Wahalla” (2017, World Music Group), “The Redeemer” (2013, World Music Group), “Black Metal” (2014, Rough Trade Records), “Skin Fade” (2014, not on label) und “Stone Island” (2013, not on label) auf. Jüngste Ausstellungen fanden u.a. statt bei Svetlana, New York (2019), in der Bonnington Gallery, Nottingham (2019), in der Kunsthalle Freiburg (2018), in der Walker Art Gallery, Liverpool (2018), bei Carlier Gebauer, Berlin (2018), bei Le Bourgeois, London (2017), in der Gallery of Modern Art, Glasgow (2017) und Invited by Michael Callies, Brüssel (2014). Gemeinsam mit Max Brand betreibt sie die Galerie “Jo Brand” in Glasgow.

La Parole et L’Écoute

With the artworks by: Laëtitia Badaut Haussmann, Vincent de Hoÿm & Jade Fourès-Varnier, Kim Farkas, Benjamin Magot, Marie-Claire Messouma Manlanbien, Blaise Parmentier, Clara Stengel

And the contributions of: Matthieu Blond, Hélène Carbonnel, Claire Finch, Signe Frederiksen, Lila Lakehal, Tarek Lakhrissi, Luzie Meyer, Elisa Monteil, Sébastien Rémy, Théo Robine-Langlois, Rosanna Puyol, Kengné Téguia

Organized by: Marion Vasseur Raluy
Venue: Bagnoler, Bagnolet
Date: 19 January – 16 February – 23 March 2019

de Signe Frederiksen

@Clément Délépine
@Clément Délépine
@Clément Délépine
@Clément Délépine
@Clément Délépine
@Clément Délépine
@Clément Délépine
@Clément Délépine
@Clément Délépine

@Clément Délépine

 

What they call my shadow here on earht is my true substance CACBM.FR

What they call my shadow here on earth is my true substance, CACBM Paris, cruated by @Clément Délépine
Mar 21st – Apr 27th 2019

Methinks we have hugely mistaken this matter of Life and Death. Methinks that what they call my shadow here on earth is my true substance. Methinks that in looking at things spiritual, we are too much like oysters observing the sun through the water, and thinking that thick water the thinnest of air. Herman Melville

This exhibition borrows its title from Moby Dick and was inspired by Clément Rosset’s book The Real and Its Double. Rosset’s thesis takes on the question of people’s natural ability to sidestep and bypass reality when they find it unpleasant or uncanny.The works presented here question our conditional acceptance of the real.

With works by Anna Sophie Berger, Jochen Lempert, Luzie Meyer, Olivier Mosset, Robert Szczerbowski and Jessica Warboys.

How To Show Up?, San Serriffe, Amsterdam, Febuary 2019

Luzie Meyer “Die Betrügerin, die Menschenfreundin, die eingebildet Kranke” February 23rd, 2019, 19h30

In several letters to the Prince, as well as in his preface to the 1669 edition of Tartuffe, or The Impostor, Molière declared theatre to be “nothing more or less than a form of poetry, which ingeniously seeks to reprove men’s errors”. In so writing, Molière produces both a defence of the play — which had been censored multiple times — and a programmatic declaration containing a vindication of theatre’s capability to “heal” the social body. Later on, Molière concedes that “there is nothing so innocent but men can defile it”, and (maybe unwittingly) draws a parallel between his art and the notion of Pharmakon, stating that “the art of healing has not seldom become the art of the poisoner”.

For this new commission, Luzie Meyer produced a moment of self-interrogation, juxtaposing her own poetry with various appropriated excerpts from Molière’s Tartuffe, or The Impostor, as well as two of his similarly well-known works: The Imaginary Invalid and The Misanthrope.

Meyer’s performance drew on themes in her own poetry like hypocrisy, misanthropy and hypochondria to compose a dialogue with Molière and his characters.

LUX Scotland Artists moving image festival 2018

Entitled Down A Material Mouth, this year’s festival is programmed by artist Mark Briggs and writer Naomi Pearce, and includes screenings, performances and workshops with an emphasis on listening and liveness.

It features contributions by Karolina Bachanek, Sadie Benning, Edward O. Bland, Gregg Bordowitz, Elina Bry, Clare Charnley and Lucy Clout, DAS, Philip Ewe, Richy Carey with Mark Bleakley and Lauren Gault, Stanya Kahn, Rita Keegan, Devin Kenny, Christopher Kirubi, Natasha Lall, Luzie Meyer, The Moodies, ******** [Ailie Ormston, Tim Fraser] and Torsten Lauschmann, Jaakko Pallasvuo, Mathew Parkin, Abby Beatrice Quick, Erica Scourti, Christopher Ulutupu, Amelia Bywater & Rebecca Wilcox.

Down A Material Mouth is a collaboration prepared by strangers. In the beginning we spoke about festival fatigue; how best to avoid dry eyeballs, jelly brain, passive consumption. Suggested trying to give the senses a break by moving between listening and looking. Next we got into the voice, or to be more specific; artists and their polyvocal ability. Talked about how they digest pop culture, take music and sound, gorge on information, regurgitate. Are these casual encounters or intimate alliances? What things can’t be translated? Moving image work as indigestion. Decided to invite artists who used their own bodies as source material. Both thought humour was good (vital even) improvisation too. Soon the festival started to solidify. There would be a troubling of narrative storytelling, both in terms of its veracity but also its affect; how it manipulates and seduces, what it incites. There would be artists using their mouths to speak and sing. We asked each other questions: who gets to give voice to other people’s lives? What information about a person is important? Who is listening? Biography as fictional reconstruction and political gesture, a recuperative genre through which loss might be soothed or desire sated. And then suddenly we were finished, full up with feelings about avatars or alter-egos as coping mechanisms; because who really likes the sound of their own voice anyway?

? Mark Briggs and Naomi Pearce

 

 

©Xiao Zhiyu ? hier: Ruine der Franziskaner Klosterkirche.
©Xiao Zhiyu ? hier: Ruine der Franziskaner Klosterkirche.
©Xiao Zhiyu ? hier: Ruine der Franziskaner Klosterkirche.
©Xiao Zhiyu ? hier: Ruine der Franziskaner Klosterkirche.
©Xiao Zhiyu ? hier: Ruine der Franziskaner Klosterkirche.

NIGHT #4_Luzie Meyer

©Xiao Zhiyu ? hier: Ruine der Franziskaner Klosterkirche.

Samstag, 4. August 2018 – 20 Uhr
Luzie Meyer CALL HER MILK SPILL HER NO USE CRYING HANG HER
In call her milk spill her no use crying hang her versammelt Luzie Meyer alte
und neue Arbeiten. Neben einem Screening ihres letzten Films “St. Lucy” und
einem Trailer von “The Flute”, wird Meyer in der Sakristei der Klosterruine
einen neuen Film präsentieren. Im Anschluss folgt eine performative Lesung
neuer Gedichte. Wie oft, kombiniert Meyer in call her milk spill her no use
crying hang her Text, Performance, Musik und Film und fragt nach der Unmöglichkeit
von Begehren und Autorenschaft und letztendlich einem Selbst, das
fortwährend um sich zu wissen, bemüht ist. Meyers künstlerische Arbeiten
zeichnen sich durch eine Formsprache aus, die virtuos mit historischen und
gegenwärtigen Referenzen spielt.

A re-production of Act II of Ariana Reines’ dramatization Telephone of Avital Ronell’s Telephone Book (1989), on the occasion of Judith Hopf’s exhibition Stepping Stairs at KW Institute for Contemporary Art.

Chewed, conducted, staged and rewired by Rosa Aiello, Elif Saydam, Mark von Schlegell, and/or Anna Zacharoff, with live musical score by Luzie Meyer. Blackout. Sound. Blackout. Rhapsodized women rage. 40+ minutes. At least. Invisible interlocutors plug in to a web without weaver. Mute eternities, pregnant pauses, hang ups, distractions?some hits, a Miss. Tech spiders under hunchback pack tightly jammed lines; to get in touch; song rings out. The telephone itself gives way ? to the telephone, sorry! Even that is old world now. As is the tone. So consider the woman in the phone, not only the phone in the woman. Play her back as a s?ance, and a plea, plied for your pleasure. Mobile phones off!

©Hanna-Maria Hammari

Performance at Ḗclair, Berlin, 17th March 2018

Writing Residency and Collaboration | Pure Fiction Class Städelschule
13 October 2017
@ Swimming Pool Projects, Sofia, Bulgaria

In 2011, students of Städelschule invited writer Mark von Schlegell to organise a fiction seminar in the school. Since then, the class, Pure Fiction, has brought together current and former Städel students to examine and above all produce texts in the most diverse forms possible, from written artistic works and experimental writing to readings, plays, and performances that inevitably draw in other aspects of the diverse artistic practices of all the seminar members.

In Sofia, Pure Fiction takes title and starting point from the medieval form of the morality play, a short dramatic work intended to convey moral principles. Such plays were performed by travelling professionals for the general medieval audience, a tough crowd, no doubt. They already subverted their naming, mixing vulgar humour and farce with a moral inquiry that always included the amoral, seen as much in the works of Rabelais as in the paintings of Heironymous Bosch.

Pure Fiction initiates a week of writing with the idea of morality hovering above us, like a stern but absent authority figure. Is morality always present in fiction? Isn’t it?

Please join us on Friday, 13 October 18 h when the class will stage a dramatised reading of the results.

 

06.07.17 / 11-21
Pure Fyction
Projections #2: The Tempest Project

Pure Fyction presents, «The Tempest Project»: a four-day temporary installation consisting of a mise en scene and a performance zone featuring collective dramatic action, created in relation to Shakespeare’s «The Tempest», throughout the main room of the Kunsthalle.
Pure Fyction is an artist collective emerging from Staedelschule’s Pure Fiction Seminar initiated by author Mark von Schlegell in 2011.
The language of the performance is English.

«Projections» is a program presenting time-based artworks, organized by the curator Juliane Duft and artist Julian Irlinger as one module of the exhibition «Planet 9». It focuses the turn towards literary and cinematic narrative forms in contemporary art.

© Julia Katharina Thiemann

Episode IV & V – Echoraum

Luzie Meyer (*1990 in Tübingen) und Nora Turato (*1991 in Zagreb) greifen mit ihren sprachbasierten Performances zeitkritische Fragen unserer heutigen Lebensrealität hintergründig auf. An der Schnittstelle zwischen Vortrag, Poesie und Performanz thematisieren sie unsere Weltwahrnehmung mit Witz.

So fokussieren die beiden Künstlerinnen unter gezieltem Einsatz von Sprache im Zusammenspiel von Inhaltlichkeit, Rhythmus und Melodie Alltagsbeobachtungen auf ästhetische Weise. Dabei wird der Klang der Stimme durch das Echo auf der Panoramaplattform des ehemaligen, zu einem Wasserturm umgebauten Bunkers auf besondere Weise geprägt.

Reading for

BIGGER HUMAN MANKIND PROBLEM
by Reece York and Ryan Cullen, 4.2.2017 Portikus, Frankfurt