Natascha Süder Happelmann | mobile Hörstation Ankersentrum (surviving in the ruinous ruin)
12.2.–7.3.2021
With Ankersentrum (surviving in the ruinous ruin) Natascha Süder Happelmann brings Europe’s asylum seekers’ camps to Titanik. The artwork was first exhibited as a large-scale installation bringing together sculptural, structural and sound elements at Venice Biennale in 2019. The installation provided an instantaneous somatic experience.
The sound piece, Tribute to Whistle, which was in Venice installed as part of a scaffolding structure, can be listened to on LP record at Titanik. The multi-channel work was created by musicians and composers Jessica Ekomane, Maurice Louca, DJ Marfox, Jako Maron, Tisha Mukarji and Elnaz J Seyedi,who come from various musical backgrounds and genres. The piercing tone of the main instrument, the whistle, is processed into a variety of rhythms and sounds. The work has been inspired by refugees’ method of communication during their journey.
At Titanik, alongside the sound piece are three video works leading the way to the Ankersentrum, or Ankerzentren, transit camps for asylum seekers in Bavaria, through tomato plantations in Puglia and a rescue ship in the customs port of Trapani.
Accompanying the exhibition is the publication Ankersentrum (surviving in the ruinous ruin), designed by Maziyar Pahlevan and published by Archive Books (2019).
Curator: Franciska Zólyom
In collaboration with Goethe-Institut Finnland. The exhibition has been supported by Turun Ekotori.
Jessica Ekomane is a French-born and Berlin-based electronic musician and sound artist. Her practice unfolds around live performances and installations. Her quadraphonic performances, characterized by their physical affect, seek a cathartic effect through the interplay of psychoacoustics, the perception of rhythmic structures and the interchange of noise and melody. Her ever-changing and immersive sonic landscapes are grounded in questions such as the relationship between individual perception and collective dynamics or the investigation of listening expectations and their societal roots. Jessica Ekomane is one the six composers chosen as collaborators by Natascha Süder Happelmann for her installation Ankersentrum (surviving in the ruinous ruinat the German pavilion of the Venice Biennale 2019. She released her debut album, Multivocal, on Important Records in 2019. Her work has been presented in various institutions worldwide such as CTM festival (Berlin), Ars Electronica (Linz), Dommune (Tokyo) or Bemis Center for Contemporary Arts (Omaha).
www.jessicaekomane.com
Franciska Zólyom is an art historian and curator. Since 2012, she has been the director of the Galerie für Zeitgenössische Kunst (GfZK) in Leipzig, Germany.
From 1997 to 1999 she worked as a curator at the Museum Ludwig in Budapest. After working as a fellow at the Hamburger Bahnhof – Museum for Contemporary Art in Berlin (2001 and 2003/4), she moved to head the Institute of Contemporary Art in Dunaújváros, Hungary. There she worked with several international artists, including Gilbert Hage, Tamás Kaszás, Tilo Schulz, Sean Snyder, and Technika Schweiz, and initiated many site and context specific exhibitions and research projects. The City Without a Center (Stadt ohne Zentrum)and Stalking Utopia projects return to the spatiality of ideologies. As a freelance curator, she has curated exhibitions Agents and Provocateurs (with Beáta Hock), about the artistic expressions of the protests, and Lajos Kassák:Botschafter der Avantgarde (with Edit Sasvári).
At GfZK she has curated, among others: Little Warsaw: Kampf um die Innere Wahrheit and Dainius Liskevicius: Museum (2012), James Langdon: School for Design Fiction (2013), Kreativitätsübungen (with Dóra Hegyi and Zsuzsa László, 2014), Experimental Jetset: Provo Station (2016), Céline Condorelli: Wall to Wall (2017), Gaudiopolis, and Versuch einer guten Gesellschaft (OFF Biennale Budapest, 2018).
In addition to several honorary duties, she spends her time working on educational and cultural policies.
