Online screening: “In-Formation” by Harun Farocki
19.3.2021, 23:00 — 21.3.2021
In occasion of the International Day Against Racial Discrimination, ifa Gallery Berlin will show online in collaboration with the Harun Farocki GbR “In-Formation” by Harun Farocki.
TRACING FRACTURES – ACROSS LISTENING, MOVEMENT, RESTITUTION AND REPAIR
A collaboration between ifa Gallery Berlin and Manifesta 2020
Ecologies of Listening finishes on 8 December with a radio show from ColaBoraDio radio studio. The curator Andrea Fernández and the head of the ifa Gallery Berlin Inka Gressel speak about the process of creating the exhibition The Listening and the Winds. Narratives and Inscriptions of the Gran Chaco, which emphasises listening as an urgent and necessary approach for a decolonial exhibition practice. The radio collective featured in the exhibition “Radio Comunitaria La Voz Indigena” from Tartagal, Argentina, have put together a playlist especially for this programme. Finally, archive material from the three Listening Sessions invites the audience to continue listening.
27.11.2020, 19:00 — 29.11.2020
We are extremely happy to announce that TERRITORIO will be shown online for 48 hours starting on 27 November, 19:00 in snyc with the screening and discussion of the film in the Cultural Center Litania Prado of the Communitarian Radio the Indigenous Voice in Tartagal, Salta, Argentina!
The workshop “Ethnic Memory” created by the female organization ARETEDE, investigates the oral history of Taikolic, a warrior cacique from the Toba community who led battles resisting the occupation of this region. In the documentary essay by Brayan Sticks in collaboration with ARETEDE a group of young students in Tartagal aiming to be schoolteachers are engaged in representing this story, something that has been excluded from the official historical narrative.
TERRITORIO is featured in ifa Gallery’s exhibition “The Listening and the Winds”, but since the gallery is currently closed, we would like to share it with everybody online and beyond Berlin.
A film by Brayan Sticks in collaboration with Radio Comunitaria “La Voz Indígena” and “Taller de memoria étnica de la organización ARETEDE”
Today, 12 October, we would like to draw attention on the struggles of indigenous people around the world by sharing the teaser of “TERRITORIO”.
During the process of colonisation of the American continent, the more “nature” was understood as an ally of the original inhabitants, the more it was hated. The habitat was not understood as a living landscape but as a political landscape. The forest was considered to be barbaric, and by cutting the native trees what was sought was to cut off ancient memory, to drive it into strangeness to appropriate spaces which were signified as empty, like deserts.
The full documentary essay by Brayan Sticks was created for our upcoming exhibition “The Listening and the Winds. Narratives and Inscriptions of the Gran Chaco”.
22.10.2020, 14:00 – 22:00
ifa Gallery Berlin
ifa Gallery Berlin
Ecology looks at how an organism relates with, affects and is affected by its environment. An ecology of listening would be how through listening consciously we can affect and be affected by our environment or that which we listen to. What kinds of ecologies of listening are there and how can we connect through them? The third listening session focuses on listening as a physical practice – for both the body and the senses, and examines through somatic exercises how this influences how and what we hear. In resonance with the radio collective “Radio Comunitaria La Voz Indigena“ (Tartagal, Argentina) we explore how far an embodied practice of listening could enhance the ways in which we connect – to ourselves, to the environment and to other forms of life and nature.
Boothaus Spreefeld, Entrance behind the house, Wilhelmine-Gemberg-Weg 14, 10179 Berlin
The second listening session considers the work of composers whom explore listening and make it a focus of their work. Many aspects of the listening practices which we know today emerged out of the practices of composers during the twentieth century, such as Pauline Oliveros, who developed the practice of Deep Listening while also working as a composer and a musician. What influence do these practices of listening and composing have on the work of composers today? What role does listening, or the future listener, play when composing?
Traits d’union.s, Manifesta 13 Marseille
Imagine you’re in a museum. What do you hear? is an audio collage that weaves together disparate musical tracks, extracts of interviews, speeches and audio notes as listening provocations that speak to the affective resonances of dislocation and dispossession of land, people and (im)material culture.
Traits d’union.s, Manifesta 13 Marseille
Historian Memory Biwa combines memory, the sonic, and archival theory. Her piece, which is conceived as an ‘aural procession’, of a lullaby sung at dawn, battle cries, chants, ululations, bow-playing, and landscapes trace narratives of colonial violence and re-enactments of resistance in Namibia. These traces are drawn from aural, sartorial and performative practices which inform notions of subjectivity and the re-centering of alternative epistemologies and imaginaries.
Schul-Umwelt-Zentrum Mitte, Scharnweberstr. 159, 13405 Berlin
What sounds, information and perspectives do we send and receive? And through which channels does nature transmit? The first listening session focusses on listening and broadcasting practices in radio art developed for a site specific workshop in the center of Berlin: through listening exercises, practices and sound walks through the hidden green of the Gartenarbeitsschule (Garden School) Wedding.
Those interested in expanding their senses, education professionals and students, are welcome to experiment with new, artistic approaches to environmental education and to consider them in relation to their own professional practice and way of life.
Centre de la Vieille Charité, Marseille
A programme of encounters, readings, listenings, performances and interventions on, through and across the questions of restitution and repair through art. It combines the sonic and the poetic, movement and speculation, thought and debate by criss-crossing contemporary geopolitical divisions that need to be unsettled. The invited artists, thinkers, poets, dancers and scholars leave traces throughout Marseille and beyond, online and offline, provoking us to think about knowledge production, movement and (im)possible reparation.
This exhibition offers traces of dialogues between different temporalities and memories created in a northern Argentinian border region: the Gran Chaco Americano. The Listening and the Winds brings together craftswomen’s collectives, activists and communicators from the pueblos originarios with artists and researchers who live in the region to reflect on the political significance of their creative output. The exhibit shows fragments of these activities and the artefacts that result from them: textiles, ceramics, drawings, soundscapes and audiovisual landscapes. Curated by Andrea Fernández in the context of the new Environment series, the exhibition is part of ifa Gallery Berlin’s Untie to Tie project.
The Gran Chaco covers more than a million square kilometres, encompassing parts of northern Argentina, southeastern Bolivia, western Paraguay and southwestern Brazil. It is a region that resists being divided by national borders; it is a silent but untamed territory. In the Argentinean ‘chaqueña’ region, small cities constructed as part of the oil and gas industries displaced indigenous communities, negating their presence and undermining their human rights for many years. Colonisation and capitalist production devastated the native woodland, but it couldn’t cancel out the forms of understanding life and nature that the pueblos originarios themselves defend. The whisper of that memory, which many people are able to hear, listen to and translate, continues to be sustained by the wind.
Andrea Fernández resides in a city near the border between Argentina, Bolivia and Paraguay, where, five years ago, she began working with indigenous women. Fernández has also been part of organisational processes of territorial and cultural management, thus articulating artistic investigations with projects of social economy.
In this reflexive process, which considers the different identities that coexist in the same territory, the ‘listening’ is put forward as a necessary and urgent action. Ultimately, it enables small gestures to be manifested in the collective memory and, in this way, create a collective future.