Tom Groll

INTERFERENCE Project: What is the Difference?
A corner of Saida Ajoula street is turned to a bucolic environment of the countryside.
The projection is inspired on an anecdote of the artist’s childhood, when he questioned the idea of diversity by looking at the cows grazing in the German meadows. In this work, the peaceful co-existence of black and brown cows -that live together irrespective of skin colour and shape- has been used as an allegory of the relevance of religious differences in everyday life.

INTERFERENCE Site: Open Space (rue Saida Ajoula, Tunis)

ARTIST’S STATEMENT: Dealing with light is dealing with energy, too.
I have been working with Bettina (Pelz) for such a long time that I think that I had no choice to say “no” when she asked me to join INTERFERENCE. Now, I am more than happy to be part of this project. Meeting with all the team in Tunis in May 2016, I felt this irresistible energy that surfaced when we tested the first projection works. To walk from site to site, to see the interaction of the historic sites, the contemporary technology and the artistic materials of the colleagues was full of fun surprises and inspiration. Meeting the Medina people who helped with tools and electricity made me aware of the human and social qualities which are present in the Tunisian culture. I am looking forward to share more time and experiences with all the accomplices of INTERFERENCE.

(URIS id=4834) (Photos: Tom Groll.)

ARTISTIC APPROACH
In his artistic research, Tom Groll focuses on the experience of continuous transformation. His research revolves mainly around the opposites realms of what can be perceived by human senses and the imagination; his goal being to capture reality revealing unspotted issues.
Actually, he started experimenting his personal approach on light art when he was completing the project Illuminare Zonen (Illuminated Zones) in 2001. It was then that, while he was carrying out the scholarship “Märkisches Stipendium”, he started exploring how to integrate light to artistic creation. Since then, he has been working on light installations at both venues and in public space.

LINKS
Tom Groll | Web

Amira Mkacher + Fadoua Msilini

INTERFERENCE Project: Behind the Grapes
This site-specific intervention is based on the re-use of cans as lanterns.

INTERFERENCE Site: el-Enba (rue Souk Errbaa, Tunis)

Rim Bchir

INTERFERENCE Project: Anywhere Out of the World 2.0
A subtle installation will overcome the walls set by the physical world and invite the viewer to take part in an immersive experience. Such a work aims to raise the public’s awareness about the ways we perceive, and experience, the public space so as to stimulate unexplored reflections. (Text by Rim Bchir)

INTERFERENCE Site: Dar Lasram (24, rue du Tribunal, Tunis)

(URIS id=4478) (Photos: Syrine Siala, Diego Delso.)

ARTISTIC APPROACH
In her series Anywhere Out of the World 1.0-2.0, Rim Bchir bases her artistic experimentation on the still little-explored led technology. Inspired by the varieties of galaxies swimming in the universe, through her artworks, the young artist questions the concept of the relativity of both distance and space perception.

SELECTED PROJECTS
2014| Anywhere out of the World 1.0 | Light Installation (tn)
2014| Conception d’une piscine municipale à Tunis | Workshop in Architectonic Strucutre (tn)

Anywhere out of the world from Bchir Rim on Vimeo.

LINKS
Rim Bchir Web

Kris Limbach

INTERFERENCE Project: The Lost Color
The Lost Color is after Music for Dysfunctional Airports Kris Limbach’s second film shot in Spain dealing with the economical and spiritual European crisis. It features the story of a dysfunctional tourist couple who tries to buy a huge property in the Spanish countryside and become a driving force towards a dystopian world. To achieve such a goal they will experience the dichotomous nature of human behaviour and the positive and negative aspects it implies.
It was realized in co-production with the Aktuelle Architektur der Kultur (AADK) and Centro Negra Spain.
(More on Kris Limbach’s Website)

Cast:
Lisa Müller-Trede, Jochen Arbeit, Lea Walloschke, James Farrell, Selu Herraiz, José Hortelano Villegas
Crew:
Camera & Sound Design: Kris Limbach
Production assistant and 2nd camera: José Hortelano Villegas
Costume design and 2nd camera: Lea Walloschke
Production sound and titles: Julia Bränzel
Make up: Jesi Hook
Music by: Jochen Arbeit, Miguel A. Garcia, Hopek Quirin, Pierce Warnecke, Rieko Okuda, Juan Antonio Nieto (Pangea), Ketev

INTERFERENCE Site: Kishlet el-Attarin (20, Souk el-Attarin, Tunis)

ARTIST’S STATEMENT: I felt The Lost Color would fit very well both into the ambient of Tunis as well as into the projects focus on light.
The moon like and dreamy landscape in which we where shooting the film in the South of Spain made us feel the proximity to the continent further south. The film was widely shot just with the illumination of available moonlight and sometimes with literally no light at all. During the filming I kept thinking about a quote by Thelonious Monk: It’s always night or we wouldn’t need light.

(URIS id=4433) (Photos: Zeineb Trabelsi)

ARTISTIC APPROACH
Kris Limbach is a sound and visual artist residing in Berlin. Although his focus is on sound, he is also involved in film projects since 1998, when he started exploring formats and aesthetics of cinema. In his sound art work he uses film-editing techniques, prepared drums, tape manipulation,
no-input mixing and a vast amount of raw and processed field-recordings. His interest in field-recording brought him to experiment his personal approach to the field, he bases on sounds and projected images. These are presented so as to reveal themselves as everyday experiences and memories whose connection with the reality and the notion of time is altered by the artist.
In The Lost Color, a moon like landscape becomes both a neutral /displaced setting for the action and an experimentation field for desire, love, politics and surreal rites. It comes along as a narrative film, and over and over again abandons the story in favour of pure imagery association.
Like fixing a rainbow that misses one specific color, The Lost Color tries to revoke and resurrect the spectra that got dimmed out of the collective consciousness.

DEVELOPMENT
2016| Sound Design and Installation for theatre in collaboration with Koikate | Berlin (de)
2012-2015| Participation in artistic residencies in Spain (es), France and California (us)
2012-2013| Delivery of workshops on set-recording and super8 manipulation for experimental film and sound
2011| Graduated in Applied Physics | Free University of Berlin (FU) | Berlin (de)
Since 2008| Founder of the Emitter19 studio and co-curator of the Emitter Micro Label and Festival for experimental music (in collaboration with Pierce Warnecke and Seiji Morimoto) | Berlin (de)
Since 2007| Sound engineering, Design and Installation work for John Bock
1978| Born | (de)

LINKS
Kris Limbach

SUPPORT
Possible with the support of the Media Art Festival Friesland in Leeuwarden.

The Lost Color project was supported by

ZINA

INTERFERENCE Project: Dar Dhaw, Luminaires On Display
Tunisian designers Adrienne & Camille Bouyssonie exhibit a choice of their luminaire designs.

INTERFERENCE Site: Dar Cherif (5 Rue Sidi Mouaouia)

DESIGN LABEL: ZINA by Adrienne & Camille Bouyssonie
Since 2004| Based in the neighborhood of La Marsa | Tunis(tn)

(URIS id=4700)

(Photos: ZINA)

DESIGNERS’ APPROACH
Zina’s production encompasses furniture, textile, tableware, decorative objects and luminaires. In their view, craftsmanship and design are two concepts strictly linked to each other. Therefore, their creations combine traditional patterns, materials and crafts with the taste, the needs and the techniques of contemporary lifestyle. In line with this approach, they use simple, natural materials such as wood, ceramics, blown glass and linen… all materials employed in Tunisian traditional handicraft.

EXHIBITIONS
Every year | Maison & Objet | Paris(fr)
More

Adrienne & Camille Bouyssonie | DEVELOPMENT
Adrianne and Camille Bouyssonie launched their Tunisian design label, Zina, in 2004. Following its success in Tunsia, a further headquarters was established in Vichy (fr). Every year Zina’s products are staged at the “Salon Maison et Objet” (Home and Objects Fair) of Paris and are exported worldwide.

LINKS
website
Facebook page

Robert Sochacki

INTERFERENCE Project: Loophole
Loophole is a small door to see the World on the other side. A magical, unique, colorful World (…) where everything is beautifully turning in a slow rhythm of an old music box tune. It gives you a chance to breathe away from your every-day reality.
(Text by Robert Sochacki)

INTERFERENCE Site: Wall Opposite to Club Tahar Haddad (rue du Tribunal, Tunis)

(URIS id=3124) (Photos: Amira Ben Achour, Amor Ben Rhouma, Sabina von Kassel, Brahim Gueddich)

ARTISTIC APPROACH
Robert Sochacki’s artistic practice spans from video to graphic-, costume – and stage-design to time-and site-specific installations in public space. Through his performances and Vjing, he focuses on real time synesthetic experiences of vision and sound. Adapted from Article

DEVELOPMENT
Author of performances, video art, happenings and installations in public spaces
Extensive collaboration with the Gombrowicz Theatre in Gdynia as scenographer, theatrical posters designer and costume designer
1991-1997| Studies in Arts | Academy of Fine Arts | Gdańsk (pl)
1971| Born | Gdańsk (pl)

LINKS
Non Iron Group
Web

Dominik Lejman

INTERFERENCE Projects: Fundamental Layer; Western Wall
Both Dominik Lejman’s projections feature the negative of recorded crowds. These are turned into allusive moving patterns to re-create, and describe, the architecture of sacred places.

INTERFERENCE Site: Open Space (rue Achour, Tunis)

(URIS id=2987)

(Photos: Dominik Lejman.)

ARTISTIC APPROACH
Dominik Lejman combines pictures with video projections and realizes video murals and compositions in the form of large scale photo-walls, often made of various layers of differing materials, techniques and significances. As a figurative painter, he introduced some innovative elements into traditional media so that static canvas are turned into moving figurative and/or abstract realities wherein, thanks to the use of cameras and optical effects, even the spectator is frequently brought in. Thanks to this method aimed at including the spectator into the artwork, the artist brings about subjects specific to twenty-first century lifestyle such as the private and the public, individuality and alienation, as well as how the improvement of security systems may become a means for social surveillance.
(Adapted from the Article)

LINKS
Website

Diana Ramaekers

INTERFERENCE Project: Sundawn (Tunis 2016)
Based on projection, dynamic color field paintings are composed with a set of colors as they appear at sunset.

INTERFERENCE Site: Dar Ya (6, impasse de la Carrière)

ARTISTS’ STATEMENT: Dedicated to the interplay of light, space and perception.
(In my work) I try to show the spectator the exciting interaction between light and space. Every space, inside or outside, private or public has its own spirit and is a challenge for me. Its history, the traces of wear and tear and the social interaction create a framework I like to relate to. Every space is an offer to compose the interaction of light and space and the way the audience can move in it. I like when the awareness of the viewer raises for the omnipresent and versatile nature of light. I am fascinated by the power and the ambiguous nature of light. On the one hand, we experience light as a sheer physical phenomenon, on the other, we associate it with a variety of notions, navigating between emotion and metaphysics. Light intrigues me because of its remarkable opposite characteristics, there are very poetic aspects linked to light, but it can also be powerful, violent and destructive. Stretching from physics to metaphysics, working with light is very challenging.

(URIS id=5619) (Photos: Mehdy Khemili)

ARTISTIC APPROACH
Diana Ramaekers focuses on light as a responsive and seismographic material and the dynamic properties of light are her choreographic material. Analysing and recomposing the qualities of light and its flow in a volume, she refers to the specifics of the built site or to selected light-responsive materials. She pursues a conceptual approach that is rooted in the Light and Space Art Movement that emerged in the 1960s when an array of artists explored the intertwinement of physical light, technical innovation and sensory perception in their artistic practices. They made grounds for new artistic concepts encompassing time-based imaging, ephemeral color concepts and perception-related visuals.

LINKS
dianaramaekers.com
Facebook
Twitter

Xenorama

INTERFERENCE Project: ATTYÉF AL’MEDINA

ATTYÉF AL’MEDINA اطياف المدينة (»Illusions of the Medina«) is an interactive installation developed impromptu and on-site within three days at INTERFERENCE in Tunis/Tunisia.

We found our venue in the Dar Sharif دار شريف, a long abandoned construction site of a former noble residence in the historical city centre, the so-called Medina. The projection was installed in the courtyard on a wall above the visitors, a surface partly covered by ornamental tiles. Some of the embellishments had disintegrated while others had been removed, revealing different layers of textures on the wall.

In our installation the visitors‘ shadows were cast onto the raised surface, stimulating the appearance of these layers into motion as well as the ambient sound in different ways. Their bodies turned into a source of light, shadow, sound and movement, uncovering the former and present beauty — and thus motivating them to experiment with the atmosphere and response of the magical building.

(Text by Xenorama)

INTERFERENCE Site: Dar Cherif (5, rue Sidi Maaouia, Tunis)

ARTISTS’ STATEMENT: We are interested in exploring the artistic, cultural and social potential of the augmentation of public space through media, light and sound.
Over time we have gathered diverse cultural influences from all over the world, such as Brasil, India, South Africa, Turkey or Italy. We see the INTERFERENCE project as a unique chance to work in an Arabic context and get in contact with local artists and the history and culture of the city of Tunis and hope to foster such cultural exchanges also in the future.

ATTYÉF AL’MEDINA اطياف المدينة | Spontaneous Interactive Projection from Xenorama on Vimeo.

ARTISTIC APPROACH
Xenorama is an interdisciplinary collective for audio-visual art that consists of Marcel Bückner, Tim Heinze, Richard Oeckel, Lorenz Potthast and Moritz Richartz and is located in Potsdam, Germany since 2014.
We are united by the fascination to use technology to create magic. By understanding ourselves as artists, researchers and inventors at the same time, we allow our work to blur the lines between those disciplines. We combine expertise in the fields of design, animation, programming, sound design and composition and specialize in immersive experiences, interactive installations and light projection shows. Our work tackles the countless questions surrounding the new principles of art, technology and culture emerging in the afterglow of the digital revolution. We investigate the phenomena that occur when the material world is superimposed with the digital, and inversely, when the digital overlaps with reality.

Moritz Janis Richartz | DEVELOPEMENT
Artist and designer
Up to present| Art Director at Xenorama | Germany (de)
Creative Director at LichtZeitRaumKlang | Germany (de)

LINKS
xenorama.com
Facebook

Gianluca Fratantonio

INTERFERENCE Project: Lumina
Following a dedicated work of objects’ collection in the Medina, the artist invites all objects’ donors, and the visitors, to think over the concepts of sharing, care, and community.

INTERFERENCE Site: Dar Cherif (5, rue Sidi Maaouia, Tunis)

ARTIST’S STATEMENT: Interference offers, in my opinion, a great opportunity to everyone to participate and play.
When I was working in Tunis, I had the chance to live in the Medina for a few months. Then, the city and its surrounding areas appeared to me as a web of events, streets and people in continuous interaction. I think it has the potential of generating a new, healthy and efficient cooperation system that could trigger a bottom-to-the-top socio-economical change.
Actually, I believe that human connections are based on people’s ability to trust others. Therefore, my mission is to try to suggest this idea while providing people with a chance to communicate in a different way. In fact, I am persuaded that change is possible whenever initiatives come from (and to) the people, who interact and allow a process of social participation to start. In the Lumina project, I ask a number of people of the Medina to be trustworthy and share. In return, they will enjoy the result of a collective effort.

(URIS id=4091)

(Photos: Courtesy of the artist.)

ARTISTIC APPROACH
The purpose of my work is to liberate creativity; to break out limitations, patterns, schemes and preconceptions. My aim is to recuperate the clear essence of creativity, the enthusiasm of imagining and the ability to communicate. What I don’t manufacture is an artistic product; actually, I’m interested in delivering playful and participative performing actions that are specifically conceived to stimulate constructive audience reactions. In fact, I am well-aware of the psycho-environmental effects this kind of activities can trigger.
We are made of both what remains of our past and how we can imagine our future. My life is a consequence of predictable and unpredictable events that shaped my identity neither precisely nor clearly, and my work results from this. (Text by Gianluca Fratantonio)

DEVELOPMENT
The artist is currently based in France
2002-2016| Artistic production and exhibition activities, mainly in Italy and the Netherlands
2009 – 2016| Creation and direction of the participatory art event DIRT | Milan (it)
2011-2013| Creation of projects linked to the Architecture Biennale of Rotterdam, in collaboration with
writer Raoul de Jong, choreographer Elisabetta Consonni and the urban architects of ZUS | Rotterdam (nl)
2008-2011| Collaboration with the Dutch public TV network VPRO | (nl)
1999-2001| Artistic activity in New York
1998| Qualification in Arts | Istituto per l’Arte e il Restauro | Florence (it)

LINKS
gianlucafratantonio.com
Facebook

Sonia Kallel

INTERFERENCE Project: Tisser la Médina (2)
Based on her research on arts and crafts in the Medina, a digital animation of silk weaving is enlarged so much so that it overwrites the appearance of an architecture ensemble.

INTERFERENCE Project: Impasse (Impasse Echemmahia, Tunis)

(URIS id=5652) (Photo: Brahim Guedich, Mehdi Khemili)

ARTISTIC APPROACH
Sonia Kallel draws attention to the Tunisian heritage and threatened arts and crafts. The Medina of Tunis has been a subject of her artistic research for a long time. Her artistic concepts are rooted in personal and scientific studies.

LINKS
Facebook

Moncef Ben Messaoud

INTERFERENCE Project: Into the Dark
In an completely dark room, visitors can listen to live music.

INTERFERENCE Site: Kishlet el-Attarin (20, Souk el-Attarin, Tunis)

(URIS id=4274)(Photos: Moncef Ben Messaoud.)

ARTIST’S STATEMENT

I appropriate the silence of the medina, in a place that is filled with history and culture, Kishlet Al Attarine , former national library, to dress an excerpt from one of my musical creations , 11 : 30 pm, music will run through silence and bomb the walls, an experience that I did not want to miss within the festival of light , to offer another sound to people who are accustomed to the noise of vendors, and the shouts of traders, a sound that is unexpected in such an hour.

ARTISTIC APPROACH
After mastering the horn in only 3 years of practice, Moncef started playing several wind instruments such as the trombone, the tuba and the trumpet. His multidisciplinary approach to music made it possible for him to perform within different groups in Tunisia and abroad. Love for multicultural and cosmopolite music and an ambition to surpass limits and frontiers are the basis to his work.

SELECTED WORKS

Performed within Khnefes, Sext’et, Lebess, 7ess, Jazz’Oil

DEVELOPMENT
2013-2014 | Participated in the International Summer Academy with André Cazalé in Vienna
Played numerous times within the National Orchestra of Tunis
Guitar, horn and trumpet professor
Trumpettist in Tunis Jazz Club and many other groups
2010 | Interpreter degree in Western music and Western music Diploma in the superior institut of music in Tunis
Self-taught classical and flamenco guitarist
1982 | Born in Tunis

LINKS

Facebook

Ingo Wendt

Two site-specific works, Light Mobile and Projected Bubbles were realized at the artist’s arrival in Tunis.

INTERFERENCE Projects: Light Mobile
Light Mobile is a structure of the light-responsive material which generates colored light reflections.Thanks to their complex mechanical structures Ingo Wendt’s machines create, respectively, differing color atmospheres in steady interaction with the surrounding space and the viewer.

INTERFERENCE Sites: El Ali (45 bis, rue Jemaa Zitouna, Tunis)
(URIS id=5733)

INTERFERENCE Projects: Projected Bubbles
Projected Bubbles is a system of soap-bubbles production creates magic effects of images’ distortion.

INTERFERENCE Sites: Placette Sidi Mouaouia (rue Sidi Mouaouia, Tunis)
(URIS id=5741)

ARTIST’S STATEMENT: I want to understand the world and also create new ones. For achieving this, I look for various occasions. As an artist, designer and trained craftsmen, I have developed a wide range of activities that mutually benefit each other. Addressing material, appearance, functionality and importance is reflected both in the conceptual and the applied work.

(URIS id=1645)

(Photos: Ingo Wendt, Sara Foerster, Daniel Hausig.)

ARTISTIC APPROACH
Ingo Wendt’s artistic bearings are light art, architecture, and kinesis. He gets his inspiration from cultural realities, natural and urban landscapes as well as from architecture and historical places. His artworks, which often have a highly playful character, create beautiful atmospheres wherein colors become almost tactile matters. Even though this might not be his main focus, his interventions in public spaces have rarely failed to improve people’s ability to better value the urban and architectural environments they live in.

LINKS
hbksaar-atelier.de
Web

Kurt Laurenz Theinert

INTERFERENCE Project: The Skin We Call Reality
The visual piano is a unique instrument which makes it possible to create moving images in a space. It was conceived and developed by the artist Kurt Laurenz Theinert in collaboration with the software designers Roland Blach and Philipp Rahlenbeck. In Tunis, Kurt Laurenz Theinert improvises on the visual piano with Tunisian musicians Jihed Khemiri and Saif Eddine Srairi. (Text: Aymen Klidi)

INTERFERENCE Site: Place Ramadhan Bey (place Ramadhan Bey, Tunis)

ARTIST’S STATEMENT: It is fun to be a pioneer.
Like other projects of yours, INTERFERENCE is a unique opportunity to develop something new in an intercultural community. Most of us don’t know each other and still, we are convinced that we will inspire, provoke and support each other. We will bring our ideas, our experiences and enthusiasm. And we hope to come up with a new, exciting festival format. There is no other festival that starts with a collective workshop for all the artists and all the team – including the organizers, the assistants, the technicians, the art mediators etc. I am sure that this will change the way we work together and that we will create an atmosphere for new, sparkling, innovative works. Besides all that – the sites of the Medina that have been offered to us, are just amazing and inspiring. To work site-specific will be an honor. (Interview: Bettina Pelz)

The skin we call reality – Interferences Tunis from kurt laurenz theinert on Vimeo.

ARTISTIC APPROACH: Abstract light, color and form improvisations
IN his work, Kurt Laurenz Theinert concentrates on abstract visual experiences that do not refer to anything. On the contrary, he is striving for a reductive aesthetic. His artistic research is rooted in his creativity and intuition as much as in his artistic knowledge and experience. He is open to meaning, message or metaphorical associations that can be added by every viewer’s personal perception and background. (Text: Aymen Klidi and Bettina Pelz.)

LINKS
Web Kurt Laurenz Theinert
Web Kurt Laurenz Theinert // Performances

Ursula Scherrer + Lilia Ben Romdhane

INTERFERENCE Project: Discursive Ornaments – A Public Art Action
For the four days of the light art project, a series of improvisations combining video footage, sound and recited text takes place. Interweaving projections and recitations in their nighttime performances, the artists create a framework for the development of experimental chalk murals. The audience is invited to join. In the daylight, the traces of artistic dialogue appear as an ephemeral mural, in the nighttime, it is the stage for the continuation of the artistic processing.

INTERFERENCE Site: Dar el-Jaziri (29 bis, rue du Tribunal, Tunis)
(URIS id=5601)(Photo: Amor Ben Rhouma. Baya Ben Ammar. Sabina Von Kessel. Syrine Siala.Zeineb Ellouz. )

ARTISTIC APPROACH
Ursula Scherrer is a Swiss artist established in the US. Her aesthetic training began with dance, transitioned to choreography and expanded to photography, video, text and mixed media. She is attracted by the ephemeral nature of past experiences as well as by the ways present times can be interpreted through the artistic media. At her first experience in Tunisia, she chose to collaborate with Tunisian poet Lilia Ben Romdhan.
To develop their Discursive Ornaments both artists generated their materials during shared walks getting to know each other as much as getting to know the Medina. For the performance, they work in the narrow allies around Dar el-Jaziri (the House of Poetry). They stage their artistic exchange, each in their own forms of expression. Visuals are projected and reflected by the surrounding walls and text is recited and echoed by the built environment. During their performing dialog, they draw and write with chalk on the walls. The drawings follow the shapes and forms generated by the projected visuals and fragments of the spoken text are translated into writing. By drawing and writing, both artists will react on each other as well as on time- and site-specific properties.

Ursula Scherrer | SELECTED AWARDS
1994| Honorable Mention | International Photography Contest | Austin TX (us)

Ursula Scherrer | DEVELOPMENT
Since 1999| Participation in international festivals of visual art, multimedia and light art, mainly in Switzerland, Germany and the United States
Since 1997| Photo, video, multimedia production, mainly in Europe and the United States
Since 1997| Exhibition activities | Worldwide
2006-2007| Curatorial activities | New York (usa)
2001-2004| Dance collaborations for video and live performances | New York (us) / Baden (ch) / Tallin (ee)
1989-1992| Creation of choreographic works | New York (usa)
1988-1996| further studies in Modern Dance (Merce Cunningham, Martha Graham and Jennifer Muller) | New York (usa)
1988-1991| Dance Composition with Nurit Cohen | New York (usa)
1983-1988| Dance education in Ballet, Folk Dance, Modern Dance, Jazz Dance and Fencing | Theatertanzschule St. Gallen (ch)
Born | Schaffhausen (ch)

LINKS
ursulascherrer.com

RaumZeitPiraten

INTERFERENCE Project: Khayál
The artists’collective RaumZeitPiraten revive the spirit of khayál in a walk through the Medina. Equipped with a self-developed projection instrument, the artists move through the city and create constantly new and changing worlds of images while temporarily remodelling spaces. Participants are invited to discover the streets, facades, courtyards and hidden corners of the Medina. In so doing, they become part of a collective projection performance on the fly. (Text by RaumZeitPiraten)

INTERFERENCE Site: Place Bir Lahjar, starting point (place Bir Lahjar, Tunis)

ARTISTS’ STATEMENT: Festivals of light around the world are known to revive public space and provide a great framework for public encounter and activity. INTERFERENCE will bring the experience to Tunis and reflect on its properties to foster the art of change. INTERFERENCE will be a community-funded project to develop the first light art festival on the African continent.

(URIS id=2700) (Photos: RaumZeitPiraten)

ARTISTIC APPROACH
With their site-specific, performative installations RaumZeitPiraten create ephemeral models of unperfect mensch-maschine counter worlds questioning calculated realities, scientific accurateness and anorganic, machine’s dominated behaviour.
With custom-built opto-acoustic instruments they misuse and remix ancient and up-to-date sound and visual technologies for heterogeneous, organically improvised light and sound architectures. Their activities are aimed at playful, experimental connections of sound, image, object, space and time to an alternately-self-expanding-multimedia-performance-surround-spaceship-laboratory-travel to somewhere between science and fiction. (Source)

SELECTED AWARDS
2011|Kunstpreis| Baustelle Schaustelle| Essen (de)
(More)

(More)

LINKS
Web

joeressen+kessner

INTERFERENCE Projects: l’écriture de l’espace; Mond über Tunis
Two trans-media, real-time installations based on the interaction between projected digital shapes, the architectural space and the observer.

INTERFERENCE Sites: Kishlet el-Morjeni (55, rue Zitouna, Tunis); Dar Ben Achour (52, rue du Pacha, Tunis)

(URIS id=2028)

(Photos: joeressen+kessner.)

ARTISTIC APPROACH
Since 2001, Eva-Maria Joeressen and Klaus Kessner have been working together on a regular basis, creating audio-visual compositions as spatial interventions. Developing their concepts, they respond to a selected spatial situation and explore its topographical, architectural and iconical aspects as well as the experiences, memories and realities associated to it. With the help of digital archives, they develop their findings in a kind of “semantic map” which becomes the referential framework for their compositions. Their generative data systems control visual and sound projections applied in real time to a chosen space.

l’écriture de l’espace from joeressen+kessner on Vimeo.

Klaus Kessener | DEVELOPMENT
Since 1992| Regular performing activities with electronic audio-visual compositions in Germany
Studies in Music, Musicology and German language
1957 | Born
(More)

LINKS
Web
Vimeo

Annika Hippler

INTERFERENCE Project: Painting of Light
A poetry of colours is staged in abstract compositions obtained by laser lights’ arrangements.

INTERFERENCE Site: Palais Kheireddine, Museum of the City of Tunis (rue du Tribunal, Tunis)

(URIS id=5438)(Photos: Ingo Gerken, Kuno Seltmann, Mehdi Khemili.)

ARTISTIC APPROACH
In her light installations, Annika Hippler displays light as an ephemeral material as well as a tool for drawing, painting, sculpturing and creating site-specific artworks. Meticulously combining lasers with water and other mediums, subtle coupling and resonances are developed through reverberations, unveiling matter in its purest form, giving shapes and colours a natural poetry. In her luminograms, Annika Hippler records the impact of light on canvas.

LINKS
annika-hippler.net

Margareta Hesse

Bordering Light

Red lines of laser light define a space in which a pair of traditional women shoes are placed. The cryptic nature of this installation invites the viewer to investigate possible solutions to a mysterious story.

SITE

Bir Lahjar
Place Bir Lahjar
Medina of Tunis

Margareta Hesse. INTERFERENCE Tunis 2016. Photo Mehdy Khemili (4)

Margareta Hesse. INTERFERENCE Tunis 2016. Foto Margaretta Hesse (2)

Margareta Hesse. INTERFERENCE tunis 2016. Photo Margareta Hesse

Margareta Hesse. INTERFERENCE Tunis 2016. Photo Margareta Hesse (2)

Margareta Hesse. INTERFERENCE Tunis 2016. Foto Margareta Hesse (9)

Margareta Hesse. INTERFERENCE Tunis 2016. Photo Mehdy Khemili (1)

Margareta Hesse. INTERFERENCE Tunis 2016. Photo Mehdy Khemili (3)

Margareta Hesse. INTERFERENCE Tunis 2016. Photo Mehdy Khemili (5)

Margareta Hesse. INTERFERENCE Tunis 2016. Foto Margareta Hesse

ARTIST’S STATEMENT

I chose to participate in this project because I am curious. I have never been to Tunisia. Morocco is the only Arab country I visited. I have been exhibiting in countries, for example in Bulgaria, that are coined by a different culture, but there, I barely interacted with local communities.

In this project, this will be completely different: I am bringing my lasers indeed, but there are some materials and tools that I cannot take with me. Therefore, I would need local assistance and I am actually looking forward to experiencing that. I am sure I will learn a lot.

Another reason for participating is that I very quickly had an idea for a laser installation. This special idea resulted from the INTERFERENCE programme which includes political discussions, too. I like the focus on the exchange between local and international artists as well as between us, the participating artists, and the interested visitors. Besides, I am very curious to see the historic architecture of the city. In fact, beautiful architecture inspires me. I am happy that I will be able to build my installation in a space which fascinated me as soon as I saw its images.

ARTISTIC APPROACH

“Colour and light are the creative media that exercise the greatest pull on Berlin artist Margareta Hesse as a creative medium for her work.

(…) from colour to light, from the material to the immaterial, from the rational to the emotional. Whilst Hesse’s works can collectively be seen within a distinctive context located between austere constructivism and the expressive-emotive, between geometry and gesture, between the conceptual and the experimental, between concrete materiality and a virtual, immaterial appearance, it nevertheless remains difficult to categorise her. (…)

The effect of her laser installations thence lies in the generating of sensualist environments and atmospheric spaces for intense encounter in which perceptions, findings and experiences become amplified. (…)

The bright red laser beams of this body of work draw glowing paths as it were, through its recurrent dark, hazy, unfamiliar spaces, and visitors to these regularly take up the guys of light as if the artist had handed them Ariadne’s thread through labyrinths abounding in discoveries to be made and profound experiences to be had.”

(Excerpt from From Colour to Light, from the Material to the Immaterial, from the Rational to the Emotional by Pamela C. Scorzin)

SELECTED EXHIBITIONS

2014 Celle (de), ARTMUSEUM
2013 Ahlen (de), ARTMUSEUM
2011 Linz/Rhein(de), ART ASSOCIATION
2010 Darmstadt (de), MATHILDENHÖHE
2009 Berlin (de), ZITADELLE
Since 1990 Regular exhibition activity, mainly in Germany
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SELECTED AWARDS

2015 Berlin (de), Art Award of Fine Arts Charlottenburg-Wilmersdorf
2004 Hamm (de), Culture Award by the City of Hamm
1995 Darmstadt (de), Artist Encouragement Award by Damrstädter Session
1991 Dortmund (de), Hoesch – Artist Grant “Werkkunst”

DEVELOPMENT

Since 1995 Dortmund (de), UNIVERSITY OF APPLIED ART: Professorship
1975-1982 Studies in Fine Arts and Romance Studies
1956 Duederstadt (de), Born

LINKS

margareta-hesse.de
facebook/margareta.hesse

Hartung + Trenz

INTERFERENCE Project: Zero
The number “0” is of outstanding relevance in mathematics. Hartung + Trenz refer to its historical impact and philosophical value. They chose it as their graphic material for a new, site-specific intervention in Tunis.

INTERFERENCE Site: Dar Lasram (24, rue du Tribunal, Tunis)

ARTISTS’ STATEMENT: I have to come back.
In September 2015, I was part of the first FLUX project in the Goethe Institute. We had really good time preparing the exhibition and continued to work together in the last months. I am very happy that we have now an opportunity to explore the Medina of Tunis. I want to support the Tunisian artists’ colleagues to build this new project and I hope that in the future we will have lot’s of these kinds of experimental productions in public space. (Text by Detlef Hartung)

Zero, 2016, INTERFERENCE, International Light Art Project, Medina of Tunis, Tunisia from Hartung & Trenz on Vimeo.

ARTISTIC APPROACH
For more than twenty years Detlef Hartung und Georg Trenz have been contributing to the artistic field of typography. In their spatial projections, they explore the relationship among text, image, public space, light and sensory perception. Their textual video projections have animated buildings such as churches, theatres and galleries whose interior and/or facade seemed in constant transformation thanks to the interaction between the projected words and the architectural structures.

ARTISTIC COLLABORATIONS
Since 1994| Responsive Typographic Interventions | World Wide

LINKS
Web
Detlef Hartung | Facebook
Vimeo

Andrea Thembie Hannig

INTERFERENCE Project: Polar/Light IV (Plastic)
Imagery from the plastic garbage floating in the worlds’ oceans is transformed by an optical system into a light sculpture.

INTERFERENCE Site: A shop in rue Sidi Ben Arous (rue Sidi Ben Arous, Tunis)

ARTIST’S STATEMENT: Great to be part of a community project.
It is for me a great honour to be part of INTERFERENCE. It seems to me to be a great cultural project which impresses me by all the enthusiasm, commitment and vital energy that is put in it from so many interesting people. I am very curious for all the light that they will bring to many aspects of life, on shared culture, on social and cultural change and for their usage of light. Also very impressive for me is the fact of INTERFERENCE being the first light art festival in Africa. I very much like the aspect of it being a community-rooted and resource-based project that welcomes me and the others to have an insight into the lifes and homes, some social, cultural and environmental issues of the hospitable participants of INTERFERENCE from Tunis.

(URIS id=2211)(Photos: Claus Langer. Andrea Thembie Hannig. Ricardo Nunes.)

ARTISTIC APPROACH
Andrea Thembie Hannig is a photographer. Her artistic research revolves around the interplay between the projected images and optical phenomena. Her works result in highly-alluring effects of light refraction generated by lenses and video technology. In her installations, projected video-images are mirrored in a glass brick which allows multiple light effects to be projected on one or more selected surface/s. An engaged artist, she links her artistic research to present environmental issues. As an example of this stand the images of the series Polar/Lights: they are timeless natural and everyday life landscapes. Her most recent works focus on the negative impact plastic pollution has on oceans.

LINKS
Web

(URIS id=5418)

Tom Groll + Kuno Seltmann

INTERFERENCE Project: Biocenosis
A mix of photographic footage from the Medina, the artists’ home area and natural phenomena are collaged in a projection environment.

INTERFERENCE Site: El Maktaa (rue De la Carrière, Tunis)

(URIS id=1782)(Photos: Tom Groll. Claus Langer.)

LINKS
Tom Groll | Web

Houda Ghorbel + Wadi Mhiri

INTERFERENCE Project: Vide-mémoire
This performance of light-lines’ weaving will be developed during the four days of the festival. It will offer the spectator the chance to experience a journey through time. In fact, by looking through three peepholes, he will see a library reborn from its ashes.
(Extracts from a text by Houda Ghorbel and Wadi Mhiri.)

INTERFERENCE Site: Kishlet el-Morjeni (55, rue Zitouna, Tunis)

ARTISTS’ STATEMENT: As time passes, memories get lost and are mixed up one with another, so much so that, in the end, only a few rests remain. Our project Vide-mémoire targets what remains of the ancient library of Kishlet Sidi el-Morjani, which was built by Hamouda Pacha in 1809. In order to revive the memory of such an important place, the interior of the library will be recreated through some light lines. These would be visible to the spectator only through a peephole.

(URIS id=2761) (Photos: Amira Ben Achour, Amor Ben Rhouma, Zeineb Ellouz, Mehdi Khemili)

ARTISTIC APPROACH
Wadi and Houda Mhiri investigate meanings and implications of cultural and religious symbols as if they were tirelessly questioning the concept of Tunisian identity. Their projects stand at the crossroads of several genres among which installations, videos, performances and architecture and design works can all be found.

LINKS
Houda Ghorbel | Facebook
Wadi Mhiri | Facebook

Designlab

INTERFERENCE Project: Projection Mapping Lab

INTERFERENCE Site: el-Rachidia (7, rue Driba, Tunis)

(Video: Designlab)

ARTISTIC APPROACH
Design Lab is a Tunisian multidisciplinary visual design studio created by artists from various fields of expertise. Their motion-design works integrate the elements of time, space and sound thus creating interactive visual solutions whose focal point is the viewer’s experience.
“From virtual to real: between these two words, is drawn an endless chain. For us, every detail of a project ultimately expresses a dream board. Each creation is unique, each request is a new challenge for us and a dream to materialize”. (Text by Yosr Ben Youssef)

LINKS
Facebook
Web

Marcus Neustetter

INTERFERENCE Project: Sweep Merida
Excerpts from the video documentation of the intervention “Sweep Merida” developed for the closing ceremony of the UNESCO International Year of Light 2015 are re-arranged in a video artwork.

INTERFERENCE Site: Palais Kheireddine, Museum of the City of Tunis (rue du Tribunal, Tunis)

(URIS id=2303)(Photos: Marcus Neustetter. Aatish Ramkaran.)

ARTISTIC APPROACH
As an artist, a curator and/or a producer, Marcus Neustetter stages social reflections, critical investigations and playful interventions via public artworks, sociocultural interventions and participative projects. Combining art, science and technology, he developed a transdisciplinary approach to design processes, which result in drawings, paintings, sculptures and site-specific istallations. In his view, as well as in his work, he utilises light as a material, as a tool, as a medium and, even, as a metaphor. Part of his works are installations in places where darkness is associated with crime, poverty and apartheid’s legacy.
“By dropping a little bit of light into it (a selected place), it changes the interaction people have with that context and hopefully the way they see the city,” he said in a BBC interview on January 7, 2016.

SELECTED EXHIBITIONS
2015| International Year of Light | commissioned Stamp design artwork by the South African Post Office and public light interventions throughout South Africa | South Africa (za)
2014| Creative Karoo Hoogland | collaboration with Bronwyn Lace and the South African Observatory interventions in Sutherland Williston and Fraserburg | South Africa (za)
2014| Defining Lines | Solo exhibition Gallery AOP | Johannesburg (za)
2013| Across the board | Public Space/ Public Sphere curated by Elvira Dyangani Ose, commissioned by Tate Modern, public intervention in Douala with Doual’Arts | Cameroon (*Hobbs/Neustetter) (cm)
2012| Visual Collider | exhibition in Utrecht – Galerie SANAA, Leiden – Leiden University, Faculty of Science, Amsterdam – Mediamatic Fabriek | Guest of the Virtueel Platform | Netherlands (nl)

SELECTED AWARDS
2015| World Technology Awards / Arts | New York City/NY (us)

LINKS
marcusneustetter.net
The Trinity Session
Marcus Neustetter: Into the Light. illumni.co, June 2, 2016
Antea Buys: Marcus Neustetter. Artthrob – Contemporary Art in outh Africa 2010