Großer Wasserspeicher, Belforter Straße, Prenzlauer Berg (U Senefelderplatz)


21.09. 6:30 pm Opening
Thomas Ankersmit (Holland, Berlin) (sax)
Improvisation Acoustic Solo

The improvised music of Thomas Ankersmit is multi-layered: saxophone, synthesizers, spatial acoustics and their modification. His solo in the large reservoir – which has a measurable echo of 16-18 seconds – can, for a musician who is familiar with such extreme sound phenomena, be seen as a challenge of a very special kind.

3 pm – midnight

Philip Samartzis/Martine Corompt (Australia)
A self-drivable surround sound space installation

"Dodg'em" is an interactive surround sound installation which is controlled by pedal cars for adults. Members of the public drive around inside one of the empty rings of the large reservoir: this controls the soundscapes of invisible terrains and triggers natural as well as abstract sound events. The audience drives along an Australian and a Berlin sound landscape. "Dodg'em" was awarded the Australian National Digital Art Award in 1999 as best interactive installation.
With the use of Berlinsounds by Uli Aumüller

Achim Wollscheid (Germany)
Keine Mitte (don´t let me down)
Light Installation in the Water Tower

A 60 Watt light bulb hangs in the water tower of the reservoir. It can be moved up and down by means of a motorized winch. As visitors enter and climb the winding staircase to the water tower, light – controlled by sensors – accompanies their movements. A curious interaction between light bulb and man.

Dominic Redfern (Australia)
Sound/Video Installation

Dominic Redfern's installations combine performance with filmed recordings and elements of architecture. For Interface he will create a site-specific installation at the Wasserspeicher utilizing the unique circular structure of the reservoir as both the source of material and location of the installation. In the manner of his recent installation work, Round will involve the use of 1:1 scale video as well as footage that appears to be unedited and in 'real time'. These elements will combine to locate the work firmly in the space and create an illusory relationship between the video space and physical location. An array of speakers and monitors will be employed to create a fragmented, but spatially accurate, portrait of Redfern himself running round and round the inner circle, falling, getting back up and starting over again.

Andrew Curtis (Australia)
Slab / Underpin
Photography Exhibit

Twenty years ago, while studying photography, Andrew Curtis began to photograph industrial landscapes: Melbourne's old docks, factories, workshops, electrical substations and more recently, building sites. Working in a surrealist mode, Curtis creates a world of his own invention, making the everyday unfamiliar, removing the distinction between imagination and reality. These transformations are achieved largely through lighting. Using various sizes of handheld torch he is able to pick out details freely, moving the lamp during exposure. Working in darkness, he has the photographic equivalent of a blank canvas, though in charcoal black, with his lamps painting in the lighter tones. The result has no equivalent in nature, the eerie artificial glow is like something from a dream, or a film. It is all artifice. The setups are intricate and difficult to photograph, the building sites are turned into giant still lifes
This exhibition is made up of two bodies of work: Slab and Underpin.
focuses on the concrete slabs of industrial pre-fab architecture. Banal concrete walls and steel struts are transformed into sites of magic, danger and struggle. Photographing at night, Curtis created a series of looming monoliths, criss-crossing shadows and pulsing, glowing forms. One can sense the photographer's admiration for strong geometric forms, even when shot in the darkest tones, sometimes hinting at strange rituals. Underpin
is a continuation of Slab, though in a much darker vein. Slab is also a dark piece but it had fun with the monolithic shapes (which made reference to 2001: A Space Odyssey). In Underpin, the gaze is directed downward and the subject is at ground level or below. The ditches, tunnels and waste signify an anal vision, dark, barren and hidden; the airless claustrophobic caverns seem somehow pagan.

Philip Brophy (Australia)
Evaporated Music
Sound Installation

Dolby Surround DVD of raw image violence and monstrous alien sound. Slick videos by Elton John, Billy Joel & Phil Collins, Gloria Estefan, Celine Dion & Mariah Carey are projected in their full length, the original sound track erased and replaced by a complete movie theater sound design. Women lose their roles as supernatural, angel-like beings and become physical, driven by instinct like men. Elton John turns into a rusted gargoyle, Phil Collins into a chaste chimera, Billy Joel into a monstrous machine. The fantasy world of pop music is mercilessly revealed.

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