WE HAVE DELIVERED OURSELVES FROM THE TONAL.
OF, WITH, TOWARDS, ON JULIUS EASTMAN
EXHIBITIOn 23.03.–06.05.2018 Thu–Sun 14:00–19:00
WithPaolo Bottarelli, Raven Chacon, Tanka Fonta, Malak Helmy, Hassan Khan, Annika Kahrs, Pungwe (Robert Machiri and Memory Biwa), The Otolith Group (Anjalika Sagar, Kodwo Eshun), Barthélémy Toguo
OPENING 23.03.2018 19:00
WITH Premiere of Regginigger–A play on Eastman’s Wor(l)ds of Divinity by Pungwe
INVOCATIONS I 24.03.2018 16:00–24:00
with Kodwo Eshun, Sean Griffin, Dustin Hurt, Hassan Khan, Annika Kahrs, Petr Kotík, Josh Kun, Mary Jane Leach, George E Lewis, Elaine Mitchener, The Otolith Group, Christine Rusiniak and others
INVOCATIONS II 25.03.2018 11:00–19:00
with Janine Armin, Raven Chacon, Rocco Di Pietro, Christine Eyene, Sumanth Gopinath, Sean Griffin, Malak Helmy, Sofia Jernberg, George E Lewis, Jean Cristophe Marti, Elaine Mitchener, Christine Rusiniak, Pungwe (Robert Machiri & Memory Biwa) and others
artistic director Bonaventure Soh Bejeng Ndikung
curator Antonia Alampi
curatorial assistance Kelly Krugman
project management Lema Sikod
project assistance Gwen Mitchell
research curators Kamila Metwaly & Lynhan Balatbat-Helbock
communication Anna Jäger & Jörg-Peter Schulze
Light streams through the darkness,
Opening the caves
Light cannot shine where no light is
Truth is light and darkness
More light more light
More light more light
Light is not darkness
WE HAVE DELIVERED OURSELVES FROM THE TONAL – Of, with, towards, on Julius Eastman is an exhibition, a program of performances, concerts and lectures as well as an upcoming publication that deliberate around concepts beyond the predominantly Western musicological format of the tonal or harmonic. The project looks at the work of the African American composer, musician and performer Julius Eastman beyond the framework of what is today understood as minimalist music, within a larger, always gross and ever-growing understanding of it—i.e. conceptually and geo-contextually. Together with musicians, visual artists, researchers and archivers we aim to explore a non-linear genealogy of Eastman’s practice and his cultural, political and social weight while situating his work within a broader rhizomatic relation of musical epistemologies and practices.
A deep listening of Eastman, and a proper look at his scores, reveal a quest to defy the conventionality of music and strive towards the atonal. It is known that Western classical tradition is based on the tonal. By trying to complicate, deny or expatiate on the notions of the harmonic, tonal hierarchy, the triadic, or even the tonal centre, Eastman’s compositions explore strategies and technologies of attaining the atonal, e.g. through his serial repetitions. One might be tempted to see Eastman in the legacy of Bartok, Schoenberg, Berg and others, but here too, it is worth shifting the geography of minimal tendencies and minimalism in music. It is worth listening and reading Eastman’s music within the scope of what Oluwaseyi Kehinde describes as the application of chromatic forms such as polytonality, atonality, dissonance as the fulcrum in analysing some elements of African music such as melody, harmony, instruments and instrumentation. Though Eastman should not be reduced to the dichotomy of tonality versus atonality, there is still the need to research how Eastman tries to shed light into tonality, which is deeply embedded in Western civilisation.
For the project, new substantial artworks and musical pieces have been commissioned and will be world-premiered in Berlin. These include a filmic work and performance by Annika Kahrs; a musical composition and a sculptural work by Hassan Khan; a sound installation by Pungwe (Robert Machiri and Memory Biwa); and an installation of minimalist drawings by Barthélémy Toguo. The exhibition also includes drawings by Malak Helmy, a film by the Otolith Group (Anjalika Sagar, Kodwo Eshun), paintings by Paolo Bottarelli and Tanka Fonta as well as a score by Raven Chacon.
A project conceived by Bonaventure Soh Bejeng Ndikung, Antonia Alampi and Berno Odo Polzer, commissioned and produced by SAVVY Contemporary, co-produced by MaerzMusik – Festival for Time Issues.
MaerzMusik – Festival for Time Issues will take place from 16.–25.03.2018 at Haus der Berliner Festspiele.
The project is funded by the German Federal Cultural Foundation.
Hassan Khan´s pieces have been realized thanks to the generous support of Galerie Chantal Carousel.
Photo credit (Teaser images): Chris Rusiniak