SAVVY Funk Broadcasting Schedule

documenta 14 Commissioned Sound Works
documenta 14 Relay
NREM Stage 1
Radio Archives
Early Birds
Prayers by James Webb
Render by Mobile Radio (Knut Aufermann & Sarah Washington)
SAVVY reads SAVVY.doc
Laugh of the Hyposubject by Brandon LaBelle & Anna Bromley
Yo y mi circunstancia. Current Affairs Magazine - Tito Valery in conversation with SAVVY Funk artists
Singing Yesterday's News Again by Natascha Sadr Haghighian & Nicholas Bussmann
Weather Reports by Gívan Belá
YNK by Silvia Ploner & Nicolas Perret
Multiverse Crosstalk Radio by Alberto de Campo, Hannes Hoelzl & Magdaléna Kobzová
Singing Yesterday's News Again by Natascha Sadr Haghighian & Nicholas Bussmann
Weather Reports by Gívan Belá
Piratensender by Ahmet Ögüt
Singing Yesterday's News Again by Natascha Sadr Haghighian & Nicholas Bussmann
Weather Reports by Gívan Belá
Regular Measures by Alessandro Bosetti
Singing Yesterday's News Again by Natascha Sadr Haghighian & Nicholas Bussmann
Weather Reports by Gívan Belá
Render by Mobile Radio (Knut Aufermann & Sarah Washington)
Singing Yesterday's News Again by Natascha Sadr Haghighian & Nicholas Bussmann
Weather Reports by Gívan Belá
different time different place different pitch by Dani Gal & Achim Lengerer
Singing Yesterday's News Again by Natascha Sadr Haghighian & Nicholas Bussmann
Weather Reports by Gívan Belá
Embrace by Nástio Mosquito
Intermission Transmission Temporal by Leo Asemota
Singing Yesterday's News Again by Natascha Sadr Haghighian & Nicholas Bussmann
Weather Reports by Gívan Belá
Me & My Rhythm Box by Felix Kubin
Saout Africa(s) by Saout Radio (Anna Raimondo & Younes Baba-Ali)
documenta 14 Commissioned Sound Works
Unpacking Sonic Migrations – From Slave Ship to Space-Ship by Satch Hoyt
Listen to the Other - disEmbodied Voices - Hybridized Techno by AGF (Antye Greie-Ripatti)

Five times daily
Wurfsendung, Project Director: Julia Tieke
July 8, 03:00 – July 9, 03:00
Missy Magazine (Gina D’Orio & Margarita Tsomou) & (Diana McCarty & Pit Schultz)


different time different place different pitch | Dani Gal & Achim Lengerer
Dani Gal and Achim Lengerer work with sound documents such as speeches, political and personal statements, and other soundtracks that document and constructed current history. They conceptualize the radio medium as a pure acoustic instrument. The listener is unable to verify the source of the sound, and therefore his or her experience is shaped both by a specific political view and the manipulation of the broadcasters.
For SAVVY Funk Gal and Lengerer produce a series of programs that focus on political/historical events shaped by acoustic aspects as well as sound documents of major political significance.
The lack of a visual component, which is inherent to the definition of acousmatics, attempts to challenge the construction of history through media in times of constant live video and photo feeds.

What You Doin’ Tapin’ (with William Furlong, 2008)
Collage, framed digital print 50 × 70 cm; and audio file, CD, 35:12 min.
What You Doin’ Tapin’ is a documentation of a visit made by Gal and Lengerer to the London studio of British artist William Furlong. What You Doin’ Tapin’ is a reference to both Audio Arts, Furlong’s archive of interviews with artists, and the artist’s other sound pieces.

Early Birds | Produced and presented by Konrad Behr, Jennifer Fuchs, Jan Glöckner, Martin Hirsch, Grit Lieder, Janine Müller, Benjamin Serdani, Corinna Thamm, Josephine Tiede, Severin Schenkel and Markus Westphal.
They are tuning in and on, but never off: the students of Bauhaus-University Weimar. Microphone in hand, experimental radio art on their mind, they are on the prowl for Every Time A Ear di Soun.
As part of SAVVY Funk they are presenting their latest catch: Twenty two chirping pieces of radio art, every day between 7 and 8 am. After that, the students go to sleep.
It is up to you to decide who’s adorning themselves with borrowed plumes, because these Early Birds are vying for attention by all means necessary: Their repertoire includes layered field recordings, gems from the archive, soundscapes and synthetic sources.

Embrace - A Nástio Mosquito recipe | Nástio Mosquito
Segment Collaborations: Aline Frazão and Kalaf Epalanga

Negro, Nigger, bottom feeder
Healer, killer, Lil’ Biller Bob Lee with the axe lover bleeder
White trash, fasc(ist), lash on
White king and queen unbreakable stumble
- Humble up Negro, Nigger. Humble up, and be Purple!!
- Shiiiiiiiiit … you got clock but not time. I will find Purple … and you will feel, your kids will know.
You we them with us within cake bake cookies and milk, honey
Funny …
It will not always be funny; it will not always be consequent. This radio show is unruly behavior put to use, favoring the brutality of human limitations.
One. Two. Three. One Hundred.

EMBRACE - THE STATE OF MY MIND by Nástio Mosquito. Performance, 10 min. 8th July.
Nástio Mosquito performative intervention will close the twenty-two days of 24/7 radio making with a speech based on his experience and time in Berlin.

Emergency | Tim Etchells
with Aisha Orazbayeva and Uriel Barthélémi
Etchells and collaborators stage a durational intervention on the theme of emergency, which comprises prerecorded segments and extended live improvisation combining voice (Etchells), violin (Orazbayeva), and percussion (Barthélémi).
Initially based on a set of simple utterances taken from the theme of emergency (in numerous inflections and contexts), Etchells uses techniques of looping/repeating, varying and shifting emphasis and inflection, and crosscutting to fragment and explore language, while entering into dialogue with his collaborators Orazbayeva and Barthélémi, whose work both supports and at times cancels out Etchells’ language. Emergency explores the space between the semantic use of language and its more musical, textural, sonic properties. It is based on a continuous process of shifting between registers—creating, disintegrating and re-inventing meaning.

Intermission Transmission Temporal | Leo Asemota
An eclectic series of broadcasts enthusiastic about the curatorial activity of documenta 14. Its content and form are being composed daily.

Intermission Transmission Temporal Workbook (2017)
A collection of notes, notations, collages, photographs, clippings, video recordings, and an assortment of found objects that are a fillip to Asemota’s aspiration for Intermission Transmission Temporal.

Laugh of the Hyposubject | Brandon LaBelle & Anna Bromley
The radio program sets out to trace and document contemporary hyposubjects. Hyposubjects appear as multiphasic, nomadic not-yets, as manifold becomings and bricolages. As such, they figure communities of dissent, resistance, and resilience, which circumvent the directives of technocrats and paternalists. By unsettling the anthropocentric relations between bodies and things, they offer transhumanist views on togetherness. As squatters of our “post-factual” present, hyposubjects are imagined as beings intoxicated with sleeplessness and shameless desires, constructing new states of imaginaries from planetary commons.
What types of practices do hyposubjects perform? How might we transmit their entangled, shy, and self-empowering articulations? And might we hear the laughter of hyposubjects as they exit the dominant?

Laugh of the Hyposubject, 2017. Ongoing diagram, 2x2m.
The work by Bromley and LaBelle materialises as an ongoing diagram over the course of the three weeks of SAVVY Funk’s programme. The diagram traces the artists’ discussions and ideas of their radio program, integrating related references, phrases, citations, and drawings. Bromley and LaBelle imagine the diagram as a daily thinking-topology, a diary of the project, as well as forming a “tag” of the Hyposubject: an identifying “signature” that is perennially deferred or departing, and always in the works.

Listen to the Other – disEmbodied Voices – Hybridized Techno | AGF (Antye Greie-Ripatti)
AGF (Antye Greie-Ripatti) presents a blend of audio related to the fol¬lowing topics: ancient voice practices, sonic wilderness, hybrid ecology, music and sound from war zones, voice and gender, voice and protest, the amplification of resistance, noise experiments, critical club, rap and underground pop music, nonhuman sound worlds, hidden voices off-the-west, animal voices, mycelium and the sound of matter, sound of elec-tricity, sound and privilege, and more. There will be talk, thoughts, poems, and guests—and perhaps even some collective screaming and chanting.

“Gedichterbe,” “Kuuntele” & “A Deep Mysterious Tone” (2011)
A trilogy of CDs from the ongoing series of poetry interpretations “Gedichterbe,” “Kuuntele,” and “A Deep Mysterious Tone” reflecting on language and feminism in an attempt to decolonize Western space. After producing German, Finnish, and Japanese editions, the artist is currently working on a Russian language edition.

Me & My Rhythm Box | Felix Kubin
Music instruments: old and new, quiet and loud, self-built and refashioned, acoustic and electronic, analogue and digital, possible and impossible. How are they played? Who plays them? And why don’t they play on their own?
This broadcast focuses entirely on the instrument and its expanded artistic applications. The possibilities of resonance and vibrating bodies are taken to fantastical dimensions that include the chorus of the nerves, the rhythmic alignment of movement in traffic, and the tuning of cosmic background radiation!
In this context guests from the fields of music, art, science, and instrument-making are inviting to explain (live) their relationships to their own instruments through sample sounds, brief concerts, and conversations.


DIE PEIN VOM HAUPT ENTFERNEN (To remove the agony from the head, 1999)
Zoetrope object
The zoetrope object is based on a pixilation film dating from 1994. It comes with eight film strips containing sequences of the film that is shown inside the zoetrope while the corresponding soundtracks are playing from a vinyl record which at the same time serves as a turntable for the object. The film contains noisy rhythmic cut-ups of cleaning, hitting, and scratching.

ICH ZIEHE DIE SCHWARZE NACHT AUS MEINEM KOPF (I pull the black night out of my head, 2006)
Score, paper, 42 × 29.7 cm, 3 pages
The piece is a commission for the ensemble Intégrales in Hamburg. It is based on a dream that the artist recorded on a Dictaphone through a technique reminiscent of automatic writing. The rhythms and sounds are built around this recording, which portrays the dream as a state of permanent mutations, transitions, and opening of doors.

Missy Listening or Sonic Women Looking for the Perfect Sound – The Radio Magazine for Pop, Politics, and Feminism | Missy Magazine (Gina D’Orio & Margarita Tsomou)
Using the style, politics, and opinion of Missy Magazine as a starting point, the final twelve-hour SAVVY Funk broadcast is being presented by Missy staff on July 8. The focus is on female musicians, sound artists, radio dramas, radio features, and readings, traversing themes including pop and sexuality, resistance and herstory, and racial and sexual critique.
The broadcast format is that of a “radio magazine,” which combines various genres. The program ranges from interviews with feminist icons and (pop)musicians to the transmission of historic feminist political speeches and readings of feminist literature, sound experiments, and legendary female sonic art. It constantly returns to the question of what the queer-feminist approach might sound like, and in doing so, highlight female and queer music from all eras. Two moderators guide the program: Margarita Tsomou, editor of Missy Magazine, and Berlin-based musician Gina D’Orio (Cobra Killer).

Multiverse Crosstalk Radio | Alberto de Campo, Hannes Hoelzl & Magdaléna Kobzová
The current flood of post-factualisms, from conspiracy theories to “alternative facts” and fake news (produced by individuals, institutions, and states), can be explained scientifically when we assume that a) Hugh Everett’s theory of multiple universes is not only mathematically but also literally true; and that b) these universes are not fully independent of each other, but forms of crosstalk between them are possible. In an attempt to illuminate the possible nature of the originating universe(s), Multiverse Crosstalk Radio captures, collects, and recasts such random transmissions from Elsewhere by scientific means, such as advanced data sonification techniques and context-reconstructions that draw on multiverse theory and radical constructivism.

Polypalimpsestinator_01 (2013)
The ready-made object consists of a phonograph turntable with three moving arms: one arm writes black lines on a white disc; another erases by drawing negative lines over them; and a third arm reads and audifies the resulting visual patterns.

Piratensender | Ahmet Ögüt
For the program Piratensender, which means “pirate station” in German, Ahmet Ögüt presents a series of interviews and dialogues with lawyers, immigration law experts, broadcasters, sociocultural workers, musicians, subcultural urban groups, and feminist and LGBTQI+ activists. Topics range from radical pedagogies to the concept of urban citizenship, self-proclaimed micronations, artists’ rights, alternative currencies, unconditional basic income, immaterial labor, precarious labor, and domestic labor. The program also explores the necessity of self-initiative, participation, and autonomy as tools of resistance for marginalized communities, undocumented masses, and non-citizens.

Piratensender (2017)
Videoclips and sound, jingles of the artist’s radio program on TV monitor, 4:24 min.
This video trailer of Ögüt’s program Piratensender is presented on a retrofuturistic TV monitor. It is inspired by the 1970s “space disco” genre, which is a fusion of disco music and futuristic themes, sounds, and visuals. Ögüt combines audiovisual and musical examples of this genre from France (Magic Fly by Space), Russia (Mysterious Galaxy by Zodiac), and Turkey (Dönence by Manço and Kurtalan Ekspres) with archive footage of futuristic radio-TV furniture from the 1960s, sourced from The Internet Archive and combined with the band Jakuzi’s fresh, Synth Pop soundtrack from Istanbul.

Prayer | James Webb
James Webb will present individual extracts from his ongoing Prayer installation. Started in Cape Town in 1999, Prayer is a city-specific project collecting audio recordings of vocal worship from all the different religions and faith communities in the host city and then broadcasting them together as a multichannel sound installation. This radio program will allow listeners to hear a selection of the isolated recordings that make up the full installation. To date there have been 9 iterations of the artwork; the latest, Prayer (Stockholm), is exhibited at Historiska Museet until November 2017.

Regular Measures | Alessandro Bosetti
Regular Measures is part of a series of pieces that draw from ongoing research on the potential of purely sonorous communities or hyper-polyphonies. These are explored along with the fantasy of the potential existence of a purely voice-made and body-less being. The contribution is inspired by an alternative theory of voice as an emerging and autonomous entity and explores utopian concepts and new possibilities for polyphony as a communal practice.

Regular Measures’ Drawings (2017)
Two drawings, pencil on paper, 29.7 cm × 42 cm
The drawings illustrate the limited lexicon that is used in the radio performance. The artist presents the drawings as having a quality that combines musical scores, comics, and the imaginary architectures often haunting his imagination—as reflecting the impossible voice constellations that emerge in the piece.

Render | Mobile Radio (Sarah Washington & Knut Aufermann)
Render is a contextualization and reworking of archive material from dozens of international radio stations. Mobile Radio performs an overview of the independent not-for-profit tier of community, free, campus, and pirate stations, which provide a wealth of material and perspectives not found within the prevailing media orthodoxy. This constitutes a major retrospective of the work of the radio art network Radia, whose collective mission is to make radio that transcends the borders and boundaries of land and language.
In addition, discussions are held with individuals who maintain unique archives, and a collection of new works for radio is being created as part of the contribution.

10. Knut Aufermann
when all else fails (2007–17)
Sound installation and silence bridge for radio
Radio stations generally want to avoid dead air. For this purpose they utilize a so-called “silence bridge” that monitors sound levels and injects prerecorded material, should the signal fall silent for too long. when all else fails offers an artistic alternative to this essential service. The sound installation is based on intricate feedback loops between different audio hardware components and produces continuous sound that is constantly changing. As such, it is available to fill any wanted or unwanted gaps in the radio program.

11. Sarah Washington
Under the Hood – Clingradio (2002–03)
Hairdryers repurposed as listening devices, 2017
Due to auspicious circumstances, a novel radio station emerges as if from nowhere. It radiates a scene: cultural provocateurs and experimental musicians inhabiting a vibrantly haunted city, where the unusual has a tendency to accelerate into being. Airspace transcends the locked grooves of the workaday broadcast, exploding into fragments of suspense. Held by desire, driven by fumbled wishes, Resonance FM clatters into being. London expires an inaudible sigh of relief: it’s here. Saturday evenings are Clingradio—a transmission that you can wrap yourself up in. Six hours to ferment ideas and muddle expectations with diverse agents of the irregular and abstruse. It’s a hearty celebration of ephemerality, communality, and the transmogrification of time and place.

Revolutionary Radio Remix: 20 +/- Years of Acoustic Space Travel |
Sonic guides: Diana McCarty & Pit Schultz
In the early 1990s, pirate radio and DIY publishing shifted to the internet and set the stage for a cyberculture that transformed streaming experiments in localized, terrestrial, and digital broadcasting. For SAVVY Funk,’s Revolutionary Radio Remix digs through its own archives for an acoustic journey through time, space, and technology, which will be live on air for twelve hours on July 8—the final day of broadcast.
Mining the archives has enabled an audible history of Berlin’s shifting cultural landscape and relationships with the world—generations of punks, poets, artists, and activists have taken to the airwaves with radio art, live discussions, plays, DJ sets, and wildly weird award-winning radio. This live narrated voyage though acoustic space focuses on highlights from the last 20 +/- years of radio.

Saout Africa(s) | Saout Radio (Anna Raimondo & Younes Baba-Ali)
“Saout Africa(s)” plays with both the English word “south” and the literal sense of the Arabic “saout,” which means “voice” and “sound.” The title also evokes the plurality of possible interpretations coming from the word “Africa.”
Beyond a monolithic idea and stereotypes and beyond geographic limitations related to the word “Africa,” Saout Africa(s) proposes a fluid immersion, in which the notion of boundary is lost while an aesthetic and political time-space of listening emerges.
Reactivating Saout Radio’s archives through different voices, new thematic cartes blanches, and new live performances, Raimondo and Baba-Ali activate an international network to generate personal and collective perspectives about possible Africa(s), while reflecting a panorama of today’s radio art.

Moroccan Mix (2012), color prints, 29.7 × 42 cm; Fearless Radio (2014), color prints, 29.7 × 42 cm; Here Now Where? (2014), color prints, 42 × 59.4 cm; Saout as a state of mind #1 (2016), color prints, 29.7 × 42 cm; Saout as a state of mind #2 (2016), color prints, 29.7 × 42 cm; Saout as a state of mind #3 (2016), color prints, 29.7 × 42 cm; Sonic Panoramas #1 (2017), color prints, 42 × 59.4 cm; Sonic Panoramas #2, (2017), color prints, 42 × 59.4 cm; Saout Africa(s) (2017), color prints, 42 x 59.4 cm
A series of posters produced for a number of projects curated by Younes Baba-Ali and Anna Raimondo for Saout Radio from 2012 to 2017.

SAVVY reads SAVVY.doc | SAVVY Contemporary Team
Every morning between 9 and 9:30 am, the team and friends of SAVVY Contemporary presents and reads from a selection of texts from the archive of SAVVY.doc. Since its inception, SAVVY.doc has explored the political dimension of archiving practices: its aim has been to question the power mechanisms that are active in the production and preservation of different knowledges; challenge the archive’s traditional categorizations while going beyond Western epistemology; and consider the implications of thinking about the body as archive and the archive as a living organism.
Reflecting the diversity and the openness of the project, SAVVY reads SAVVY.doc will be performed in different languages, rhythms, tones, and accents.

Singing yesterday’s news again | Natascha Sadr Haghighian & Nicholas Bussmann
Every day, a singer sings yesterday’s news in her own way. The first day, a singer sings just the news from the day before. The following day, another singer recounts the news sung the days before, recopying what yesterday’s singers sung while also adding yesterday’s news in his own way. Over the course of three weeks the voices slowly form a choir, an iso-polyphonic composition of old news—sung, recopied, and thereby intentionally and unintentionally reinterpreted. The oral reinterpretations excite social resonances and make a common space audible in a manner that goes beyond a simple echo chamber.
The news made available to the singers as lyrics is compiled from the news feed of a public radio station. The compilation of news from this pool of reports follows the official criteria of relevance and factuality. But because the geographic coordinates of the feed are altered daily, the perspective of what is considered topical changes. Day by day this shift inscribes itself into the composition and recalls geopolitical reverberations in the echo chamber of the newsroom. Forgetting and silencing are part of the chant as much as accords, dissonances, and resonances. Adding another resonant pollutant, the singers invited to sing the news come from different traditions of music and poetry. Repetition and reiteration are corrupted by theses various factors.

13. Natascha Sadr Haghighian
The Black Panther – Black Community Service, vol. IV No. 3, Saturday, December 20, 1969, page 14; The Black Panther –Black Community Service, vol. IV No. 8, Saturday, January 31, 1970, front page
Print on newsprint paper, 40 × 58 cm (source: Southern California Library), part of Fuel to the Fire at Tensta Konsthall (2016).
The two prints from The Black Panther – Black Community Service are part of the materials researched by Natascha Sadr Haghighian at the Southern California Library as part of Fuel to the Fire, a project that traces the histories of institutional racism and police violence, the militarization of the police and images as testimonies. Fuel to the Fire included a large scale installation, a public program and a reading circle and was presented at Tensta Konsthall in Stockholm.

14. Nicholas Bussmann
The News Trilogy (I. The News Blues, II. Minor News / Major News, III. Secret News, 2017)
Durational performance with the Cottbusser Chor: Lucile Desamory, Yusuf Ergün, Margareth Kammerer, Eduard Mont de Palol, Laura Mello, Rico Repotente, and Aaron Snyder
6 July, 20:00 Premiere III Secret News
7 July, 20:00 I The News Blues, II Minor News / Major News, III Secret News
The News Blues is a musical and social experiment using the tools of algorithmic composition. Nicholas Bussmann approaches news as a data stream, processed, imitated, harmonized, misunderstood, and transformed into a polyphony of voices and meanings by seven performers with differing mother tongues. The News Blues questions the relationships between language and music, sense and nonsense, the causes of exclusion and integration, the manufacture of consensus, and opinion.

Unpacking Sonic Migrations – From Slave Ship to Spaceship | Satch Hoyt
In his show Satch Hoyt investigates the migration of the African beat, offering samples ranging from the earliest anthropological field recordings to current unreleased tracks from the transnational African diaspora and beyond. Joining Hoyt as he follows this eclectic trajectory, one can expect to hear mash-ups of Alice and John Coltrane, Fela Kuti, Mad Lib, southern Mbala Congolese beats dating from 1907, Pauline Oliveros, Flying Lotus, and Steve Reich. The show also hosts interviews with visual artists, poets, curators, musicians, writers, art historians, and others. In the live slot Hoyt performs with members of his crews Sonic Shadow and The Bakol. Other invited guest musicians join the show for improv sessions.

8 Track Council Estate (2009)
8 Track cassettes, cardboard box 30 x 26 x 14 cm
8-track Council Estate represents sonic spatialization in the multi-tiered Klangfarbe timbre of Black British Sound System culture, where grime music is the culture’s current genre in urban sonic massification. The colour spectrum of the now defunct 8-track cassettes are neatly stacked in a dilapidated cardboard container, that alludes to the council estate (UK social Housing) as the interzone of miscegenation, and the amalgamation of multi-national cultures.

Weather Reports | Gívan Belá
Weather Reports makes you all-weather-ready by providing world-class, weather-breaking news plus up-to-the minute, accurate weather reports on the future condition of your environment, both local and international, wherever you want to be, and including imperative disaster coverage. Just listen to this radio and get a taste of walking windy shores barefoot in the burning sand, running through the fields at the top of a hill during a hot summer thunder storm, or sitting in the park getting dripping wet under a leafless tree. Get your daily Weather Reports now: undocumented, raw, but unpredictably vital!

Weather Reports (2017)
Image and sound installation on monitor
This series of daily photographs is an integral part of the making Belá’s fragmented sound piece for SAVVY Funk, and it expands on the different activities associated with the artist’s engagement with weather reporting: 1. looking at the weather (observation); 2. talking about the weather (communication); 3. rendering the weather (synthesis/generation); and 4. reporting the weather (radio aesthetics/poetika).

Wurfsendung | Various artists
Project Director: Julia Tieke
The Wurfsendung presents radio art in ultra-short formats: radio plays, features, and sound art in a maximum of forty-five seconds. Since September 2004 Deutschlandfunk Kultur has produced over 2,600 Wurfsendung segments in approximately 250 series. The Wurfsendung segments are scattered throughout the daily program of the radio station. Without a set timeslot they can be heard during a music and literary magazine, noon report, or a philosophy program, and in between interviews, music, reports, and news. The experimental format cultivates absurd thoughts, new perspectives, and intelligent humor.
For SAVVY Funk artists produced new Wurfsendung contributions, which, together with a specifically curated selection of older pieces, randomly punctuate the Program.
The Wurfsendung is produced by the radio art department of Deutschlandfunk Kultur. The Project Director is Julia Tieke.

YNK | Islands Songs (Nicolas Perret & Silvia Ploner)
Electronic Animisms, Cosmic Diplomacies, Sonic Fabulations, Blasted Landscapes / Abundant Futures & other Field Studies.
Over five chapters unfolding a plurality of sonic expressions, imaginaries and thought, YNK interrogates relations to nonhumans, nature, bodies and matter.
Contributors: Samira Agnihotri, ARBIMON Network, Christos Astaras, Aung Si, Rohini Balakrishnan, Marconi Campos Cerqueira, Dipesh Chakrabarty, Yannick Dauby, Sturla Friðriksson, César Enrique Giraldo Herrera, Tuula Karpinen, Antti Kero, Unto K. Laine, Olivier Lapert, Borgþór Magnússon, David Mollin & Salomé Voegelin, Native Instrument, Oceans Networks Canada, Erling Ólafsson, Juno Salazar Parreñas, Andrew Pekler, Iégor Reznikoff, Rockethouse Productions (Matt Thompson & David Hendy), Tomoko Sauvage, Janne Särkelä, Bjarni D. Sigurðsson, Juanita Sundberg, TERN Australia.

All Depends on the Sun (2015)
Sound piece, 31:07 min., production: ABC RN’s Creative Audio Unit; Soundproof
Nýey (2014)
Sound piece, 27:19 min., production: Deutschlandradio Kultur, Du côté des ondes, GMVL/Phonurgia Nova, Surtsey Research Society
With All Depends on the Sun and Nýey, Nicolas Perret and Silvia Ploner investigate territories and knowledges that transgress a human-centered system of values and accepted borders of truth. They further explore these topics in YNK, their daily contribution to SAVVY FUNK.

18. Abrie Fourie (Colonial Neighbours)
We have eyes to see but do not see—because looking is proof, and finding something with your eyes very often contradicts what you are told—Continued Meditations on the Colonial Orbit, 2017.
Digital slide presentations, c-prints, audio: narration, and field recording, text: stenciled wall drawing, dimensions variable
Intrinsic to Abrie Fourie’s work is an interest in the sometimes volatile and complex relationship between photography and fiction, and the disjunction between memory and what we as viewers and consumers of photography project onto the medium. Fourie’s installation serves a footnote to the Fragments series where participants are invited to engage with the Colonial Neighbours archive as a point of departure in creating a response which critically contributes to the context of the archive. The photographs, audio, and text confront both what is visible and invisible which speaks back to the unknown and known histories of colonialism.

Rui Vilela, Non-historicised Histories, 2107.
Research material and original documents from the National History Archives and the National Radio Broadcasting of Guinea Bissau.
In contrast to the extensive collections of the National History Archives of Guinea-Bissau, primarily related to the Portuguese colonial administration, the sound archive of the former Rádio Libertação, the broadcasting of the African Party for the Independence of Guinea and Cape Verde, reports the resistance of the Guinea-Bissauian liberation movement. Since1967 it broadcasted from the neighbouring country Guinea-Conakry and played a crucial role in the transmission of messages by party leaders to the Revolutionary Armed Forces of the People, the armed party fraction, active within the country. Non-historicised Histories is an ongoing research project in collaboration with the National History Archives and the National Radio Broadcasting.