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  • Studiokonzert Flöte

    Konzertsaal der HfK Bremen, Dechanatstr. 13-15

    Studiokonzert Flöte17. September 2019 - 13 h / Konzert mit Studierenden der Klasse Prof. Henrik Wiese im Konzertsaal der Hochschule für Künste Bremen. Der Eintritt ist frei.

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  • Podium Alte Musik

    KulturAmbulanz - Haus im Park, Züricher Str. 40

    Podium Alte MusikApril - Dezember 2019 um 16 h / Konzertreihe mit Studierenden der Abteilung Alte Musik der Hochschule für Künste Bremen in der KulturAmbulanz - Haus im Park Bremen (Züricher Str. 40). Der Eintritt ist frei.

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  • HFK JAZZCLUB

    Club27 im Bremer Presse-Club, Schnoor 27, Bremen

    HFK JAZZCLUBAfter Work Jazz // dienstags um 19 Uhr im Club27 // vom 8. Oktober 2019 bis 4. Februar 2020 Die Mensa Academia und der Jazzkeller der Hochschule für Künste Bremen werden umgebaut und somit findet der HFK JAZZCLUB auch im Wintersemester noch nicht "zu Hause" statt, sondern im CLUB27 im Bremer Presse-Club (Schnoor 27).Auch hier wird leidenschaftlich gejammt, oder es werden Tryout-Programme der Studierenden präsentiert. Auch Semesterprojekte der Rehearsal Band und themenorientierte Konzertprogramme werden geboten. Kurz: eine Ideenschmiede in Sachen Jazz und Treffpunkt der Bremer Jazzszene.Neben der wöchentlichen Jazzclub-Session gibt es jetzt auch ein „Jazzclub Pro“-Programm, in dem nationale & internationale junge Musiker und Musikerinnen vorgestellt werden. Dieses supervisierte Programm wird auch von Studierenden mitgestaltet.Eintritt € 3HfK-Studierende € 1Pro-Konzerte € 10 / 5 erm.facebook.com/hfkjazzclub

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  • „Poetic Brutality and the Death of a Rabbit“

    Galerie Dechanatstraße

    „Poetic Brutality and the Death of a Rabbit“Werkschau und Modepräsentation von Felipe Asán Escobar in der Galerie Dechanatstraße ausUnter dem Titel „Poetic Bruatlity and the Death of a Rabbit“ zeigt Felipe Asán Escobar bei seiner Mode-Präsentation am Freitag, dem 20. September 2019, ab 19 Uhr, 16 Outfits.Escobar geht es darum, die Bilder und Symbole der barocken katholischen Darstellungen des männlichen Körpers herauszuarbeiten. „Brutalität, Tod und Homo-Erotik und damit Fetisch sind immer wiederkehrende Themen, die diese Ästhetik aufbauen. Meine Sammlung analysiert diese Themen, setzt sie in einen neuen Kontext und zieht Parallelen zu queerer Ästhetik und Geschlechterfluidität in der Mode. “Werkschau und ModepräsentationFelipe Asán Escobar„Poetic Bruatlity and the Death of a Rabbit“ 20. September 2019, 19 UhrGalerie Dechanatstraße 13–15Mit Live-MusikEintritt freiMoodboards zu „Poetic Bruatlity and the Death of a Rabbit“ © Felipe Asán Escobar

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  • The Dynamic Archive Release

    Raum 4.15.070 (Großer Theorieraum), Speicher XI, Bremen

    The Dynamic Archive ReleasePräsentation & Feierlichkeit / 30.10.2019Offizielle Veröffentlichung und Feier des "The Dynamic Archive"-Projekts.www.thedynamicarchive.net30.10.2019, 18 UhrGroßer Theorieraum (Raum 4.15.070), Speicher XI 8, Bremen---The Dynamic ArchiveThe Dynamic Archive involves collaborative work, exchanges and circular processes as well as the archiving and collection of works in the arts, design and theory. We believe that an university of the arts is predestined to initiate such a project.An university of the arts is a zone of convergence and of experimentation in collaborative endeavors. Such an institution can be defined as a territory of communality. This comes with limitations, as we only interact with the people or institutions within this temporary environment. On the other hand, our sphere includes numerous individuals, objects, trends, stories and fictions, as well as stagings. Convergences and disruptions, as well as the mechanisms of making choices are important preconditions to set up the testing of diverse ways of participation and the development of exchange processes. Collecting and archiving are done in a rather sporadic way at universities of the art. They focus on certain topics or works and their changing priorities and structures tend to get overwhelmed by such efforts.As a project, realized platform and laboratory, the Dynamic Archive endeavors to examine mechanisms of collaborative working beyond the perimeters of the University of the Arts. Actual exchanges with cultural institutions are a fundamental aspect of the project, beginning with a focus on media arts, theater and performance. These are supposed to be catalysts for transfers as reflected by grant proposals.Collaborative work and the sharing, copying and further use of modules developed by other members of a network have become practices in communities in the arts, design and academia in recent years. “Open Source” strategies in software development have served as a model for these efforts. At the same time, issues such as goals and motivations among practitioners, as well as questions concerning authorship, patents and trade secrets relating to know how and processes have arisen.As we regard these relationships within our collaborative research project “The Dynamic Archive”, it becomes of essential importance to constantly work against the risk of immediately succumbing our effort of research, learning and shared production of knowledge to the logic of commercialization and self-optimization. We ask: Are there different practices that could be introduced and tested? By using the term “research” in context with “the Dynamic Archive” we talk about an activity to conceptualize in a critical sense while taking aim at the economization of knowledge as a framework.Over the years it has become evident that the approach to licensing proposed by Creative Commons since 2006 is overly focussed on individual actions while neglecting the diverse structures and possibilities of communality. This is especially relevant to questions of versions and variations that could be fed into circular processes to provide communal dynamics. “The Dynamic Archive” therefore intends to question, discuss even undertake actual changes in the licensing avenues offered by the Creative Commons. Open Source und Open Access could be accepted as options to transform constellations of power – even if the risk of opening up new spaces for mechanisms of exploitation is always present.We want to discuss the mobile state of material in archives and look at their interactions. How can such a process of “dynamic archiving” be launched and kept operational? What kind of role could an art academy, theater or exhibition space take on in such an effort? How could transfers be facilitated that initiate cooperations across and beyond institutions and established connections? But what kind of dangers and risks might arise from such a process? This could happen by commercial structures that might unfold beyond copyrights, licensing and patent disputes, while tending to privilege a focus on growth and profits.The impotant part of the research project is the webapplication “the Dynamic Archive” as an ongoing exchangeplatform. But the residencies for artist (collective groups and individuals specially in the field Media Art and Performance Art) workshops and exhibitions are part of this process as well.The “Dynamic Archive”created and organized byProf. Dr. Andrea Sick (Professor for Theory in Media and Culture, HfK)Prof. Dennis Paul (Professor for Interaction and Spaciality, HfK)Research Assistant and Projectmanagment: Irena KukricHosted byThe University of the Arts Bremen (HfK) In cooperation with:Schwankhalle Bremen (space for experimental theatre, Artistic Director: Dr. Pirkko Husemann) Edith-Russ-Haus für Medienkunst Oldenburg (exhibitionspace for Media Art, Artistic Directors: Edit Molnár und Marcel Schwierin) HEC IT-Engineering GmbH Bremen (Executive Director: Dr. Thorsten Haase)Funded by:Senatorin für Wissenschaft und Häfen(Video)Documentation of  The Dynamic Archive conference may 2018: dasdynamischearchiv.de

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  • The Dynamic Archive: Ho Tzu Nyen

    Edith-Russ-Haus, Katharinenstraße 23, 26121 Oldenburg

    Ho Tzu Nyen - Some Notes on the Critical Dictionary of Southeast Asia Vortragsreihe „The Dynamic Archive“/ 04.07.2019Akin to an organism, The Critical Dictionary of Southeast Asia (CDOSEA) is part of an ongoing project that grows, generates and provides critical insight into the pluralistic definitions of the territories under this nomenclature.Born out of the ambiguity inherent in the term ‘Southeast Asia’, the work considers what makes up an area not unified by language, religion or political power and uses an algorithmic system to generate an “endless series of possible Southeast Asias”, which collectively form a torn yet interconnected terminological territorial tapestry.Described as a platform facilitating ongoing research, a matrix for generating future projects and an oracular montage machine, the CDOSEA consists of a is an algorithmic “Abécédaire” in an infinite loop, made up of video materials detourned from online sources and recomposed in endless variations by algorithms created in collaboration with Jan Gerber and Sebastian Lütgert (0 x 2620).Ho Tzu Nyen will speak about the Dictionary and the projects it gave rise to, for example The Nameless (2015), One or Several Tigers (2018)04.07.2019, 18 UhrAuditorium, Speicher XI, BremenHo Tzu Nyen wird ein Lehrangebot zusammen mit Sebastian Lütgert in WS2019/20 an der HfK anbieten.Beispielhafte Videoarbeit von Ho Tzu Nyen:cdosea.org/---Der Vortrag ist Teil der Vortragsreihe und des Projekts "The Dynamic Archive": https://www.hfk-bremen.de/t/projekte-und-foerderprogramme/n/das-dynamische-archiv-dynamic-archive

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  • Internationale Konferenz zur Laute

    HfK Bremen, Dechanatstr. 13-15

    1. Internationale Konferenz zur Laute in der Hochschulausbildung27. bis 29. September 2019 / Die Deutsche Lautengesellschaft, in Zusammenarbeit mit der Hochschule für Künste Bremen, lädt Sie herzlich zur 1. Internationalen Konferenz zur Laute in der Hochschulausbildung ein. In einer Reihe von Vorträgen (auf Englisch) und Podiumsdiskussionen sollen Themen behandelt werden, die für Lehrende und Studierende im Lautenstudium von Interesse sind. Die Vortragenden unterrichten Laute und Theorbe an Hochschulen weltweit, aktiv oder emeritiert, darüber hinaus sind auch Gastredner mit besonderen Fachkenntnissen eingeladen. Es besteht nicht die Absicht, eine Standardisierung der Ausbildung im Lautenspielen anzustreben, vielmehr sollen die fortschreitenden Erkenntnisse im Rahmen der Alten Musik und der Aufführungspraxis der letzten Jahrzehnte dokumentiert und diskutiert werden. Wir hoffen, dass bei diesen Erkundungen Neugierde und Frische zum Tragen kommen, die sonst so oft wegen anderer Belange zurückgestellt werden. Diese Konferenz sucht nach Wegen, wie an dieses große Repertoire so differenziert und anschaulich wie möglich herangegangen werden kann, ohne dabei weder die historischen Quellen noch die Realitäten des 21. Jahrhunderts außer Acht zu lassen. Es ist unsere Hoffnung, dass die durch diese Konferenz angeregte Diskussion und Zusammenarbeit der nächsten Generation nützen wird und dass solche Begegnungen neue Einsichten und ein höheres Niveau der Lehre und Aufführungspraxis fördern. Die Teilnahme ist kostenlos, und Gasthörer (auch Studierende aller Niveaus) sind willkommen!27. September (17:30 h) bis 29. September (14:00 h) Hochschule für Künste BremenDechanatstraße 13-15AnmeldungBitte melden Sie sich bis 30 August 2019 an: luteconference@gmail.comReferent:innen Anthony Bailes: “Over Stars and Under Bridges - A Case-Study in Authority: Right-Hand Placement” Pascale Boquet: “Teaching lute to children”Paul O’Dette: “Teaching historical lute technique in the 21st Century: What do we really know and how can we reconstruct what is not adequately documented?”Xavier Diaz-Latorre: “Improvisation and composition on the baroque guitar within the context of HIP”John Griffiths: “Historical Pedagogy - education to match our performance aspirations”Joachim Held: “Teaching Basso Continuo at the Master Level”Jakob Lindberg: “Reflections on how to prepare the aspiring lutenist for the real and the virtual world of the 21st Century”Michael Lowe: “The historical lute; what lute teachers need to know”Nigel North: “TUT, TUT or the well-articulated lutenist - Articulation in lute music, 1500-1750” Franco Pavan: “Pedagogical implications of the ‘Library of Tablature’, a newly discovered collection of lute music (c. 1580-1640)”Bor Zuljan: “Ricercar una fantasia: teaching contrapuntal improvisation to lute students”Direktoren der Deutschen Lautengesellschaft: Peter Croton (Schola Cantorum Basiliensis & Hochschule der Künste Bern, Vorsitzender der Deutschen Lautengesellschaft) Joachim Held (Hochschule für Künste Bremen & Königlichen Konservatorium in Den Haag)

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  • The Dynamic Archive

    Raum 4.15.070 (Großer Theorieraum), Speicher XI, Bremen

    The Dynamic ArchiveVortragsreihe / 23.10.2019Lecture-Performance von Eva Meyer-Keller & Ilya Noé: “On the long lasting intimacy of strangers”Multi-disciplinary artists Eva Meyer-Keller and Ilya Noé started their shared dialogue in summer 2018, and since then have been slowly and consistently interweaving their practices and storylines with pointed intensity, intent and intimacy. In their lecture performance, which draws its title from a quote by Donna Haraway paraphrasing Lynn Margulis about how new life comes into being, Eva and Ilya will reflect on their present shared research located along the blurry boundary between scientific and artistic knowledge production. In addition, they will put a selection of their past works on stage and in conversation with each other as an attempt to share with the audience the unexpected effects and affects of their co-laborings, and to allow for new (re)readings, (re)phrasings, and symbiotic connections to continue to emerge. 23.10.2019, 18 UhrRaum 4.15.070 (Großer Theorieraum), Speicher XI, Bremen+ Performance:12.12.2019, 19 UhrSchwankhalle Bremen, Buntentorsteinweg 112/116, 28201 Bremen+ Workshop am: 25.02. bis 02.03.2020Schwankhalle Bremen, Buntentorsteinweg 112/116, 28201 BremenWorkshop im Kontext des Dynamic Archive:“The best thinking starts with speechlessness”Informed by their newly established co-laborings and guided by a quote they can’t place, artists Eva Meyer-Keller and Ilya Noé will set up a short-term laboratory in which their research around the limits of what can be seen and what can be known will be used as a method to activate different modes of seeing, knowing, and making.Participants will be asked to leave behind any predetermined ideas of what they might want to explore or experiment with, and to simply start playing without feeling any pressure to be concise, coherent or even legible, so as to enter in an ongoing process of experimentation, interrogation and mutual exchange that resists clarity or final conclusions. Responsiveness to emergent and/or shifting urgencies will be foregrounded and stimulated, and the extreme difficulty of speaking of things that are new and in process will be fully embraced in the hope that new impulses and ways of (co-)practicing will materialize for all.The lab is open to artists from all fields with an interest in performance, who like to play and speculate along, (feed)back and forth, get lost, make a mess, and stay engaged. 10-12 participants.---Biographie:Eva Meyer-Keller works at the interface of performance and visual art. Before graduating from the School for New Dance Development (SNDO) in Amsterdam she studied photography and visual art in Berlin (HdK) and London (Central St. Martins and Kings College). Her artwork is distinctive due to its meticulous attention to detail. Eva often uses everyday objects from her immediate surroundings, things that she finds at home, in the supermarket or in the tool shed. This inevitably lends the work an obsessive, domestic aesthetic. Her working method is marked by a constructive disregard for the imposition of any boundary between visual and performing arts. Her works include the performances DEATH IS CERTAIN (from 2002 and performed in more than 200 venues around the world since), PULLING STRINGS (KunstenFestivaldesArts, Brussels, 2013), the installations VOLKSBALLONS (2004 Palast der Republik, 2013 Centre Pompidou-Metz) und HANDMADE (NGBK Berlin, Bonniers Konsthall Stockholm, Palais de Tokyo Paris). Currently she is working on a trilogy of performance works in dialogue with natural scientists focusing on how models do not just describe reality, but rather they create their own. The first part titled SOME SIGNIFICANCE premiered in November 2017, while LIVING MATTERS, the second part, will open in November 2019 in Pact Zollverein in Essen. Eva develops projects alone and in collaboration with other artists, such as Uta Eisenreich, Sybille Müller Kate McIntosh and Ilya Noé. She also lends herself as a devisor and performer to other choreographers and works as a dramaturgical advisor/mentor. She has worked with Baktruppen, Jérôme Bel, Christine De Smedt/ les Ballets C de la B (9x9), Juan Dominguez and Agnes Meyer-Brandis. Since 2010 she has ongoing teaching positions at several degree programs across Europe amongst others at the HZT/UdK and Bard College in Berlin, DOCH and the MA course 'The Autonomous Actor' in Stockholm, ZHdk in Zürich and the University of Hildesheim.Ilya Noé is a former gymnast turned visual/performance artist-researcher, eager collaborator, sporadic curator, compulsive walker, and fan of deer, trees, fungi, foxes, interspecies entanglements, mutualistic processes, slow research, messy theory, intellectual promiscuity, epistemological uncertainty, taoist dialectics, open-ended storytellings, ellipses... Born and mostly assembled in Mexico City, she moved to New York to study at the School of Visual Arts when she was still a teen, and has since expanded her zone of propagation by popping up on all sides of the Atlantic and the Pacific to trace lines and build spaces by hand, on foot, and in co- creation with both humans and non-humans alike. Ilya now lives and loves in Berlin where she was one of the organizers the Month of Performance and is one of the founders of the city’s Association for Performance Art. She often teaches and mentors BA and MA students while engaged in an increasingly erratic and awkward dance with her own (PhD) thesis, which takes its core cue from the non-metaphoric intimacy between roots and rhizomes: the mycorrhizal. The somewhat recently discovered joint tissue produced by the synergetic relationship between plants and fungi, along with her practiced concepts of the sporadic, the sporous, and the eco-particular, keep pushing her subjectivity and relations into more distributed, vulnerable, and co-extensive pathways. Ilya recently showed her work at the 12th Biennale of Shanghai, represented her country in Venice’s OPEN2000, became a UNESCO-Aschberg Laureate, and was recipient of Mexico’s National Young Art Award. A special guest at both the European Landscape Biennial (Spain) and the International Biennial of Cerveira (Portugal), she has also shown at the Boston Center for the Arts (USA), Centre d’Art Santa Mónica (Barcelona), Centro Nacional de las Artes (Mexico City), AC Institute (New York), TRAFO (Poland), CAS Osaka (Japan), Excentricités Festival (France), Visions_V (Greece), and PerforMensk (Belarus), among others. She has been artist-in- residence at prestigious institutions such as the Banff Centre for the Arts (Canada), Zentrum für Kunst und Urbanistik (Berlin), Campo Arqueológico de Mértola (Portugal), Museu de Sant Pol (Barcelona), and MacLaughljn Natural Reserve (USA). Her work is represented in European, Asian, and North American public collections.

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  • Pressemitteilung: Internationale Expert*innen würdigen die Laute, die „Königin aller Musikinstrumente“

    Hochschule für Künste Bremen veranstaltet zusammen mit der Deutschen Lautengesellschaft die weltweit erste Konferenz zur Laute in der Hochschulausbildung (25.–27.09.)

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  • „open space Domshof“ verabschiedet sich für 2019

    Der Vorhang ist gefallen! Das Veranstaltungsteam von open space domshof (Amir Omerovic und Andreas Hensinger) verabschieden sich für 2019 und bedanken sich für den regen Zuspruch sowie die großartige Unterstützung:

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  • Von Prof. Henrik Wiese herausgebene Publikation erhält Preis der National Flute Association für die beste Neuerscheinung

    "The Flute Audition–The New Essential Companion" setzt sich gegen überseeische Konkurrenz durch

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  • Ensemble „Marsyas Baroque“ gewinnt beim Biagio-Marini-Wettbewerb in Neuburg

    Kammermusik-Ensemble setzt sich gegen fünf andere Formationen durch

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