Phoebe Killdeer & Ole Wulfers vs Le quattro volte

Phoebe Killdeer & Ole Wulfers vs Le quattro volte

(The Four Times)

Rehearsal session: 18.7., 6 pm, Guttempler
Performance: 20.7., 8 pm, Admission: 7:30 pm, Guttempler

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Vier Leben (The Four Times), by Michelangelo Frammartino, I/D/CH 2010, 88 Min.

With Nouvelle-Vague vocalist Phoebe Killdeer and Party Dictator Ole Wulfers two successful musicians have teamed up to shake up the music world with experimental electronic music that is inspired by jazz and punk. The impressive videos to their tracks illustrate just how important also the pictorial level is in their collaboration. Visual inspiration for Howling Wolf's music will be the poetic film Le quattro volte (The Four Times) by Michelangelo Frammartino. The film is a lyrical view of the ever-recurring cycle of life and nature.

The artist Phoebe Killdeer was born in Antibes and moved with her family from there to England. Upon her return to London from Africa where she was exposed to Hip Hop during her travels in Zimbabwe and South Africa, Phoebe began her musical career. She made her first big appearance in 2003 as a guest vocalist on the Basement Jaxx album Kish Kash. From 2005 to 2007 Phoebe Killdeer was a member of Nouvelle Vague. As a band member of Party Diktator Ole Wulfers did a Peel session at BBC London and has participated in numerous bands and performance groups all over the world. He worked in collaboration with experimental electronics helsinki and cirkuljia Ljubljana where he investigated the correlation between fluid dynamics and sounds of stressed materials. In early 2016, Ole Wulfers and Phoebe Killdeer have released a first joint album under the band name Phoebe Killdeer & The Shift. http://www.phoebekilldeer.com/

The feature film Le quattro volte by Michelangelo Frammartino is probably one of the quietest and most contemplative in film history. On the surface hardly anything happens, and yet one is witness to life itself, of becoming and passing away. Frammartino is not concerned with man, but rather with the various "reincarnations" that he undergoes. Le quattro volte radiates a great inner peace, which stimulates to ponder, to meditate on the primal life in nature and thus about the meaning of the creature altogether. https://der-andere-film.ch/filme/filme/titel/jkl/le-quattro-volte

Stella Chiweshe vs 11*14

Stella Chiweshe vs 11*14

Rehearsal session: 27.6., 6 pm, Guttempler
Performance: 29.6., 8 pm, entrance: 7:30 pm, Guttempler

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11 x 14, by James Benning USA 1977, 82 Min

Her Majesty - The Queen of Mbira Music from Zimbabwe – that’s what Stella Rambisai Chiweshe often is called. She is the first artist that gained recognition and prestige in this male-dominated music tradition. With her Mbira Music Stella Chiweshe belongs to the big names in the international music scene. For Howling Wolf she will create a musical experience that unfolds from James Benning's 11 * 14. The film is one of the major avant-garde films and according to its director James Benning it aimes to create a spherical space-time continuum.

The artist Stella Chiweshe is one of the few musicians in Zimbabwe and Southern Africa, who since more than 35 years is working in the role of traditional Mbira musician and already her first single, Kasahwa, received gold in 1975. Prior to Zimbabwe's independence, when the colonial government banned all traditional instruments and songs and threatened the Mbira artists with imprisonment, she earned recognition as a musician in secret Mbira ceremonies. Very quickly, her solo work has established Stella Chiweshe as one of the most original artists in the contemporary African scene. She introduces the Mbira music to the occidental context without loosing the relation to her Zimbabwean tradition - she complements Mbira with popular music to show the deepness and power of her traditional spiritual music at home and abroad. Her work has not only made her an international figure, but also earned her the position as Zimbabwe's cultural Ambassador. Stella Chiweshe has been touring Europe regularly since 1983 and has released several internationally successful albums. https://www.stellachiweshe.com/

James Benning, 1977 about his film: The objective behind 11 X 14 was to formulate a number of ideas using methods that are conventionally thought to be contradictory to the ideas themselves. The contradictions are used to develop a continual feeling of paradox. I wanted to make a narrative film concerned first with the elements of form and structure; that is, to make composition, colour, texture, and on/off screen space the real narrative, putting the story in the background. The underlying story does not attempt to depict reality but to provide a context to encourage each person to interact with the formal and metaphorical elements of the film. The narrative is purposely both open and open-ended to emphasise that the reality of the film should come not only from the film itself but from each individuals’ experiencing the film [...]. 11 X 14 is also an attempt to create spherical time-space. The editing structure emphasises the inherent linear quality of film; however, through the repetition of certain icons, sounds, and events, it is hoped that all the scenes will interlock and relate crosswise rather than through simple juxtaposition.

Paul Frick vs Leviathan

Paul Frick vs Leviathan

Rehearsal session: 28.07., 6 pm, Guttempler
Performance: 30.07., 8 pm, entrance: 7:30 pm, Guttempler

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Leviathan, by Véréna Paravel and Lucien Castaing-Taylor, F/UK/USA 2012, 87 Min.

Paul Frick, whose internationally successful ensemble Brandt Brauer Frick was celebrated instantly at their first gig at Berghain about ten years ago, will take the immersive experimental documentary Leviathan as a starting point for his musical staging at Howling Wolf.

The Berlin musician Paul Frick took lessons in composing by Ryun Chung at the age of twelve and studied composition at the University of the Arts from 2000 onwards. As part of Brandt Brauer Frick he plays the piano and is responsible for the compositions. Since last year Paul Frick also performs as a solo musician and he has released his debut album Second Yard Botanicals in August. In May 2019 Brandt Brauer Frick will put out their newest album. https://soundcloud.com/paul-frick

The documentary Leviathan defies description and categorization. The film is a piece of radical cinematographic experience, a wild cosmos of images. Leviathan accompanies fishermen on their multi-day trips off the coast of New Bedford. Instead of shooting a documentary about fishing, however, the filmmakers created an abstract and immersive piece of cinema: waves, rain and hard work keep the camera continually involved. The small digital cameras move free of any restrictions. The resulting recordings are spectacular.http://www.alphaville.at/verleihfilme/leviathan/

Otis Sandsjö vs Homo Sapiens

Otis Sandsjö vs Homo Sapiens

Rehearsal session: 9.7., 6 pm, Guttempler
Performance: 11.7., 8 pm, Admission: 7:30 pm, Guttempler

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Homo Sapiens, by Nikolaus Geyrhalter, A 2016, 94 Min.

Trademark of acclaimed Swedish saxophonist and composer Otis Sandsjö are cyclical saxophone riffs and a chopped up jazz form that breaks with all established musical conventions. His constant mission is to create a new form of musical communication. The source of his inspiration at Howling Wolf will be Nikolaus Geyrhalters film Homo Sapiens. The impressive documentary develops a scenario of a world after mankind, a world recaptured by nature.

The artist Otis Sandsjö hails from Gothenburg. He became known worldwide together with the trio formation Speak Low. His music is forward-looking, a kind of "liquid jazz". Liquid jazz was born in an era where the understanding of jazz as a musical language has evolved way beyond the concept of the previous "modern”. Last year Otis Sandsjö released the album Y-OTIS. Informed by hip hop and electronic music, Y-OTIS is pure jazz. The music is melodic and beat laden and always 'free' at the same time. It's as if the music is sampling itself, constantly keeping ahead of the curve in the musical lineage of jazz. http://www.otissandsjo.com/

Homo Sapiens is a film about the finiteness and fragility of human existence and the end of the industrial age, and what it means to be a human being. What will remain of our lives after we’re gone? Empty spaces, ruins, cities increasingly overgrown with vegetation, crumbling asphalt: the areas we currently inhabit, though humanity has disappeared. Now abandoned and decaying, gradually reclaimed by nature after being taken from it so long ago. Homo Sapiens is an ode to humanity as seen from a possible future scenario Quelle: https://www.geyrhalterfilm.com/homo_sapiens

FM Einheit vs Chelovek S Kinoapparatom

FM Einheit vs Chelovek s kinoapparatom

(Man with a Movie Camera)

Rehearsal session: 8.6., 6 pm, Guttempler
Performance: 10.6, 8 pm, entrance: 7.30 pm, Guttempler
Followed by a conversation with FM Einheit and Siegfried Zielinski

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Man with a Movie Camera, by Dziga Wertow, UdSSR 1929, 68 Min

FM Einheit is one of the most internationally renowned German musicians. Known in the 1980s as part of the notorious band Einstürzende Neubauten, FM Einheit has been experimenting for many years with a wide range of industrial and everyday equipment, transforming it into instruments with astounding effects. In counterplay with the film Chelovek s kinoapparatom (Man with a Movie Camera), FM Einheit will develop an immersive performance at Howling Wolf. The film by Dziga Vertov is regarded as a trailblazing experiment and is one of the most amazing cinematic documents of its time.

The artist FM Einheit, alias Mufti started in 1980 as a percussionist of the Hamburg punk band Abwärts with which he played together until they dissipated in 1983 and again for each of their various reunions. Initially, he also worked temporarily at Palais Schaumburg and started parallel at Einstürzende Neubauten, of which he stayed part for many years. The band coined the punk-post-industrial music and Mufti significantly shaped the sound of the band. FM Einheit is an eminant authority of German experimental sound art. He also works as a composer for theater, film and radio plays, for which he has received several awards. He composed for and with Heiner Müller, Peter Zadek and Andreas Ammer. www.fmeinheit.org

The film Man with a Movie Camera is a cinematic manifesto whose avantgardistic boldness continues to serve cinema as an art form. In The Man with a Movie Camera Dziga Vertov documents the daily routine of a large Soviet city, assembled from Moscow, Kiev and Odessa. According to Vertov's convictions, films should generally and invariably show "life as it is"; every kind of staging for him was falsification and underestimation of the audience.

Kaleidoskop vs D'Est

Kaleidoskop vs D‘Est

(From the East)

Rehearsal session: 21.6., 6 pm, Guttempler
Performance: 23.6., 8 pm, Admission: 7:30 pm, Guttempler

 
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D‘est, by Chantal Akermann, B 1993, 107 min

With its multiple innovative forms of music, the Kaleidoskop soloists’ ensemble is esteemed across the music scene - it plays in the Philharmonie as well as at Berghain. With a repertoire ranging from early Baroque to contemporary music, Kaleidoskop is always on the lookout for new forms of performance – and again and again thereby the ensembles’ musicians themselves become performers. Based on Chantal Akerman's D'Est (From the East), a film that defies any categorization, Kaleidoskop will develop its musical production for Howling Wolf.

The artists
Kaleidoskop was founded in 2006 in Berlin and has steadily changed over the years. It creates new, surprising types of staging, it draws inspiration by its numerous collaborations with artists from other genres and it always designs its own musical concepts. Kaleidoskop works closely with the Radialsystem in Berlin and is an appreciated guest at renowned national and international festivals. The ensemble plays at various houses such as the Concertgebouw Bruges, Harpa in Reykjavík or Kampnagel Hamburg. In the course of his artistic engagement, the soloists’ ensemble has collaborated with artists such as Sasha Waltz, Sabrina Hölzer, Jennifer Walshe, Georg Nussbaumer, Laurent Chétouane, Sebastian Claren and the band Mouse on Mars. http://www.kaleidoskopmusik.de/

The pictures of the film resist any simple comparison. There are no comments, no text panels, no talking heads, nor are the pictures based on the tradition of direct cinema or similar trends. D’Est is about streets, crowds, individuals, turmoil and silence ... To describe the film as an experience perhaps comes closest to its essence. A moving monument that burns itself into one’s memory and does not let go, so you always want to come back to it. D'Est is a film that at the same time extremely condenses and expands space and time. It is a unique film that defies categorization. http://www.jugendohnefilm.com/tag/dest/

Phoebe Killdeer & Ole Wulfers vs Le quattro volte

Phoebe Killdeer & Ole Wulfers vs Le quattro volte

(Vier Leben)

Probesession: 18.7., 18 Uhr, Guttempler
Aufführung: 20.07., 20 Uhr, Einlass: 19:30 Uhr, Guttempler

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Vier Leben (Le quattro volte), von Michelangelo Frammartino, I/D/CH 2010, 88 Minuten

Mit der Nouvelle-Vague Sängerin Phoebe Killdeer und Party Dikator Mitglied Ole Wulfers haben sich zwei erfolgreiche Musiker*innen zusammengetan, um die Musikwelt mit experimenteller Electronic, inspiriert von Jazz und Punk, aufzumischen. Wie wichtig in ihrer Kollaboration auch die bildliche Ebene ist, illustrieren die beeindruckenden Videos zu ihren Tracks. Visueller Impulsgeber für ihre Musik bei Howling Wolf wird der poetische Film Le quattro volte (Vier Leben) von Michelangelo Frammartino sein. Der Film ist eine poetische Sicht auf den sich immer wiederholenden Kreislauf des Lebens und der Natur.

Die Künstler*Innen Phoebe Killdeer wurde in Antibes geboren und zog mit ihrer Familie von dort nach England. Inspiriert von einer Afrikareise, auf der sie sich in Simbabwe und Südafrika ausgiebig mit Hip-Hop beschäftigte, begann sie ihre musikalische Karriere. Ihren ersten großen Auftritt hatte sie 2003 als Gaststimme auf dem Basement Jaxx – Album Kish Kash. Von 2005 bis 2007 war Phoebe Killdeer Mitglied von Nouvelle Vague.
Ole Wulfers nahm als Mitglied von Party Diktator eine Peel-Session im BBC London auf und war an zahlreichen Bands und Performancegruppen auf der ganzen Welt beteiligt. Er arbeitete u.a. mit experimental electronics helsinki und cirkuljia Ljubljana zusammen, mit denen er die Korrelation von fluiden Dynamiken und Geräuschen, die durch die Beanspruchung verschiedener Materialien entstehen, untersuchte. Anfang 2016 haben Ole Wulfers und Phoebe Killdeer ein erstes gemeinsames Album unter dem Bandnamen Phoebe Killdeer & The Shift veröffentlicht. http://www.phoebekilldeer.com/

Der Spielfilm Le quattro volte von Michelangelo Frammartino ist wahrscheinlich einer der stillsten und kontemplativsten der ganzen Filmgeschichte. Äußerlich geschieht kaum etwas, und dennoch ist man dabei Zeuge des Lebens an sich, des Werdens und Vergehens. Frammartino geht es nicht um den Menschen, sondern vielmehr um die verschiedenen «Reinkarnationen», die dieser durchmacht. Der Film strömt eine große innere Ruhe aus, die einen zum Sinnieren, zum Meditieren über das ursprüngliche Leben in der Natur anregt und damit über den Sinn der Kreatur überhaupt. Auszug aus: https://der-andere-film.ch/filme/filme/titel/jkl/le-quattro-volte

Stella Chiweshe vs 11*14

Stella Chiweshe vs 11*14

Probesession: 27.6., 18 Uhr, Guttempler
Aufführung: 29.6., 20 Uhr, Einlass: 19:30 Uhr, Guttempler

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11 x 14, von James Benning USA 1977, 82 Min

Her Majesty - die Königin der Mbira Musik aus Simbabwe, so wird Stella Rambisai Chiweshe oft genannt. Sie ist die erste Künstlerin, die in einer von Männern dominierten Musiktradition Anerkennung und Ansehen errungen hat. Mit ihrer Mbira Musik gehört Stella Chiweshe zu den großen Namen der internationalen Musikszene. Sie wird für Howling Wolf ein Musikerlebnis erschaffen, das sich von James Bennings 11*14 aus entfaltet. Der Film gehört zu den bedeutenden Avantgardefilmen und stellt laut seinem Regisseur James Benning ein sphärisches Raum-Zeit-Kontinuum her.

Die Künstlerin Stella Chiweshe ist eine der wenigen Musikerinnen in Simbabwe und im südlichen Afrika, die seit über 35 Jahren im Bereich der traditionellen Mbira-Musik arbeitet und schon ihre erste Single Kasahwa erhielt 1975 Gold. Bei heimlichen Mbira-Zeremonien vor der Unabhängigkeit Simbabwes, als die Kolonialregierung traditionelle Instrumente und Lieder verboten hatte und den Künstler*Innen Gefängnis drohte, erarbeitete sie sich Anerkennung als Musikerin. Sehr schnell hat sich Stella mit ihrer Soloarbeit als eine der originellsten Künstlerinnen der zeitgenössischen afrikanischen Szene etabliert. Sie führt die Mbira-Musik in den abendländischen Kontext ein ohne den Bezug zu ihrer simbabwischen Tradition zu verlieren - sie ergänzt Mbira um populäre Musik, um so die Tiefe und die Kraft der traditionellen spirituellen Musik im In- und Ausland erfahrbar zu machen. Ihre Arbeit hat ihr nicht nur internationale Bekanntheit, sondern auch die Position der Kulturbotschafterin von Simbabwe eingebracht. Stella Chiweshe tourt seit 1983 regelmäßig durch Europa und hat mehrere international erfolgreiche Alben veröffentlicht. https://www.stellachiweshe.com/

James Benning, 1977 über seinen Film: Hinter 11*14 stand die Absicht, einige Ideen auf eine Art und Weise zu formulieren, von der man gemeinhin denkt, sie stünde im Widerspruch zu den Ideen selbst. Diese Widersprüche erzeugen ein ständiges Gefühl des Paradoxen. Ich wollte einen erzählenden Film machen, der sich vor allem mit den Elementen von Form und Struktur beschäftigt; das heißt, die Komposition, Farbe, Stofflichkeit der Bilder, der Raum im Bild und außerhalb des Bildes sollten die eigentliche Erzählung ergeben und gleichzeitig die Geschichte in den Hintergrund drängen. Die zugrundeliegende Geschichte versucht nicht, Realität abzubilden, sondern einen Kontext herzustellen, innerhalb dessen jede Person mit den formalen und metaphorischen Elementen des Films in eine Beziehung treten kann. Die Erzählung ist absichtlich offen und mit einem offenen Ende versehen, um zu betonen, dass die Realität des Films nicht allein aus dem Film selbst, sondern aus der Erfahrung jedes Einzelnen kommen sollte, der den Film sieht. 11*14versucht, ein sphärisches Raum-Zeit-Kontinuum herzustellen. Die Montagestruktur betont die linearen Eigenschaften des Films; es ist aber zu hoffen, dass die Szenen sich durch die Wiederholung bestimmter ikonischer Zeichen, Töne und Ereignisse zusammenschließen und Beziehungen über Kreuz (statt durch einfache Gegenüberstellung) entstehen.