<February, 2020>

  • 5 - 8Alannah Louët – Emanations
    Solo Exhibition
    2pm - 7pm

    Event Details

    Between February 5th and 8th 2020, SomoS presents Irish visual artist Alannah Louët’s solo exhibition: Emanations, displaying performative video, installation, and expanded photography. With Emanations, Louët initiates creative discourse involving feminism, occultism, progress and history, bridging the past and the present.

    Using topics such as Home Economics classes and Victorian Spiritualism as a starting point for creative reflections on gender roles, domesticity, female agency, physicality and its taboos, Louët invites the audience to follow her inventive, multilayered narratives.

    The artist views the spiritual medium as “feminism’s mystical foremothers,” disrupting accepted female expression and professional limitations at an important moment in time. The Spiritualist movement came about at the same time as that of the Suffragettes, with empowered women transcending barriers of gender, class and race, furthering religious democratization and a distrust of clerical authority, and offering non-institutional direct connection with the divine.

    The Victorian vogue for seances put great focus on emanations of “ectoplasm,” a fluid substance or spiritual energy emanating out of a spiritualist mediums body, seen as proof of their ability to contact the dead. A whole industry of photographic darkroom creativity was sparked by the need for documentation and memorabilia of the spiritual events.

    Louët attaches her work to this psychic photography tradition, as she uses the liquid emulsion process to make her photographic images appear magically on household items such as historic doilies, similar to the way ghostly images sometimes burned their way into ectoplasmic material during a seance, as she creates analogies to persistent taboos towards the female body and its biological emanations.

    One group of presented antique doilies features photographic imagery of a collection of kitchen tools that may have been selected for their potential as tools of resistance and violence. Another group has photographs of hands pointing elegantly towards a centerpiece featuring a photograph of the face of one of Louët’s performers, emanating crochet shreds from her mouth.

    The first performative video on display, titled Ectoplasm on the Kitchen Floor is predominantly inspired by the movements involved during transfiguration and the projection of ectoplasm during seances. Filmed jerkily in a faux-historic B&W style, the performative video shows three women dressed in repurposed vintage crochet doilies, while also unapologetically leaking the doilies from their vagina, ears, nose, and mouth.

    In a second performative video titled Construction of a Pie, the portrayal of domestic work gradually goes from celebratory to wrathful and aggressive. The artist subverts gender roles within the sphere of domesticity, using stereotypically masculine tools such as a hammer, saw, and a wrench in absurdist fashion.

    The exhibition is accompanied by a sound installation for which Louët recorded noises, voices and used a synthesizer, creating a soundscape evocative of the show’s themes: sounds of women howling, from the inside of a womb, and of the female medium as she experiences “transfiguration,” becoming possessed by male spirits, allowing them to act and speak in manners normally forbidden.

    In addition, on the opening night, the artist presents a participatory installation: Female Feast, depicting the aftermath of an elaborate feast, celebrating women’s work.

    Throughout the exhibition Louët suggests an alternative perspective on the historical practices involving the role of women in society. Using a variety of artistic mediums, her exhibition emanates a sense of rebellious acts against domesticity and defined gender roles.

    About Alannah Louët:

    Alannah Louët is a London-based interdisciplinary artist, originally from Ireland. While Louët primarily works within the medium of photography, the distinct subject matter of each of her projects determine her various techniques, often including installation, performance, film and staged photo events.

    She achieved a First Class Honors Degree, BA in Photography at the London College of Communication; University of the Arts, London in 2019. She has extensive photography experience, specializing in analog techniques and B&W darkroom printing, including alternative printing processes such as liquid emulsion.
    More Information ->


    Opening Reception: Tuesday, February 4, 2020 6-9pm
    Duration: January 5-8, Tuesday-Saturday 2-7pm and by appointment
    Entry as always free
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    SomoS, Kottbusser Damm 95, 1.0G, 10967, Berlin (U8 – Schönleinstraße)

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    Time

    5 (Wednesday) 2pm - 8 (Saturday) 7pm

    Location

    Kottbusser Damm 95 - Berlin DE

  • 11P2P Project Feedback Session
    Hosted by Filmmaker Magenta Baribeau
    7pm - 9pm

    Event Details

    Please join us at SomoS next Tuesday, 11 February at 7pm for our regular Peer to Peer Feedback Session, hosted by filmmaker Magenta Baribeau.

    The purpose of the session is to create a casual but focused atmosphere, in which artists, curators and creatives get the opportunity to share their own work-in-progress and challenges, and receive constructive feedback from their peers.

    The session is free of charge. Capacity is limited to 8-10 people per session so registration in advance is required.

    Please confirm your participation by emailing somos@nullsomos-arts.org, and we will send you a confirmation.

    Please bring along documentation of your work in any shape or format. There will be a video projector available. Physical work is also welcome.

    About Magenta Baribeau

    Nude female torso drawn in comic style, with her arms folder over her breast.

    French-Canadian feminist activist and filmmaker Magenta Baribeau is author of feminist documentaries about childfree women and nonparents and the ongoing societal prejudice they face.

    Since 2009, Baribeau has worked as a writer, director, and producer. She graduated from Concordia University (Montreal) in Film Production. She has worked on several short films as both an actress and director before entering the world of documentary filmmaking in 2009. Her first feature film, Maman? Non merci! won 2016 Best Feature Film at the London Feminist Film Festival.

    Supported by the Canada Council for the Arts, Baribeau will live and work on her new film at SomoS from January until March of 2020. Continuing her mission on making lesser known voices heard, she will work on the production/post production stages of Unspeakable, her film on women who regret having children.

    More information about Magenta Baribeau.


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    Time

    11 (Tuesday) 7pm - 9pm

    Location

    Kottbusser Damm 95 - Berlin DE

  • 13Scope Sessions 89 – AAA Collective & A MAZE
    Artist Talks & Media Salon
    6:30pm - 9pm

    Event Details

    Thursday, February 13th 2020, SomoS hosts Scope Sessions – Artist Talks & Media Salon edition #89. The media artist speakers for this session will be members of the AAA Collective & Thorsten S. Wiedemann of A MAZE.


    AAA Collective

    AAA is a software art collective based in Berlin, with members from countries including Australia, Argentina, Russia, Germany, USA and France. They make video games, give lectures and performances, maintain a blog and run a public community event called aaartgames. Their cooperation has formed in response to the frustration its members feel with the fine art and video game production industries.

    Their recent work includes projects Utopias: Navigating Without Coordinates, a video game network of nine worlds; Data Mutations, a collection of data that can be transmuted and re-arranged with ease; Dystropicana, a digital multimedia archipelago, and many more.

    AAA collective will talk about their activities, how and why they work together, and their latest project Utopias: Navigating Without Coordinates.

    More Information: https://aaasoftwa.re


    Thorsten S. Wiedemann / A MAZE

    Thorsten S. Wiedemann is the founder and artistic director of A MAZE. Under this international label, he produces and curates festivals, exhibitions and workshops on the intersection of games, digital arts and playful media.

    With A MAZE. / Berlin and A MAZE. / Johannesburg, Thorsten created two annual festivals to present independent and alternative games culture, connecting Europe, Africa and the world. He also generates innovative formats (e.g. A MAZE. Magazine, A MAZE. Pop-ups, A MAZE. Train Jam South Africa) creating platforms for experimentation, collaboration and exchange. In addition, Thorsten established the A MAZE. Awards, which go to artistic and groundbreaking works in six categories.

    Thorsten is also the first “VR Naut,” once spending 48h non-stop in virtual reality during his Disconnected performance. He lives and works in Berlin.

    More Information: http://www.amaze-berlin.de


    About Scope Sessions

    Scope Sessions is a meeting point for the creative and the curious, a platform for sharing and learning in an informal setting. Guest artists are invited to present a project, a concept, a process or an experience. The presentations are short, around 30 minutes and unrestricted in form. Each session offers a variety of topics and approaches; Scope is about exposure, not for the artist, but for the audience.

    More Information: http://scopesessions.org/


    Scope Sessions #89 – Artist Talks & Media Salon
    Thursday, February 13th 2020
    Doors open at 6:30pm
    Talks start at 7pm sharp
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    Time

    13 (Thursday) 6:30pm - 9pm

    Location

    Kottbusser Damm 95 - Berlin DE

  • 26 - 29Manami Uetake – Imagining Something Unknown
    Solo Exhibition, Installation
    2pm - 7pm

    Event Details

    Between February 26th-29th, 2020 SomoS presents the video installation Imagining Something Unknown, in which Japanese Artist Manami Uetake ponders the (im)possibility of conveying and remembering the Fukushima disaster.

    Manami Uetake’s work deals with individual and collective trauma, and how its memory can be meaningfully processed, both privately and publicly, officially and unofficially, a challenge to commemoration culture at large, and a subject highly topical in Germany as well.

    Prior to working in Berlin winter 2019/20 in preparation of this exhibition, Uetake has been photographing monuments in disaster-stricken areas of Fukushima, as well as the private effects it had on the local population.

    In her latest work, Imagining Something Unknown, Uetake deepens her inquiry, now especially focusing on the private ways trauma is processed and shared, its possibilities, but also its definite limits. Her installation of performative videos, conducted and filmed at SomoS, is based on a story of somebody losing their home in the Fukushima disaster. In the videos, the artist asked a random performer not deeply acquainted with the culture and the topic, to share their thoughts and feelings towards it in various media, to virtually put themselves in the victim’s situation, highlighting the challenges of conveying trauma and loss, and the quirks of memory and empathy.

    As the artist states of her process and intention,

    “Imagining Something Unknown” is a collaborative work aiming to imagine another person’s personal narrative.

    One day, I met a man who lost his house after the Tsunami attack happened in 2011 Japan. After the Tsunami, great seawalls which are about 400km long in total were built alongside the coast, including his hometown. He told me that he lost not only his house, but also the landscape with a view of the sea. This phrase which never seen in the news articles or other public resources remained in my mind.
    Since then, I often remember his story and have tried to imagine the lost landscape. I started wondering to what extent I could share his experience by listening to him.

    Creating the work, I asked a non-Japanese speaker to read Japanese text written in the English alphabets about his experience and try to interpret it based on the sound of the text. I also asked him to imagine the landscape with a view of the sea mentioned in the sufferer’s monologue and draw it on a piece of paper.

    Through this process, I tried to see how possible or impossible it is to imagine and reach the unknown person’s narrative.

    Manami Uetake, Artist’s Statement

     

    The video installation conveys the difficulty of recounting experience, demonstrating the loss that the process of reiteration may bring about. Viscerally making clear the devastating difference between presence and absence, the video installation constitutes a sensitive inquiry into the mechanisms of memory and empathy; of reality and its fleeting representation, of things here today and gone tomorrow.

    Imagining Something Unknown presents us with a layered contemplation of memory and remembrance, socially, aesthetically and philosophically.

    About Manami Uetake

    Manami Uetake holds a M.A in Painting from Tokyo University of the Arts, Japan, 2018 and was a guest student at Chelsea College of the Arts in London, 2015. She has since focused on digital photography, video, text, and sound installation. Uetake has exhibited extensively throughout Tokyo, including her solo show Still Ongoing at TAP Gallery and the group exhibition Typhoon and Order at Gallery 35 minutes. She was also selected for the 13th “1_WALL” Photography award at Guardian Garden Gallery Tokyo in 2015 and was a finalist at the 17th “1_WALL” Photography award in 2017.
    More information on Manami Uetake ->


    Imagining Something Unknown
    Solo Exhibition by Manami Uetake
    Opening Reception: Tuesday, February 25th 6-9pm
    Duration: February 26th-29th, 2020, Tuesday-Saturday 2-7pm (free entry)

    SomoS Art House – Kottbusser Damm 95, 1.0G, 10967, Berlin (U8 – Schönleinstraße)
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    Time

    26 (Wednesday) 2pm - 29 (Saturday) 7pm

    Location

    Kottbusser Damm 95 - Berlin DE