Protocol Slow Light, Chapter I
Slow Light / 522928.03N/ 132444.50"E
Authored by ActA.
The protocol collects materials and records our process and discussions. It has been written in the studio parallel to our ongoing dialogue on making and being with sculptures.
All procedures and processes connected to Sculpture in four partsare entitled: Slow light.
Slow lightprinciples determine this and all protocols that follow. When something is slow, it might be that one will be able to see it much later in time, - in a different time. Imagined is hereby a process that for the perceiver expands the time beyond the Now. Slow light affects the common practice of seeing, similar to the perception of a slowed down ray of light passing through water. The perception is fragmented over time.
Slow light installs temporal trajectories that lead from the present to the past and potential of later points in time. Like a constructed lens that conveys the Seen, a hundred years from now.
The following pages protocol the work:
Alpha, Beta, Gamma, Delta
Past, present, future - not necessarily in this order
Materials: stones, 3D printer, binder.
A series of industrially-cut stones construct the material of Alpha, Beta, Gamma, Delta. The cut stones have been shipped from their origin source to the studio. The original measurements of the stones relate to western architecture: each stone caters to specific functional or aesthetic requirements, which in turn relate to modern standard housing measurements.
The largest stone measures 200cm x 19cm x 6cm. The smallest stone cannot yet be determined, given the fragility of all stones - which will unavoidably be broken during handling in the studio. Therefore, the dimensions of the smallest stone will have to be specified on site.
All stones displayed are listed below, indicating a singular selected property.
Multicolour red Other names:
India Red, Indian Multicolour Red, Indian Red, Multi Colour Red, Multicolour Indiano Rosso, Multicolour Rosso, Multicolour Red, Red Multi, Red Multicolour, Red Multicolour, Rojo Multicolour, Rosso India, Rosso Multicolour.
Qualities: impermeable, resistant to: atmospheric pollution, frost, normal heat and rapid temperature changes
Weight - 2.670 kg/m3
Wear Resistance - 22.70 mm
Tensile Strength - 155 kg/cm2
Mining method: involving application of diamond wire technology specifically applied to the extraction process.
At a later point in time the damaged and fragmented stones are ground down in order to analyse their different mineral properties on a micro-scale. These ground-up fragments are mixed with binder to develop a new variation of molecular binding, using a computer-driven 3D-printer. The new form is based on a CAD model. The physical structure of the new stone is constructed layer-by-layer through a digitally controlled combination of granules and binder.
The stones are - apart from their role in the build environment - looked at from their micro-scalar physical and chemical properties. A different molecular configuration is materialized using a 3D printer, which turns a digital CAD model into a physical object, layer by layer. The stabilization of molecules is achieved through a local control over the distribution of granules and binder. Granules are extracted from the following stones: Multicolour red, Silver-grey, Bianco Perlino and Nero Impala. Accordingly, each granule used to compose Alpha, Beta, Gamma, Delta inherits mechanical properties from its original mineral makeup. These properties determine maximum stress, elasticity and density, among other.
Four granules are used:
Alpha: stone printed with the Multicolour red granules and binder (liquid adhesives).
Beta: stone printed with the Silver-grey granules and binder (liquid adhesives).
Gamma: stone printed with the Bianco Perlino granules and binder (liquid adhesives).
Delta: stone printed with the Nero Impala granules and binder (liquid adhesives).
All prints are modeled on the Lion Human, a sculpture that dates back to 38.000 B.C. ‘Alpha, Beta, Gamma, Delta’ will be printed to the original size of the ‘Lion Human’, which stands 31.1cms tall. All material from the original stones will be used for the 3D print. In case of material shortfall, only as much of the Lion Human will be printed as supplies allow, from the feet up.
Conclusion / Composition:
The micro-scale determines our primary understanding of sculpture.
Material properties such as elasticity, hardness, specific weight, standing, stability, floating, etc. are determined by the molecular structure. The micro-scale perspective maintains the objects potential along with its various transformations through time.
Terminology / Language:
This protocol makes use of terminology from material research. The knowledge of mineral properties can lead to a re-phrasing of sculptural qualities and underlines the transformative quality of object/artefacts in time.
>ol>Home ::Sculpture as Writing
>i> Kirsten Palz
:: :: Sculpture as Writing
Friends with Books presents: .
New edition by Kirsten Palz:
Two letters work (2017)
Friends with Books
Art Book Fair Berlin at Hamburger Bahnhof,
Museum für Gegenwart
22–24 September 2017
Exhibition in Botschaft
Sculpture as writing // Konversationskunst
by Kirsten Palz, Antje Eske and Kurd Alsleben.
7- 21 July 2017 at Botschaft, Berlin
Uferhallen, Uferstraße 8
Berlin, Germany 13357
On Architecture as an Instrument
by Kirsten Palz -a text for the catalogue on my curatorial work with Catherine Christer Hennix during Maerzmusik, 2017
Since the 1970s, Catherine Christer Hennix has conceived her sound compositions in close relation to the spatial environments in which they were performed. The architectural and acoustic qualities of a particular space thus form a principal element for the music and site-specific installations. This relation points to Hennix’s concept of sound as an immanent property of physical space, and her conception of it as an instrument that can be tuned and played.
This notable characteristic of Hennix’s spatial consciousness combined with her interest in mathematics makes the Kuppelhalle in the former crematorium in Wedding a particularly interesting environment for the concert.
The Kuppelhalle is a unique vaulted space above an octagon-shaped floor plan covered with black stone tiling. The space has a surface area of 200 m2, is 17.0 m in height and is surrounded by two wraparound balconies formerly used to access a succession of wall cavities for urns.
For a period of seven days before the first concert on March 16th, 2017, the musicians, technicians and Catherine Christer Hennix herself will collectively fine tune space and composition. Fine-tuning and adjusting the sound during rehearsal is essential in interweaving the acoustics of the brass instruments, voice, computer programming and space.
The Kuppelhalle will be set up for eight musicians, instruments, equipment for sound and projection and an audience to create a sensitive instrument involving musicians and listeners alike.
In Catherine Christer Hennix’s owns words: “My idea is that we become one instrument with the space”.
Sound, therefore, becomes a quality of space rather than time.
MaerzMusik – Pre-opening
Catherine Christer Hennix
silent green Kulturquartier, Kuppelhalle
THU 16 Mar 2017, 20:00
A MaerzMusik – Festival for Time Issues production
In collaboration with Kirsten Palz
The Electric Harpsichord 2017
A composition by Catherine Christer Hennix. Performed at Maerzmusik in 2017.
An introduction by Kirsten Palz.
I met Catherine Christer Hennix on the occasion of a lecture she had held at the Institut für Audiokommunikation of the Forschungskollegium of the Technical University Berlin in 2012. The lecture was titled "Psychotropic Properties of Sound”. A friend had recommended me to attend the lecture, as she had assumed that Hennix and I would share common interests in computer programming, language and analytical thinking.
Catherine Christer lives in her studio in Neukölln, Berlin, which hosted our talks, and is a rich environment accommodating two tamburas, computers, synthesisers, a drum-set, loudspeakers, mixer table, cables, many books and art-works. The studio also serves as rehearsal space for the Chora(s)san Time-Court Mirage, Hennix´s ensemble since 2010.
The time I have spent in Hennix’s studio has given me a chance to get acquainted with her archive of visual works- drawings of topology, models for a memorial, large wall drawings, note-books that contain diagrams, written notes and glued-in images. Through my visits to the studio I came to understand the integrative character of Catherine Christer Hennix’s art that encompasses theoretical texts, drawings, spatial models, musical instruments and new technology. The one is part of the other and cannot be viewed separately.
My acquaintance with Hennix’s complex work heightened my interest in the piece “The Electric Harpsichord” from 1976; a composition played the first time as part of the program “Brouwer’s Lattice” at the Moderna Museet, Stockholm in the same year. “The Electric Harpsichord” was also part of the larger sculptural and spatial work ‘Toposes & Adjoints’ that Hennix presented six months after the concert in the Moderna Museet. The exhibition included abstract configurations of objects and paintings in a large installation. The exhibition drew on Hennix´s approach toward Concept Art, a practice in which mathematics and logic are elementary.
C. C. Hennix’s complex approach and body of work is often enough overlooked and deserves a more thorough exploration and dissemination to allow a dialogue with a future audience. Her ongoing work with the ensemble is a vital set within a multifaceted artistic realm that can be now presented to the Berlin audience on the occasion of Maerzmusik 2017.
On the occasion of her concert at Moderna Museet, Stockholm in 1976 Catherine Christer Hennix had used a tuneable Yamaha organ with a harpsichord effect. The combo organ was tuned in a scale that referred to the scale of raga Multani, a Hindustani classical raga. The 2017 concert of the Electric Harpsichord is performed in a set up that consists of an Master Controller Keyboard Elka MK88 and computer. This digital instrument is called Tamburium, which is an electronic version of the acoustic Tambura The Tamburium is developed by C. C. Hennix and Stephan Tiedje.
My thanks to Catherine for our conversations.
Friends with Books presents: .
The second edition of
Kirsten Palz: 100 works, Read by Erik Steinbrecher.
Sculpture as Writing 2007-2014,
a rakete.co publication /Distributed by Motto
Friends with Books
Art Book Fair Berlin at Hamburger Bahnhof,
Invalidenstraße 50-51, 10557 Berlin.
December 9–11, 2016, with free entry to the public.
Sculpture as Writing has been shown and performed since 2010.
Sculpture as Writing 2007-2016 holds approximately 420 works including objects, prints on paper and drawings.
This website is written in more languages, as I act in the everyday with three spoken languages. I write and speak with mistakes- if this leads to misunderstanding, I do apologize.
Data Mining Kiosk, with Tatiana Echeverri Fernandez.
Exhibition in VII Acts was performed and showed in Nationalmuseum in Berlin. www.thenationalmuseum.de
The publication 'Berlin artists' has been distributed by Kerber Verlag. Till Cremers photography document his visit to my studio in 2011. Till made 500 portraits of artist working in Berlin between 2009-2014.
Upcoming works and collaborations:
The Electric Harpsichord with Catherine Christer Hennix.
During the Berliner Festspiele - MaerzMusik. 16-26 March 2017.
Former works include:
Sculpture in four parts; 13 building specifications, 5 protocols and seven calenders. Grimmuseum, Berlin.
Choreography for One. Performance with 26 readings for dancers. Eden, Berlin.
Manuals MvdR collection; 100 readings performed in Neue Nationalgalerie, Berlin.
Edition with rakete.co at Friends with books, Berlin.
Dance 001 in Tete, Berlin. 12 prints of script and stage-setup.
IWF Mördertreff. New monetary unit. Spor Klübü, Berlin.
Sculpture for closed space. Studiolo, Kunstwerke, Berlin.
Manuals on surveillance.
Manuals on computer programming.
Tekst after Text. Haus112. Den Frie, Copenhagen.
To be continued in 2017
Last year's letter
International women's day 2016
Art+Feminism Wikipedia Edit-a-thon for Berlin.
Dear friends and colleagues,
On coming Tuesday (8th March 2016) – on the International Women’s Day -Kirsten Palz and Susanne Kohler will host this year’s Art+Feminism Wikipedia Edit-a-thon for Berlin.
We will together on our laptops develop Wikipedia entries for women to be found on Wikipedia.
The idea is that we teach you how to be an editor of Wikipedia and that we all finish an entry on the night of the International Women's Day.
The aim is to finish the entry that far that it can be published. Additional information can obviously be added later. For the ones of you who can find time beforehand, it would be great that you are already having an own account and editor-name. We are also encouraging participants to work in pairs on this evening and help each other.
Please come and join us on Tuesday, 8th March, 18.00 hours, at Sonntags-Club e. V., Greifenhagener Str. 28, 10437 Berlin
There are only 15 places – so please RSVP to firstname.lastname@example.org or email@example.com
Please bring with you a laptop, charger and ideas or even better a contribution to WIKI that you would like to load up to the web.
Drinks are avaible at the bar and we will serve soup.
Kirsten and Susanne
Art+Feminism is a rhizomatic campaign to improve coverage of women and the arts on Wikipedia, and to encourage female editorship. Last year, over 1,500 participants joined Art+Feminism’s second annual Wikipedia Edit-a-thon at The Museum of Modern Art in New York and more than 75 satellite events around the world, resulting in the creation of nearly 400 new pages and significant improvements to 500 articles on Wikipedia—including articles about female artists, feminist artistic movements, and feminist scholarship.
Upcoming works will be on computerprogramming and surveillance.
Jeg er kommet til den konklusion, at mit arbejde skal underlægges flere selvdeterminerede systemer og mere afgrænsning. Jeg dropper videodokumentation, - det er en misforståelse at en performance optaget med videokamera udsiger noget om det givne rum, det narrative forløb og mødet der skabtes under en performance. En dokumentation af en eksisterende performance er i mine øjne intet kunstnerisk værk. Jeg ønsker af denne grund ikke videomateriale til at cirkulere, hverken på nettet, i samlinger eller i private hænder. Det er forbandet svært at sikre sig et niveau i de sociale medier. Overvejer at droppe performance af samme grund, men muligvis fortryder jeg det om tyve år.
The show in Minsheng Art Museum, Shanghai, will continue to Bejing.
Unfinished US fieldtrip
Ann forslår, at jeg rejser til Getty Research center og skaber et nyt arbejde, fordi jeg har gjort mig afhængig af andre rum/arkiver. Det der overskrider min egen fantasi !
2015, four days residency in the Foundation Vaserely, Aix-en-Provence, France.
2015 Residency with Paul Polaris.
Sculpture for closed space. (Performance).
Invited by Erik Steinbrecher.
Studiolo, KW, Berlin.
New artist edition.
Presented at Friends with books.
Festival of Future Nows.
Neue Nationalgalerie, Staatliche Museen zu Berlin.
Invited by Institut für Raumexperimente.
3 days residency in the Foundation Vaserely.
observation sort sol
Die Aesthetic des Wiederstands Teil II.
Galerie im Turm, Berlin.
Die Aesthetic des Wiederstands Teil I.
IG Bildende Kunst, Wien
Initiert by Julia Lazarus und Moira Zoitl
Lesung I +II/ Manuale von Kirsten Palz
mit Erik Steinbrecher
Lesung I :17.3.2014 ab 18h
Lesung II : 9.4.2014 ab 18h
Zürcher Hochschule der Künste.
Kampagne der Koalition der Freien Szene
Thresholds/Trafo : crossing boarders between video, performance and the visual arts. (2013)
Momentum Archive of Performance.
Trafo Kunsthalle, Szczecin, Poland.
Ernst in der Sache (2013) with Paul Polaris. 'Invisible Zurich'.
Invited by ZURBS sozial-artistisches Stadtlabor für Zürich.
Manuskript in 12 Seiten; ERNST IN DER SACHE
Materialien & Personen:
Banane, Bodybuilder, Eimer mit Buttermilch und Pinsel, Fahnenschwinger mit Fahne, Feige, Gedicht auf Papier, Meringue, lange Paprika, Schild aus Aluminium, Schubkarre, Tonbandgerät, diverse Tomaten wie Cherrytomaten, Pelati und Strauchtomaten, Walnüsse, Zeitung
The Oracle, (2013) invited by ff
presents new works
The Wand, Berlin
F******* -Towards New Perspectives on Feminism. (2013). Neue Berliner Kunstverein (nbk).
The series include eight manuals on feminism (only four is shown in the window).
Detail Installation view, 2013. nbk / neue berliner kunstverein
Kirsten Palz with Rakete.co at Miss Read at the abc (art berlin contemporary) 2013.
Kirsten Palz with Rakete.co at Miss Read at the abc (art berlin contemporary) 2012 .
Ozean, Berlin. Installation night #03, 2012.
Sculpture for friends, Ozean, Berlin
Unfair Poetry & Other Art Things:(2012) readings and performances by Shane Anderson, Sharmila Cohen, Eric Ellingsen, Christian Hawkey, Martina Hefter, Karl Holmqvist, Gaëlle Kreens, Kirsten Palz, Andreas Töpfer, Uljana Wolf.
Invited by Institut für Raumexperimente.
The World Is Not Fair – Die Grosse Weltausstellung 2012.
Presence /Absence (2012). A group show with
Elly Clark / Adrian Lee / Kirsten Palz / Laure Prouvost.
Invited by //hotelparavent.info/Performance in the hotel with sculptures from Antonia Low. The manuals for hotelparavent by Kirsten Palz was read by British actor Robin Arthur.
TEMPORARY AUTONOMOUS ZONE / 2
2013 ff collective, Berlin.
MOLTO, (2011) is set up in a launderette in Turin and exploits an original curatorial modality. The idea, developed by Christian Frosi, Renato Leotta and Diego Perrone, is to “mount” a two-dimensional exhibition, entirely printed on a sheet, an exhibition where the works are paged by a software, according to the criteria formulated by the curators, but leaving plenty of room to the programme work and, necessarily, to chance. The chosen works by
Rivane Neuenschwander, Knut Henrik Henriksen and Kirsten Palz is proposed by curator Caroline Eggel.
MOLTO was shown 2011 at Artissima, Turin.
MOLTO with Rivane Neuenschwander, Knut Henrik Henriksen and Kirsten Palz. Curated by Caroline Eggel, 2011. Artissima, Turin.