10 | 11 - 04 | 12 | 10 esgallery.net

SG / SD
installation 2010 (detail - super imposed)
SG / SD
zeena parkins / holger friese
Als erste Zusammenarbeit der New Yorker Komponistin und Multiinstrumentalistin Zeena Parkins und dem Berliner
Künstler Holger Friese zeigt die ES contemporary art gallery die Installation SG / SD
Die Installation reflektiert die Kristallnacht die Nacht der zerbrochenen Fensterscheiben, die am 9. November
1938 von den Nationalsozialisten inszeniert wurde. Die entsetzlichen Handlungen markierten den Beginn der
systematischen Verfolgung der jüdischen Gemeinschaft in Deutschland und Österreich.
La ES contemporary Art gallery presenta l’installazione SG / SD nata dalla prima collaborazione tra la
compositrice e pluristrumentista di New York Zeena Parkins e l’artista di Berlino Holger Friese.
L’installazione rieccheggia la celebre “Notte dei Cristalli“, messa in atto il 9 novembre 1938 dai nazionalsocialisti.
Quegli assalti e quegli atti di violenza rappresentarono l’inizio delle persecuzioni sistematiche contro gli ebrei in
Germania ed Austria.
In a first time collaboration, New York composer and multi-instrumentalist Zeena Parkins and Berlin artist Holger
Friese present the new sound based installation SG / SD at ES contemporary art gallery
The project offers a reflection on Kristallnacht: the night of broken glass, Nov 9th 1938. The horrific actions of this
night, marked the beginning of the systematic persecution of the Jewish community in Germany and Austria.
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
SG / SD
Als erste Zusammenarbeit der New Yorker Komponistin und Multiinstrumentalistin Zeena
Parkins und dem Berliner Künstler Holger Friese zeigt die ES contemporary art gallery die
Installation SG / SD
Die Installation reflektiert die „Kristallnacht“ – die Nacht der zerbrochenen
Fensterscheiben, die am 9. November 1938 von den Nationalsozialisten inszeniert
wurde. Die entsetzlichen Handlungen markierten den Beginn der systematischen
Verfolgung der jüdischen Gemeinschaft in Deutschland und Österreich.
Das zentrale Element der Installation ist eine Schallplatte, die durch die Künstler_innen
produziert wurde.
Auf der A-Seite ist Ekhe? eine Sonic Meditation von Zeena Parkins zu hören. Die
Komposition basiert auf Feldaufnahmen, welche die Künstlerin im Frühjahr 2010 in Berlin
aufzeichnete.
Die B-Seite beinhaltet 13 Stücke, welche jeweils als Endlosschleifen geschnitten sind. Die
Stücke bestehen aus Sinustönen, aufsteigend von 3300 Hz bis 4500 Hz, wobei jede Rille
ein Jahr des Nazi Regimes (1933 – 1945) repräsentiert.
Für die Komposition Ekhe? besuchte Zeena alle Plätze Berlins, an denen sich im Jahr
1938 Synagogen befanden, das lebendige jüdische Leben dieser Zeit markierend. Dort
nahm sie die gegenwärtigen Klangräume auf.
Die Synagogen, von den Nazis während der November Pogrome niedergebrannt
und in den Folgejahren dann abgerissen, haben heute - 72 Jahre später - oft eine
komplett andere Funktion als damals: Sie sind Parkplatz, Spielplatz, Wohngebäude
oder Lebensmittelgeschäft. Die meisten Synagogen sind zerstört worden und nur die
inzwischen dort angebrachten Erinnerungstafeln verhindern ihr Vergessen.
Die akustische Präsenz der Plätze ist somit – im Vergleich zu den Jahren vor 1938 komplett entstellt oder zumindest stark verändert. Gibt es noch in der Luft stehende
erkennbare Tonfragmente, welche hartnäckig die Zeit und die grausamen Gewalttaten
überdauert haben? Vielleicht ist dort auch nichts mehr, außer der simplen und brutalen
Nicht-Existenz, die alles verdrängt hat. Zeena Parkins untersucht und reflektiert die
akustischen Spuren einiger der Synagogen die in der „Kristallnacht“ zerstört wurden.
In den Tönen des Stadtraums Berlins der Jetztzeit sucht Parkins nach den hörbaren
Geistern (sonic ghosts): Einem Echo, einem akustischen Andenken, einem gesetztem
Nachhall dieser fürchterlichen Nacht.
Im Galerieraum installiert Holger Friese 13 Rauchmelder (smoke detectors) unter der
Decke. Rauchmelder werden üblicherweise durch Feuer aktiviert. Diese Rauchmelder
hingegen wurden durch Friese so manipuliert, dass sie auf Bewegungen der Besucher_
innen im Galerieraum reagieren. So ausgelöst überlagern ihre unangenehmen Töne
Zeena Parkins Komposition. Diese kurzen akustischen Störungen referenzieren auf das
Verhalten der Schaulustigen – die Brandstiftung durch die SA/SS wurde durch eine
gaffende oder gar klatschende Menschenmasse begleitet und unterstützt – während
der Pogromnacht.
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
SG / SD
Der – bis auf die Rauchmelder – leere Hauptraum der Galerie kann somit für die
Besucher_innen zu einer dichten und möglicherweise auch verstörenden Erfahrung
werden: Sie selbst sind es, die durch ihre Bewegungen Störgeräusche verursachen. Die
Leere eröffnet Zeit und Raum, um sich mit der Pogromnacht und den Positionen der
Beteiligten auseinander zu setzen.
Im kleinen Galerieraum wird die nötige Technik sichtbar:
14 Schallplattenspieler mit sich drehenden Schallplatten.
Auf einem Schallplattenspieler läuft die A-Seite mit 45 Umdrehungen pro Minute und
spielt die Komposition Ekhe? von Zeena Parkins im auto repeat Modus ab.
Auf 13 Schallplattenspielern läuft die B-Seite mit 33 Umdrehungen pro Minute und spielt
die verschiedenen Sinustöne ab.
So schließt sich der Kreis, mit der Hilfe von gebraucht bei ebay gekauften „Soldaten“
die zum Appell angetreten sind.
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
SG / SD
La ES contemporary Art gallery presenta l’installazione SG / SD nata dalla prima
collaborazione tra la compositrice e pluristrumentista di New York Zeena Parkins e
l’artista di Berlino Holger Friese.
L’installazione rieccheggia la celebre “Notte dei Cristalli“, messa in atto il 9 novembre
1938 dai nazionalsocialisti. Quegli assalti e quegli atti di violenza rappresentarono l’inizio
delle persecuzioni sistematiche contro gli ebrei in Germania ed Austria.
L’elemento centrale dell’installazione è un disco, realizzato dagli artisti.
Sul lato A si può ascoltare “Ekhe?”, una meditazione sonora di Zeena Parkins. La
composizione si basa su registrazioni dirette che l’artista ha effettuato nella primavera
del 2010 a Berlino.
Il lato B contiene 13 pezzi, concepiti come brano continuo. I pezzi sono composti
da diversi toni sinusoidali, in crescendo da 3300 Hz a 4500 Hz, in cui ogni traccia
rappresenta un anno del regime nazista (1933–1945).
Per la composizione “Ekhe?”, Zeena ha visitato tutti i luoghi di Berlino in cui, nel 1938,
si trovavano delle sinagoghe che scandivano con la loro presenza la vita attiva della
comunità ebraica. Luoghi in cui ha registrato le sonorità .
Le sinagoghe, andate bruciate durante i pogrom nazisti di novembre e demolite negli
anni seguenti, hanno oggi – dopo 72 anni – una funzione spesso completamente
diversa da quella di allora: sono parcheggio, parco giochi, edificio residenziale oppure
negozio di alimentari. La maggior parte delle sinagoghe è stata distrutta e solo le
tabelle commemorative erette in quei luoghi ne impediscono la dimenticanza.
La “presenza” acustica di questi luoghi è – a confronto con gli anni precedenti il 1938
– completamente alterata oppure fortemente cambiata. Esistono ancora frammenti
di suoni riconoscibili che si possono ancora percepire, che sono sopravvissuti al tempo
e ai terribili atti di violenza? Forse anche qui non esiste più nulla, a parte la semplice
e brutale Non-esistenza, che ha rimosso tutto. Zeena Parkins analizza e riflette sulle
tracce acustiche di alcune delle sinagoghe che sono state distrutte durante la “Notte
dei Cristalli”. Nei suoni della città di Berlino di oggi, la Parkins va alla ricerca di “spiriti
percettibili” (sonic ghosts): un’eco, un ricordo acustico, una risonanza congelata di
quella terribile notte.
Nello spazio della galleria, l’artista Holger Friese ha installato 13 rivelatori di fumo (smoke
detectors) sotto al solaio. I rivelatori di fumo vengono normalmente azionati dal fuoco.
Qui invece i rivelatori sono stati invece predisposti da Friese in maniera tale da reagire
al movimento dei visitatori nello spazio della galleria. Una volta attivati, sovrappongono
i loro suoni sgradevoli alla composizione Töne, di Zeena Parkins. Questi brevi disturbi
acustici si referenziano con il comportamento degli spettatori – l’incendio doloso
da parte delle SA/SS è stato accompagnato e sostenuto da una folla curiosa che
addirittura applaudiva durante la notte dei pogrom.
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
SG / SD
Lo spazio vuoto principale della galleria, a parte i rilevatori di fumo, può trasformarsi
così in un’esperienza serrata ed anche sconvolgente, dove saranno i visitatori stessi a
produrre, con i loro movimenti, suoni capaci di disturbare. Lo spazio vuoto apre così
sulla dimensione del tempo e dello spazio, per confrontarsi con la notte dei pogrom
grazie alle reazioni dei partecipanti.
Nella piccola galleria sono visibili le tecnologie impiegate:
14 giradischi funzionanti.
Su un giradischi viene suonato a 45 giri il lato A della composizione “Ekhe?” di Zeena
Parkins, in modalità auto repeat.
Sugli altri 13 giradischi viene riprodotto a 33 giri il lato B dei diversi toni sinusoidali.
Così il cerchio si chiude, con l’aiuto di “soldati”, acquistati su ebay, che si sono
presentati all’appello…
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
SG / SD
In a first time collaboration, New York composer and multi-instrumentalist Zeena Parkins
and Berlin artist Holger Friese present the new sound based installation SD / SG at ES
contemporary art gallery
The project offers a reflection on Kristallnacht: the night of broken glass, Nov 9th 1938.
The horrific actions of this night, marked the beginning of the systematic persecution of
the Jewish community in Germany and Austria.
The focal point of the installation is a vinyl recording produced by the artists.
Side A: Ekhe? a sonic meditation by Zeena Parkins based on field recordings made
during a trip to Berlin in Spring, 2010. Zeena recorded sites in the city where in 1938
synagogues once stood, marking the existence of a vibrant Jewish community.
Synagogues burned down during Kristallnacht and demolished in the years after, are
now often occupied with a very different kind of life: Parking structures, playgrounds.
apartment buildings, grocery stores. Seventy two years later, most synagogues are
gone, with only memorial plates, to save them from total obscurity.
The acoustic presence of the original site is now disfigured or rearranged. Does some
identifying sonic molecule hang stubbornly in the air, defying time and these horrific
acts of violence? Perhaps there is nothing more than a simple and brutal non-existence
that permeates this absence. Zeena Parkins investigates and reflects upon the acoustic
traces of some of these synagogues destroyed on Kristallnacht. All that is left are the
most ordinary city sounds of 21st Century Berlin, in which Zeena seeks to unearth the
sonic ghosts: an echo, a memory, a deliberate reverberation, to this terriflying night.
Side B: 13 soundfiles cut as loops; Sine waves, gradually stepping up from 3300 Hz to
4500 Hz, each file represents one year of the Nazi regime (1933 – 1945). Holger Friese
installs13 manipulated smoke detectors under the ceiling that are triggered by the
movement of the visitors in the room. These disturbance tones make an unconvenient
overlay to Zeena Parkins’ composition. The sonic short notices reflects behaviour of
German bystanders during this night of destruction. The malicious arson carried out by
SA/SS members was accompanied by clapping hands and a cheering crowd.
The almost empty main gallery room pushes the vistors into a dense and sometimes
disturbing sound experience. Emptiness means here, the possibility of space and time
for a reflection about the pogrom night.
In the small gallery room the needed technial equipment is visible.
14 record players in one row with endless spinning records - 13 at a speed of 33 rpm
and one with 45 rpm. Here we have come full circle with the representation of a roll call
performed by second hand „soldiers“ bought on ebay.
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
zeena parkins
AWARDS AND HONORS
2009
2008
2008 2008 2008
2008
2008
2007
2007
2005
2004 2004
2004
2000
1997
1997
1995
Peter S.Reed Foundation Fellowship
New York Foundation for the Arts Fellowship in Music Composition
New York Dance and Performance Award, “Bessie” for ‘07/’08 Season of Work
Wooda Artist Residency, Cornwall, England
Nomination for Herb Alpert Award
Residency/Commission for Phantom Orchard Orchestra. SWR, Baden-Baden,
Germany
Residency/Commission for Phantom Orchard Song Project, Montalvo Arts
Center, Ca.
New York Dance and Performance Award, “Bessie” for Sustained Achievement
iEAR Residency/RPI, Troy NY
Artist-in-Residence Harvestworks: NYC, NY
Prix Ars Electronica Honorary Mention for Phantom Orchard
BAFTA Award: Best New Media Interactive Work for Weightless Animals Website
Civitella Ranieri Foundation Fellowship
Artist-in-Residence/STEIM: Amsterdam, The Netherlands
New York Dance and Performance Award, “Bessie” for “Sender” Score
Foundation for Contemporary Arts Fellowship for Music Composition
Artist-in-Residence/Harvestworks, NYC, NY
SELECTED GRANTS
2010
2009
2008
2007
2006/2004
2006
2006
2006/1991
2001/1990
1997
1994
1988
1987-1998
1992
1991
American Music Center Live Music for Dance: (like a vase)
Meet the Composer Commissioning USA: Ne(x)tworks_new work
American Music Center Live Music for Dance: Really Queer Dance with
Harps
Mary Flagler Cary Trust: Commissioning Program: composition for 11
players
American Music Center Live Music for Dance: Scavenger /Partial View
New York State Council for the Arts: Commission: UROPA
Meet the Composer Commissioning USA : Thin Man Dance_Scavanger
Rockefeller Foundation Multi-Arts Production Fund: Scavenger/The
Opium War
Mary Flagler Cary Trust: Live Music for Dance: Atlas of Holes/Ursa’s Door
American Composer’s Forum Commission: Sender
Arts International Grant: travel to Slovenia with The Gangster Band
Jerome Foundation Commission for Emerging Composers: Roulette
Meet the Composer: Composer’s Performance Fund:
Meet the Composer: Composer/Choreographer Project Commission:
Kick Me Dance
Mary Flagler Cary Trust: Recording Program: The Opium War: a Radio
Play
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
zeena parkins
TEACHING
Visiting Lecturer
Visiting Lecturer in Music Distinguished Visiting Artist
Visiting Artist Professor
2011/Spring
2009/Spring
2007/Fall
1998-2000
Mills College, Graduate School of Music
Bard College, Division of Arts
Mills College, Graduate School of Music
School of the Museum of Fine Arts, Boston
GUEST LECTURER
2010 –artist talk- Oxford University
2010- artist talk- Princeton University
2008- artist talk- Princeton University
WORKSHOPS
1989/2007 1989/day visit Music for Dance Movement Research
Bennington College
SELECTED PERFORMANCE EXPERIENCE
UNITED STATES: Performa Festival,/Eyebeam, NYC, Whitney at Philip Morris, The Kitchen,
Lincoln Center Out-of-Doors, Lincoln Center Festival, Serious Fun Festival, Bang on a Can
Marathon/NYC, Merce Cunningham Dance Company Events at DIA Beacon, Gangster
Band, Merkin Hall Lincoln Center, NYC. The Stone, Roulette, Symphony Space, Dance
Theater Workshop, The Joyce Theater, The Whitney Museum of American Art., The
Japan Society.
CANADA: Vancouver Coastal Jazz and Blues Festival/ Canada, Festival Musique
Actuelle/Victoriaville, Canada, X Avant New Music Festival, Toronto, Cananda
EUROPE/SOUTH AMERICA/JAPAN: Pori Jazz Fesitval/ Finland, Molde Jazz Festival/
Norway, Radar Festival. Mexico City, Made Festival/Umea Sweden, Forest Festival/
Latvia, Le Weekend Festival/Stirling, Scotland, Experimenta Festival/ Beunos Aires,
Argentina, Music Merge Festival/ Kobe, Japan, Moers Festival/Germany, Willisau and
Taklos Festival/ Switzerland, London Musician’s Collective Fesitval/London, , City of
Women Festival/Slovenia,
SELECTED ARTICLES
PRINT AND ONLINE:
Dusted, May 2010
Pitchfork, April, 2010
ID Magazine, January 2005
Mouvement, May/June 2005
Review of Between the Whiles
Interview
Case Study by Steve Dollar
Anatomie De L’errance by Damien Bonelli
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
zeena parkins
The Wire, October, 2004 Issue 248
The Wire, August 2004 Issue 246
The Wire, July 2004 Issue 245
www.zeenaparkins.com
Cover Feature: Dangerous Liasons by Steve Smith
Review of Phantom Orchard CD by Julian Crowley
Review of Weightless Animals by Julian Crowley
Between Self and Other: A Deconstructive Sea by
Marcel Cobussen
BOOKS AND JOURNALS:
The Squid’s Ear, Between the Whiles Review; Dave Madden, Aug 24, 2010
Dusted, Between the Whiles Review; Adam Strohm, June 10 2010
Dusted, Phantom Orchard; Adam Strohm, Oct 20 2004
Arcana II edited by John Zorn, Hips Road, 2007, 204-212
“Nocturne Meditation The Necklace Eternity” an article by Zeena Parkins
Women and Performance: a journal of feminist theory, Vol. 17 Issue 2 July 2007, 247-256
“A Conversation with Zeena Parkins 7 May 2007”
Performa: New Visual Art Performance, Roselee Goldberg, Performa, 2007, 135-143
“Screenplay Christian Marclay” an article about Screenplay realized and premiered
by Zeena
Parkins at Eyebeam, NYC
Jennifer Lacey and Nadia Lauro: Dispositifs Choregraphiques, les presses du reel , 2007,
13-29
“Mythologies comtemporaines” an article about $Shot (Lacey/Lauro/Parkins/Cornell)
TEACHING
Professor of Music Professor of Music
Distinguished Visiting Artist
Visiting Artist Professor
Guest Lecturer
Workshops:
2011/Spring Mills College, Graduate School of Music
2009/Spring Bard College, Electronic Music Dept.
2007/Fall
Mills College, Graduate School of Music
1998-2000
School of the Museum of Fine Arts, Boston
2008/day visit Princeton University Graduate School of
Music
2004/day visit Princeton University Graduate School of
Music
1989/2007 Movement Research, NYC
1989/day visit Bennington College
CURATORIAL
2008
2008
2000
1998
1997
1996
February/Month of concerts at The Stone, NYC
co-curator with Jennifer Monson, Movement Research Festival, NYC
co-curator with Sylvie Corvousier Swiss Institute at Tonic, NYC
May/ Month of concerts at Tonic, NYC
Z Axis Festival for Music Unlimited Wels Austria
See Hear Sponsored by Roulette Intermedia at St, Mark’s Church, NYC
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
zeena parkins
JUROR
2010 2007
2005
2000
American Music Center CAP grant, NYC, NY
Jerome Foundation Travel Grants, Milwaukee, MN
Herb Alpert Award, LA, CA
Prix Ars Electronica, Linz, Austria
SELECTED COMPOSITONS:
CHAMBER and ENSEMBLE
2010 s:c:a:t:t:e:r:i:n:g
Duration: 29”
String Quartet, Percussion, 4 channel samples
2010 Thingworld
Duration: 8:00
Percussion, harp, glass
2010 Daldals pt 1
Duration: 12:00
1 flute, 1 bass flute, B flat Cl, 2 trombones, Pn,
Organ, Percussion, Celeste, electronics
2009 3 Harps Duration: 45:30
3 Acoustic Harps and electronics
2006 Visible/Invisible 2006 Duration: 17:00
String Quartet
2006 16 Feet + Cello Duration: 5:36
Cello, 8 Dancers
2005 Persuasion Duration: 18:00
String Quartet with Live Electronic Processing in multi-diffusion speaker
installation
2004 Devotion Duration: 23:00
Vibes, 2 Marimbas, El. Harp, Ac. harp, Hand perc. sampler, Wasp synth, Wooden
flutes
1999 Pan-Acousticon Duration: 52:00
Vln, 2 VC, Pn, Sampler, Accor., El. Harp, Perc., Vibes, El Gt, Daxaphone, Metal
Spring
1996 Mouth=Maul=Betrayer Duration: 37:00
El. Harp, Pn., Sampler, Vln, 2 Cellos, El Gt., Mandolin, Drums, Vibes, Voice
1996 Blue Mirror
Duration: 14:00
Didjeridu, Voice, Sampler, Metal Perc. El. Gt., Shells, El. Harp, Hand Drums
1994 La Mer Duration: 20:00
2 Ac. Harps, El. Harp, Turntables, Sampler, Bass Tb, El. Percussion
1993 Isabelle Duration: 30:00
Piano, Cello, Violin, Sampler, El Harp, Sn Drum
1993 Hup
Duration: 14:00
El. Harp, el. Percussion, Sampler
1991 Ursa’s Door Duration: 46:00
Violin, Cello, El. Guitar, El. Harp, Drums
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
zeena parkins
COMPOSITIONS: LARGE ENSEMBLES
2000 Pan Acousticon
Duration: 15:00
Chamber Orchestra + Piano, Sampler, Accordion 1998 V.O.U. Valley of Unrest Duration: 8:00
Chamber Orchestra + El. Guitar Soloist
COMPOSITIONS: SELECTED SOLO
2008 inyoufrom
2007 Gold
5:50
2007 Bubble
13:02
2007 Vibratory
9:32
2005 Solo for Neil
1998 Vita Futuristica 1998 This Velvet Annihilation 1998 Slant Left Ac. Harp and electronics
Duration: 5:29
El. Harp and electronics
Duration:
El. Harp and electronics
Duration:
El. Harp and electronics
Duration:
Ac. Harp and electronics
El. Harp and electronics
El. Harp and electronics
El. Harp and electronics
COMPOSITIONS: Selected Solo
1998 Dreaming Lips
El. Harp and electronics
Vexed Zeit
El. Harp and electronics
1992 Sleep El. Harp and electronics
1992 Empty Bottle
Ac. Harp and electronics
1992 Model for a Colossal MomentEl. Harp and electronics
1992 Nightmare Alley Ac. and El. Harps
1992 Love Letter Ac. Harp and electronics
1992 Freak
El. Harp and electronics
SOUNDTRACKS FOR FILM AND VIDEO
2010 Animal Riot 2007 Harpstrings and Lava
2007 Green Porno
2007 Minot
2006 Oompie Ka Doompie
2005 Loneliness and the Modern Pentathlon
2005 PSA Project no. 1-15
2004 Still Life
2004 Devotion
2004 The Time We Killed (co-composer)
2002 Past Perfect
2000 Surface Noise (co-composer)
1998 Treyf
1996 Soi-Meme
1996 Hairless
1996 Sleep
1987 Mayhem (co-composer)
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
Duration: 4:00
Duration 9:00
Duration: 9:16
Duration: 6:35
Duration: 5:00 1998
Duration: 3:50
Duration: 3:44
Duration: 1:15
Duration: 7:50
Duration: 2:00
Duration: 1:26
Duration: 1:51
Mandy McIntosh
video 21”
Daria Martin
16mm 13”
Isabella Rossilini
video 12”
Cynthia Madansky 16mm 20’
Mandy McIntosh
video 22”
Daria Martin
16mm 17”
Cynthia Madansky video 15”
Cynthia Madansky 16mm 15”
Cynthia Madansky 16mm 34”
Jennifer Reeves 35mm 60”
Cynthia Madansky 16mm 43”
Abigal Child
16mm 20”
Madansky/Lebrow
35mm 60”
M.M. Serra
16mm 5”
Janene Higgins video video 3.45
Janene Higgins video video 4”
Abigal Child
16mm 20”
10 | 11 - 04 | 12 | 10
esgallery.net
zeena parkins
COMPOSITIONS FOR DANCE
Many of these works received multiple performances. I have only included the location
and date of the premier performance.
Body Cartography
2010 Half Life
Southern Theater/PS122, Minn./NYC
Neil Greenberg
2010 (like a vase)
2008 Really Queer Dance with Harps
2006 Quartet With Three Gay Men
2005 Partial View
2003 Two
2001 Construction with Varied Materials
2000 Sequel
1997 My Fair Lady, Part Three
1996 The Disco Project
1994 Not-About-Aids Dance
1992 Kick Me Dance
1991 Destiny Dance
Dance Theater Workshop, NYC
Dance Theater Workshop, NYC
Dance Theater Workshop, NYC
Dance Theater Workshop, NYC
Dance Theater Workshop, NYC
The Kitchen, NYC
The Joyce Theater, NYC
The Joyce Theater, NYC
PS 122, NYC
The Kitchen, NYC
La Mama Annex, NYC
PS 122, NYC
John Jasperse
2007 Misuse is Liable to Prosecution
2006 Scavanger part one
2005 Prone
1989 Rickety Perch
Brooklyn Academy of Music
Symphony Space, NYC
The Kitchen, NYC
Danspace, St. Mark’s Church
DD Dorvillier
2008 CPAU
2007 Nottthing is Importanttt
Dance Theater Workshop, NYC
The Kitchen, NYC
COMPOSITIONS FOR DANCE
Emmanuelle Vo-Dinh
2007 Aboli Bibelot
2006 Ici./Per.For
2004 Croisees
2000 Sagen
1998 Texture/Composite
Festival Agitato, Le Triangle, Rennes
Theatre Philip Gerard, Paris
Theatre la Passerelle de St. Brieuc
Theatre la Passerelle de St. Brieuc
Theatre de Le Havre
Jennifer Monson
2002 Atlas of Holes
1997 Sender
1995 La Mer
1994 Tacklerock
1991 Finn’s Shed
1990 Ursa’s Door
Galapogas, Brooklyn
The Kitchen, NYC
PS 122, NYC
Danspace, St. Mark’s Church, NYC
PS 122, NYC
Danspace, St. Mark’s Church, NYC
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
zeena parkins
1989
1989
1987
Ignacius Bight
Hunk/Toad/Deliver
Blood on the Saddle
PS 122, NYC
Lincoln Center Out-of-Doors, NYC
Danspace, St. Mark’s Church, NYC
Jennifer Lacey
2000-2005
Money Shot
The Kitchen, NYC
Kortrijk Theatre, Belgium, Centre Pompidou, Paris, Theatre de la Bastille, Paris,
La Criee Centre D’Art
1998-1999
[voice tells] 14 tiny pictures
PS 122, NYC
Serious Fun Festival, NYC, Darmsradt Staatheatre, Klapstuk Festival, Belgium,
Festival Nouvelle Scenes, Dijon.
Cathy Weis
2001 A Bad Spot Hurts Like Mad
The Kitchen, NYC
Cydney Wilkes
1997 Hup 2
1995 Wolf
1992 Hup
1990 Angel Animal
1988 Fissure
Dance Theater Workshop, NYC
Dance Theater Workshop, NYC
PS 122, NYC
Movement Research, NYC
The Joyce Theater, NYC
CROSS PLATFORM: Web
2004
www.weightlessanimals.com
with Kaffe Matthews and Mandy McIntosh
CROSS PLATFORM: Installations
2009 2006
2002
2000
Zorns (de)Lemma
Issue Project Room, Brooklyn
Floating Points Festival : Installation for 16 speakers and live performance
Polyconic Projections Diapason, NYC
Solo show in collaboration with sound artist Douglas Henderson:
10 speaker diffusion
Arch
Museum of Contemporary Art, Lyon, France
“Musiques en Scene, New York, New Sounds, New Spaces”
Group show: single channel video with stereo soundtrack
Money Shot
PS 1 Moma, Queens
“Volume Bed of Sound”
Group show: headphone installation with giant bed
CROSS PLATFORM: Live Scores for New Films and Video Collaborations
2008
Regular 8 and Live sound with Jeff Preiss
The Stone, NYC
Duet for Regular 8 projector, Live processing, Filmmaker and Electric Harpist
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
zeena parkins
2006
2004
2001
2001
2000
2000 Regeneration with Daria Martin
Tate Triennial, Tate Modern Turbine Hall, London
Slides and Shadows, multiple screens and set
Arch
with Janene Higgins
Multi-channel video mix with live processing w/ electric harp, analog and DSP,
sampler
Location One, NYC
Broadcast performance on Roulette TV, NYC
Experimental Intermedia, NYC
Mixology Festival
Roulette, NYC
1998
1998
1998
1997
1997
Artificial Eye
with Janene Higgins
Multi- channel video mix with live processing w/ El. Harp Melodica and Sampler
40 minute trance meditation on the life and work of Hildegard von Bingen
City of Women Festival
Ljubljana, Slovenia
Kibla
Marabor, Slovenia
Jesse Wrench Theater
University of Missouri at Columbia
Documenta X
Kassel Germany
Extempore Festival
Z Axis Music Unlimited
Wels, Austria
Elations, The Girls Nervy, We are Going Home, Untitled with Jennifer Reeves
Mixology Festival Roulette/Location One, NYC
multi-projection films, Co-composer David Kean
Scored for Electric Guitar and Electric Harp, Sampler. Live processing
CROSS PLATFORM: Live Scores for Classic Avant Garde Cinema
At Land (solo and ensemble version)Maya Deren
1944
15” B&W
Ritual in Transfigured Time
Maya Deren
1946
15” B&W
Un Chant D’Amore
Jean Genet
1950
25”B&W
Rabbit’s Moon
Kenneth Anger
1950
8” Color
Scored for percussion violin, cello and electric harp/numerous perf including:
1997 Wilisau Festival
Wilisau, Switzerland
1997 Druga Godba Festival Ljubljana, Slovenia
1995 City of Women Festival Ljubljana, Slovenia
1994 Westwerk
Hamburg, Germany
SELECTED DISCOGRAPHY:
SOLO PROJECTS
2010 Between the Whiles 2004 Nightmare Alley (re-release)
1998 No Way Back
1993 Nightmare Alley
1987 Something Out There
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
Table of the Elements, Madison
Table of the Elements, Madison
Atavistic, Chicago
Table of the Elements, San Francisco
No Man’s Land, Germany
10 | 11 - 04 | 12 | 10
esgallery.net
zeena parkins
DUO PROJECT
Phantom Orchard with Ikue Mori
2008 Orra
2004 Phantom Orchard
Tzadik, NYC
Mego, Vienna
Duo with Chris Cutler
1999 Shark
RecRec, London
GROUP PROJECTS
With The Eclipse Quartet
2006 Necklace
Tzadik, NYC
With The Gangster Band
1999 Pan Acousticon
1996 Mouth=Maul=Betrayer
1995 Isabelle
Tzadik, NYC
Tzadik, NYC
Avant, Japan
MUSIC FOR DANCE
2003 Money Shot
1992 Ursa’s Door
Casestudy, NYC [limited artist editions}
Les disques Victo, Victoriaville
MUSIC FOR SOUNDTRACKS
2004 Weightless Animals (vinyl)
2004 Devotion (vinyl)
1993 The Opium War
Annetteworks, London
Table of the Elements, Madison
Einstein, NYC
COLLABORATIONS
2010 Project
w/Christian Marclay
2001 Generous Palmstroke w/Bjork
2001 Live at Easthampton w/Nels Cline,Thurston Moore
1996 Sharks!
w/ Chris Cutler
1996 Blackburst
w/Elliott Sharp
1996 Gift of Tongues
w/Lee Renaldo,William Hooker
1994 Psycho/Acoustic
w/Elliott Sharp
1993 No Safety
Live at the Knitting Factory
1989 Good as Gold
OWT w/David Linton 1986 Country of Blinds
w/Skeleton Crew
TBA
Electra, London
JMZ
Re Records, London
Les disques Victo
KFW, NYC
Les disques Victo
KFW, NYC
Homestead, NYC
RecRec, Zurich
HARPIST/ACCORDIONIST/KEYBOARDIST/ARRANGER
MATTHEW WELSCH
2010 Luminosity/Self non-Self
Porter Records, Florida
ELLIOTT SHARP
2010 Carbon Void Coordinates
Intackt, Switzerland
2007 Orchestra Carbon/Syndakit
Neos Music, Germany
2007 Orchestra Carbon/Rheo-Umbra
Neos Music, Germany
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
zeena parkins
2007
Spring and Neap
Neos Music, Germany
Harpist/Accordionist/Keyboardist/Arranger
FRED FRITH
2010 Cosa Brava/Ragged Atlas
Intackt, Switzerland
2003 Keep the Dog
Fred Records, San Francisco
2000 Traffic Continues
Winter and Winter, Munich
1999 Graphic Scores
Angelica, Bologna
1990 Step Across the Border
RecRec, Zurich
MAYBE MONDAY
2008 Unsquare
BJORK
2005
2002
2002
2001
Intakt Records
Drawing Restraint 9 Soundtrack
One Little Indian, London
Greatest Hits/Family Tree
One Little Indian, London
Live at Royal Opera House
One little Indian. London
Vespertine
One Little Indian, London
NELS CLINE
2001 Destroy all Nels Cline
2000 The Inkling
Atavistic, Chicago
Cryptogramaphone, Venice, CA
TIN HAT TRIO
2007 The Sad Machinery of Spring
2004 Book of Silk
2002 Rodeo Eroded
Hannibal/Rykodisc, Chicago
Rope a Dope, Chicago
Rope a Dope, Chicago
CHRIS CUTLER
1986 Letters Home
1984 News From Babel
Re Records, London
Re Records, London
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
holger friese
Holger Friese lives and works in Berlin. In his works, which usually refer to places, analyze
aspects of social phenomena and the effect of society (media) on the individual.
He has been invited to several exhibitions, such as Documenta X 1997 in Kassel, net.
condition 1999 in Karlsruhe, Art meets Media: adventures in perception am ICC in
Tokyo, 2005 and at the 11th exhibition of sculptures in Biel/Bienne (Switzerland), 2009.
His works appear to be more a distillation of the comparison between the wording
of the question and its contents. Art works in public spaces such as “the 16bit library,
university library of Constance (2005),” Zeichen / Sign” carried on the front of the Palast
der Republik, Berlin (2004), or “Schwarz und Weiß” in cooperation with Mona Jas, a
video installation on LED Screen of the publishing house Axel Springer Verlag in Berlin
(2007), represent a visual description, perceptible in city spaces.
SINGLE EXHIBITIONS
2010
SG / SD
in collaboration with Zeena Parkins
Galerie Erwin Seppi, Merano
2005
19991 HOME DELIVERY,
con|temporary, Berlin
in collaboration with Mona Jas
2002
Holger Friese - Werke 1994 - 2002,
bgf-mitte, Berlin
2001
Reload
Spiegel - Künstlerwerkstatt Lothringerstraße, Monaco di Baviera
Fahrradhalle Offenbach
2000
Reload
Kunstbunker, Norinberga
1999
www.inmeinernaehe.de
Kunstbank, Berlin
1998
wysiwyg version#2
Neuer Aachener Kunstverein, Aachen
1995
Nachlass
in collaborazione con Marco Lietz
Raststätte, Aachen
WORKS IN OPEN SPACES
2009
Alle Dinge, die Christian Schimanski...
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
holger friese
Ladenlokal, Merano
in collaboration with Mona Jas
2007
Schwarz und Weiß
Axel Springer AG, Berlino
Videoinstallation
in collaboration with Mona Jas
Curator: Annika von Taube
2005
The 16bit Library
Library, University of Costanza
Interactive Installatio
2004
Sign/Zeichen
Palazzo della Repubblica, Berlin
Temporary installation
2004
Alle Dinge die Christian Schimanski...
Ladenlokal Rosa Luxemburg Straße, Berlino
Videoinstallation
in collaboration with Mona Jas
COLLECTIVE EXHIBITIONS
2009
Pourquoi attendre!
Centre d‘art contemporaine, Ginevra
Utopics
11. Schweizer Skulpturausstellung, Biel
2008
Beyond Kiosk
ICA University of Pennsylvania
Kunstverein, Bonn
2007
Review
Axel Lapp Projects, Berlin
2007
A season of film
Axel Lapp Projects, Berlin
2005
Art meets Media: adventures in perception
ICC, Tokyo
video/text
ZKM, Karlsruhe
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
holger friese
2002
Shrink to fit
Museum für Kommunikation, Berna
2002
interfaces 02,
Goethe Institut Montevideo, Uruguay
Berlin London,
ICA, London
Bin ich drin?
Kleine Humboldt Galerie, Berlin
2000
ArtCade: Exploring the relationship between Video Games and Art
SFMOMA, San Francisco
1999
Version 5.0
sgg*, Ginevra net_condition
ZKM, Karlsruhe
Catalogue
BMA 2000
Neuer Kunstverein Aschaffenburg
Catalogue
Reload
shift e.V., Berlin
1998 Typische Handbewegung
Kunstraum - Lothringer Straße, Munich
sub-fiction
3. Werkleitz Biennale, Werkleitz
Catalogue
1997
documenta X, Kassel
Catalogue / CD-ROM
Anticipation - Version 4
sgg*, Ginevra
COMPETITIONS
2008
Art all Around - Maine Centre for Creativity, Portland USA
Finalist - Maine Bilder Tanks
Neons - FRAC, Ginevra
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
holger friese
Concorso ad invito - Signalisation
Dawn Town 2008 - Miami USA
Lobende Erwähnung - The inflated pump station
2003
Kunst am Bau – University of Costanza
1° premio - The 16 bit Library
CONFERENCES
2008
Maine Bilder Tanks
Presentazione
South Portland, Maine, USA
Rockland, Maine, USA
2002
Behind the Surface
International School of New Media, Lübeck
Die Schichten unter der Oberfläche/Gli strati sotto la superficie
Staatliche Akademie der Bildenden Künste Stuttgart
Fragen zu Antworten - Antworten zu Fragen
FH Bielefeld FB Gestaltung
www.antworten.de - Versuch einer Analyse
Humboldt Universität, Berlin
net.media.virtual.digital.art
2. berlin biennale, Berlin
2000
Surfaces and short time memory
Kunstverein Graz
Videovision Update - Medienforum München
Rathausgalerie Munich
1999
1998
Una serata Holger Friese e Christine Meierhofer
Shift Berlin comm_X-change 98
Basilea
GRANTS
1999
Arbeitsstipendium Bildende Kunst
Kulturverwaltung des Berliner Senats
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net
ECHI DI UNA MEMORIA SONORA IMMUTABILE
La definizione di rumore sta ad intendere un suono che provoca una sensazione
sgradevole, fastidiosa o intollerabile, in grado anche di eccitare il senso dell’udito
umano. Come lo sono stati i rumori di vetri infranti, il crepitio delle fiamme, le urla
di terrore di migliaia di vittime inermi e innocenti. Sono gli echi risuonati nella notte
del 9 novembre 1938 in tutta la Germania e in Austria, l’’inizio dei pogrom e delle
persecuzioni antisemite nel Terzo Reich che condurranno alla rovina morale, politica ed
economica una nazione accecata da un’ideologia devastante.
È sorprendente come il poeta Heinrich Heine, già nel 1855 nel libro sulla Germania
dedicato ai francesi “De l’Allemagne”, era stato in grado di annunciare una profezia:
“.... e quando voi sentirete scroscio come mai scroscio si è fatto sentire nella storia del
mondo, sappiate che il tuono tedesco avrà raggiunto il suo scopo. A questo rumore
le aquile cadranno morte dall’alto dei venti (....) In Germania si rappresenterà un
dramma in confronto al quale la rivoluzione francese non sarà che un idillio innocente”.
Le parole del poeta tedesco avevano anticipato ciò che sarebbe poi accaduto,
nel corso di quella sinistra notte del 1938. I bagliori delle fiamme illuminavano le
città tedesche dove le case e le sinagoghe, luoghi di culto degli ebrei, erano state
incendiate. Saccheggi, deportazioni di massa. Morte e distruzione risuonavano come
suoni lugubri nella notte di una nazione presa in ostaggio da bande di militari liberi di
commettere violenze inaudite.
Dall’oblio di una memoria storica fin troppo rimossa, riemerge ora grazie ad progetto
artistico. Zeena Parkins ha creato un’installazione musicale e sonora a cui viene
assegnata la missione di ricercare e rievocare quelli che l’artista americana chiama gli
“spiriti percettibili”. Sono i rumori tristemente tragici, risonanze congelate di un tempo
ormai trascorso. Un eco che è rimasto imprigionato in quei luoghi dove la fede e la
cultura ebrea veniva tramandata.
Oggi di quelle tracce acustiche cosa è rimasto? Altri suoni, altri rumori hanno preso
il loro posto, ma la ricerca espressiva – artistica non è stata vana. Si aggiungono
all’invenzione di Holge Friese con i suoi rivelatori di fumo attivabili dalla presenza
umana. Un suono di un allarme diventa un rumore sgradevole che rimanda, ancora
una volta, alle sirene di quella notte, alle urla di dolore e sofferenza, a quei suoni
sgradevoli impossibili da dimenticare. C’è un’energia di quelle tragiche azioni umane
che resta impressa, là dove lo sconvolgimento, la ferocia, l’oppressione ha commesso
delitti atroci contro l’umanità. Il suono originale del 1938 messo a confronto con
quello dei nostri giorni crea un legame tra passato e presente, diventa storicizzato e
inalienabile. Apre ad una dimensione atemporale senza fine.
Roberto Rinaldi
c o n t e m p o r a r y a r t g a l l er y
mi_fr / me_ve 16 - 19h / sa 10 - 13h
laubengasse-portici 75 meran(o)
10 | 11 - 04 | 12 | 10
esgallery.net