Artistic interventions meander through the harbour and across art spaces, including Mundhalle, Zollo, MOM Art Space, Xpon, Alter Recyclinghof/PARKS, Schaltzentrale, Zollo, Hafensmuseum, Hinterconti, B-Movie..
With Cora Piantoni, Elena Victoria Pastor, heidundgriess, Dagmar Rauwald, Gregory Büttner and Simon Whetham, Jan Engels, Andreas Peiffer, Midori Yamamoto, Simone Karl, Maud van den Beuken, The New Liquidity (Anders Ehlin and Selma Boskailo), Claire Mélot, Eva Nuria Syawash, Fabien Bidaut, Julien Fleurance, Beatrice Alvestad Lopez, Gabriel N. Gee, Katharina Langer.
Katharina Langer 20 min Portraits in Udo´s Imbiss / Malerei Performance und Interviews
In the small imbiss at Pollhornbogen 23, Katharina Langer sets up a studio for a day with an easel, canvas, oil and acrylic paints.
She portrays visitors over coffee in Udo's snack bar: trucker drivers, dockworkers, etc. Through painting, Katharina tries to participate in people's lives. The level of painting connects people and creates a space for exchange. During these 20 minutes, an intimate connection often develops between painter and model and little life stories come to light.
Just as the portraits created are only fragments, she collects narratives from people's lives. The attraction is imperfect, sketched and processual. For one day, she immerses herself in this place.
Visitors are invited to participate on 23.06 from 7am to 3pm.
After the exhibition at MOM art space, the portraits will be shown at Udo's Imbiss.
Port! Workers! Move! ,2022
Installation / text on banners
Work in the harbour is constantly changing. The last major change took place in the 1960s with the replacement of general cargo by containers. Since then, goods have been loaded in standardized containers.
Work also became increasingly invisible with the privatization of terminals or entire ports, while new professions have emerged and women are increasingly employed at the port.
Who is working at the Port of Hamburg today, what are the specific activities, what history and what personal stories are behind the individual actors involved in transport on the Elbe? Some of the jobs at the port are made visible on large banners made of truck tarpaulin on the facades of the city’s now converted industrial buildings, The focus is
on the interplay of these different actors in the transport of goods and their mechanical helpers, but also on the background of the dock workers and their families, who constantly organized themselves to fight for better working conditions.
In her videos and installations, Cora Piantoni deals with people who were involved in historical events. The years before the fall of the wall and the political upheaval that brought about the end of the Cold War as well as Italy’s revolutionary left form the historical background. In extensive interviews, Cora Piantoni talks to contemporary witnesses.
Excerpts from these conversations form the soundtrack of her films. At the
same time, she and her interlocutors develop re-enactments of past events, moving images that stand for a political or social situation.
Cora Piantoni, born in Munich in 1975, lives in Zurich as an artist, photographer and filmmaker. She studied at the Art Academy in Munich and at the University of Art and Design in Zurich. Her work has been shown in numerous solo and group exhibitions and she has been awarded various prizes, grants and studio residencies in port cities such as Gdansk, Genoa, Porto and currently Venice.
Maud van den Beuken
Times of the tides, 2022 text work
You will be taken on a journey along the bottom of the Elbe River. Where our eye does not immediately reach beyond the surface of the water, there is a world unknown to us in the basin of the river.
During a 3-month residency in Achterhaus Ateliergemeinschaft, Hamburg (2020), Maud van den Beuken (Rotterdam, NL) investigated the mud in the Elbe River. Through expeditions along the river, collecting large amounts of mud, and conversations with a soil expert from the HPA (Hamburg Port Authority), she investigated the journey of the mud, through both water and land. The audio piece is a reflection on the long-standing debate within Hamburg's river landscape about the dredging and deepening of the Elbe. In her work, she addresses questions about landscape preservation and the origins of human existence.
The audio narration can be heard at the Landzunge, Hamburg, 4 times a day during the high and low tides. Bring your own earplugs and scan the QR code on location with your phone.
Times of the tides
23 June 00:45 High tide 08:16 Low tide 13:28 High tide 20:28 Low tide
24 June 01:48 High tide 09:19 Low tide 14:28 High tide 21:33 Low tide
25 June 02:47 High tide 10:21 Low tide 15:22 High tide 22:35 Low tide
26 June 03:41 High tide 11:16 Low tide 16:10 High tide 23:30 Low tide
27 June 04:31 High tide 12:02 Low tide 16:55 High tide
28 June 00:17 Low tide 05:18 High tide 12:41 Low tide 17:38 High tide
29 June 00:59 Low tide 06:02 High tide 13:16 Low tide 18:18 High tide
30 June 01:39 Low tide 06:44 High tide 13:50 Low tide 18:57 High tide
1 July 02:18 Low tide 07:23 High tide 14:26 Low tide 19:36 High tide
2 July 02:58 Low tide 08:00 High tide 15:03 Low tide 20:14 High tide
Fluid is a part poster series showing the slowly progressive separation of human contact in five steps. What happens when the harbours stand still, and we lose contact? This question often focuses on disconnected supply chains or product bottlenecks. But above all, the port loses the multifaceted state of a merging crowd.
Harbours are melting pots of humans. A continuously changing crowd is meeting between land, water, materials, stories, and secrets. The countless people who arrive at or leave a harbour every day are the heart of this place. On prolonged observation, it almost seems as if life is merging into a hybrid body form of human contact that transcends individuality, gender and material. A fluid state of bodily simultaneity emerges.
The posters are visualizing the fluid and energetic state of exchange, fusion and contact that dissolves in slow motion and ends in the isolation of formerly connected people and bodies. The medium of collage translates the idea of long-term observation from different perspectives at the same time
through the use of many elements that appear simultaneously.
The posters blend into the harbour environment and can be discovered by festival visitors, workers and walkers along the way. After the end of the festival, the works will gradually become part of the harbour area through weathering, graffiti and paste-over.
Simone Karl (*1989) works on the themes of female corporeality, violence, intimacy, gender roles and body boundaries in the media of installation, collage and performance. She graduated with a Master of Arts degree from HAW Hamburg in 2017. Since then, she has worked internationally during residencies in Poland, Portugal, Italy, Slovenia and Germany. Her work has been shown in various exhibitions.
Among others: lokal_30 (PL), Goyki3 Art Inkubator (PL), Kunsthaus Hamburg, Galerie im Marstall Ahrensburg, Kunstverein Erlangen, Maison du Peuple de Saint Gilles (BEL) and Layerjeva hiša (SVN).
She lives and works in Hamburg.
In her* words, 2022
In her* words is a swimming-performance in the harbour. Recycled foils with written texts are pulled into the water and processed there into a floating sculpture.
A hill-like floating object is created by the swimmers by wrapping the colour-coded plastic forms. The partly readable texts reflect the Backlashes of pandemic time which affects mostly women who are affected by violence, displacement and poverty.
Visitors can hear debating voices also via QR Code. When the fragments “swim together” a symbolic island emerges as a third space (H. Baba). It stands for words that are not said or not said loud enough.
Beatrice Alvestad Lopez
Elemental Bodies, 2020 video performance
Memory of Origin, 2020 voice reading
Elemental Bodies, 2020
video performance 11:09min
Performance ritual in Ålvik, Norway. A bodily immersion in water and near fire. Water runs through delicate glass tubes as I approach the watery element and charge myself on the heated pebbles near the sparkling orange flames – the body exists in between.
Memory of Origin, 2020
Voice recital of a text written on Afloatness whilst sailing in the Scottish sea towards St.Kilda. The artist reflected on the journey and the elemental force of water and the hydrological cycle.
Beatrice Alvestad Lopez is a Norwegian visual artist based in Stockholm, Sweden. Her work moves between practices of performance, poetic cinematography and installation of crafted objects. It is a context-based practice concerned with queer ecologies, hydro-feminism and rituals—all of which are themes that encourage living in tune with the landscape, spiritual and natural forces. Central to her practice is a connection to place and openness toward non-human, vegetative and planetary bodies through performative engagements with the surrounding environment. She records her engagements with the landscape through sound, film and photography and set up immersive installations in various mediums
of photo-printed textiles, wood, metal, clay and found residue. She holds a BA in Textile from Nuova Accademia di Belle Arti, Milan with an exchange at Pratt Institute, NY. An MA in Craft from Könstfack, Stockholm. Alvestad Lopez has been awarded grants from Kulturrådet Norway, Helge Ax Jonson Stiftelse and Estrid Ericson Stiftelse. She received the studio fellowship Ateljéstipend from Luleå Kommun, Sweden for 2022. She has participated in various group exhibitions and a duo exhibiton at Sagene Kunstsmie, Oslo in 2019. Her upcoming plans are a residency at Kunstnerkvarteret Lofoten in August followed by a solo exhibition at BOY Konsthall in Autmn 2022 and at Luleå Konsthall in 2023.
Gregory Büttner and Simon Whetham
Place is the Space… , 2022
new strategies for a collaborative composition
For betweenEbbandFlow, the artists will make three exploratory durational sound performances in the place and space of the „Alter Recyclinghof“ where the two can communicate and respond to each other by sound but not always by sight. Indoor and outdoor spaces will be used, and combined. As both artists use the art of field recording in their practices as one
way of exploring locations and situations, they will incorporate the sounds of the harbour and „Alter Recyclinghof“ site in the project.
Traditionally these types of collaborations require at least some visual communication as well as sonic, so proposing to interact through only sound almost reverses the current trend of interaction imposed on us by the pandemic and lockdowns.
For three days during Between Ebb and Flow: Interstitial Spaces the two artists will be in the same location, responding collaboratively with each each other, the materials and the space of the location, conversing with one another in non-visual, non-verbal ways, fully utilising the space.
The interstitial space is essential to the project and the performers. The idea is inspired by marine activity such as sonar, radio transmission and boat horns – all non-visual ways of communicating and exploring at sea.
The project consists of three durational interventional performances:
Tuesday 28th June between 15:00 and 19:00
Thursday 30 th June between 16:00 and 20:00
Saturday 2nd July between 15:00 and 21:00
Jan Engels, Andreas Peiffer, Midori Yamamoto
Harbour - Sediment - Der kleine Tod (La Petite mort), 2022
performance and installation
Jan Engels, Andreas Peiffer, Midori Yamamoto are interested in the level of travel and transport in connection with water. The corona pandemic has led to a rethinking and a sensitisation on many different levels. Interpersonal contact, communication with each other and also finding needs has changed. What are postcorana longings, wishes and dreams after the period of high immobility? Can we find our way back to the time before or should we develop new models of professional and private life? Harbour - Sediment - Der kleine Tod wants to stimulate reflection on such issues and dare a humorous look through unexpected conclusions.
The artists have joined forces since they work in three different areas. Jan Engels explores the space of water in physical and theoretical ways. He himself has illuminated and reflected on this medium in sculptural ways under and over water. In his teaching, he deals with fundamental questions of creative practice. He is particularly interested in the aspect of water in urban space from a promenadological perspective.Midori Yamamoto is concerned with the investigation of the human body. On the one hand, the body as a tool and material with all its impressions and perceptions, and on the other hand, the investigation of the resulting behavioural patterns. Andreas Peiffer's artistic practice deals with the exploration and critical reflection of space through performative strategies, interventions as well as installations and site-specific works. His motivation is to break through spatial boundaries and habitual notions of space, as well as the associated behavioural patterns and expectations of places and spaces, in order to challenge architectural as well as physical boundaries.
For betweenEbbandFlow they work together with two institutions. On the one hand, the Hafenmuseum Museum and, on the other, with the exhibition space Xpon in Hamburg. Through the cooperation of the Hafenmuseum, they will relate our contemporary question to the history of goods, tourism and emigration traffic. At the same time through the cooperation with the exhibition space Xpon they would like to transfer their concept away from the location of the event into the city centre of Hamburg.
The New Liquidity (Selma Boskailo & Anders Ehilin)
De-territorialized Listenings, 2022
The New Liquidity (Anders Ehlin and Selma Boskailo) is presenting their immersive binaural site-specific soundwalk as a part of their series De-territorialized Listenings. Using adaptive spatial audio, which is reactive to the participant’s body movements and location, they are seeking to challenge the hierarchies of our sensorial and imaginative structures. A custom-built AR app for mobile phones utilizes the phone’s gyro and accelerometer data to track a walker’s local positions and movements, as well as GPS signals to trigger geolocated sound events in the larger geographical realm.
By rethinking local knowledge and environments they are proposing a transformation of familiar soundscapes, as well as addressing deterritorialization in the context of cultural globalization and distancing from the locality developed through mediatization, migration and commodification of life under the global capital.
De-territorialized Listenings is part of Project Anywhere’s 2022 Global Exhibition Program for art at the outermost limits of location-specificity and is realized in collaboration with the Centre of Visual Art (University of Melbourne) and Parsons School of Design (The New School, New York).
The production is supported by the BBK Berlin.
Fabien Bidaut, Claire Mélot, Julien Fleurance, Nuria Syawash
Chronik der Meerlbe, 2022
"... Die Schifffahrt entlang der seichten Wattwaterküsten von Nieder-Untertiefelanden kommend gen Meerlbe war erschöpfend. Die Wattflächen mit deren Prielen und Seegatten glitzerten nach dem Regen um uns herum. Kilometerweit nach Norden und Süden ist im Meerlbe-Delta nur vom Wind gestreiftes Wasser zu sehen. Am Bug messen B. und N.vorsichtig die Wassertiefe. Die Brackgewässer unter dem Kiel sind bei Hochwasser glatt wie Schokopudding. In unmittelbarer Nähe der Lagune aber sind dutzende türkisblaue Süsswasserseen zu sehen, wo Sumpfschildkrötenkolonien und Robben auf Sandbänken klopfige Töne hören lassen. Wie ein Momentum der Stille, wenn die Tide ihren Höhepunkt erreicht hat."
Die Chronik der Meerlbe ist Teil der Chronikenreihe WassErde ~ Wasserchroniken. Die Wasserchroniken stellen eine Erkundungsmethode vor, die Schreiben und kritische Kartographie, Fiktion und Realität von Wassermilieus miteinander verbindet. Chronik der Meerlbe ist ein mehrhändiger ortsgebundener kritischer Schreib- und Kartographiemoment: Wir erkunden die Elbe (Hafen, Gewässer, Ufer, Flussmündung, uvm.) und produzieren Texte und Karten, die während einer Performance als Lesung im öffentlichen Raum zu erfahren sein werden.
Sich von WassErde, vom Wasser als Milieu (Umwelt) und Biotop in überfluteten Häfen, umgeben von Industrien, inspirieren zu lassen, bedeutet Wasseroberflächen, die wir zu kennen glauben, anders zu betrachten und sich im Landmilieu der Elbe, welches wir ebenfalls zu kennen glauben, fremd zu machen.
Wenn das Wasser steigt [+2,3m in 2030, IPCC Bericht], wie sehen die Flüsse Europas aus? Wie ist das Leben in einer Landschaft und einem Biotop aus Wasser und Land: einer WassErde?
"... In EAUropa ist die Wattwaterküste bislang am stärksten von der Überflutung des Landes und des mächtigen Tempos von Ebbe und Flut betroffen. Trotz der beispiellosen Investitionen konnten viele große verDammte Hafenstädte die Verbreitung des Deltas der Meerlbe nicht vermeiden. Abgesehen von den wenigen StadtEinseln, die sich hinter ihren immer höheren Betonmauern verschanzt haben, sind die meisten Küsten, Flussmündungen und ländlichen Gebiete, die heute den großen Wassermassen frei ausgesetzt sind, teilweise entvölkert. Diejenigen, die nicht in den paar HHansEinseln Zuflucht finden konnten, rückten tiefer ins Landesinnere vor. Andere wiederum haben sich den Fluten angepasst, indem sie sogenannte TAFs (Temporary Autonomous Fleets) schufen, die sowohl entlang des Deltas als auch im HHarchipel hin und her schwimmen..."
The flag, a symbol understood like no other sign in all countries of the world. In its capacity, it marks a belonging, indicates privileges and rights of a group of people or a nationality. In the installation dissolve a flag is replaced by volatile water mist and installed on a flagpole.
On the direct level, the spraying stands for a fleeting existence, for Life itself: all living matter disintegrates and becomes one with its surroundings, just as water diffuses into the air. Figuratively, too: empires, states, and organizations pass away, their flags become relics, and the material from which they were created decays over time. On the other hand, its form questions and counteracts the attributions, levels of meaning, and treatment of "classic" flags; its fluidity contradicts the symbolic meaning they have acquired throughout history:
It cannot be touched, hoisted, or folded.
dissolve will be activated every day from 5pm to 7pm.
heidundgriess are Alexandra Grieß and Jorel Heid. Since their collaboration in 2011, they mainly work internationally on site-specific installations in contemporary art galleries as well as in public spaces. Combining the fields of art, architecture and design thanks to their different backgrounds,
heidundgriess assert phenomena, stage places of special interest, take up themes associated with these coordinates, make them visible and put them up for discussion.
Elena Victoria Pastor
Leaving Paradise, 2021
Installation with sound, natural elements and video mapping
All over the world, millions of people are leaving their homes. Motivated by multiple reasons: by the effects of climate change, fleeing war, in search of a better future, trying to escape poverty or political conflict and so on... in every corner of the world, people are on the move. These stories, full of cruel moments and sometimes difficult to watch, are also full of human courage to move forward even in the most critical moments.
The media, under their personal gaze and editorial line, have sometimes sought to provide a factual account of the events, but they have also documented these stories, generating suspicion and also manipulating public opinion.
And while the awakening of public opinion is discussed in 140 characters, the world is going on, Elon Musk is trying to buy Twitter, conservative and extreme right-wing ideas are gaining strength in Europe and in China manufacturing continues under dehumanising working conditions; among other things. There are so many stories that it is deafening. In these hyper-digitalized, globalised times of almost instantaneous immediacy...
What is the reality? That of the media, that of the world, that of individuals, that of everyone... none?
The installation can be visited everyday from 5pm to 7pm