Von Sinnen

Autos schlängeln durch die Straßen,
rumpelnd Schlaglöcher abzupassen
– hören.

Abgase infizieren reinigende Luft,
verteilen im Takt chronisch, ruß’gen Duft
– riechen.

Zunge sanft vom Inhalat umschmeichelt,
sucht vergebens nach Süße, die streichelt
– schmecken.

Triste Häuser immer Grauer,
Blick gen Himmel tilgt die Trauer
– sehen.

Gassen schleusen eis’gen Wind,
frostig piekst er Mann und Frau und Kind
– fühlen.

getrübte Freuden lauern im Quartier
öffnen uns eine imaginäre Tür
– 6. Sinn

 

Hier, wo die Arbeiterschaft einst nächtigte, Leerstand nachwievor präsent ist, Müll auf den Straßen und ein rauher Umgangston zuweilen für Unmut sorgen, haben wir uns auf Genussreise begeben. Denn so sehr das Bild des Viertels nach Außen getrübt scheint, so sehr liegt darin auch eine eigensinnliche (!) Form des Genusses verborgen.

Indem wir sechs Künstler:innen und drei örtliche Kreativschaffende über einen Zeitraum von fünf Monaten zusammenbrachten, stießen wir den theoretisch-praktischen Dialog um einen Sonnenberg der sinnlichen Genüsse an, den es sich lohnt mit Freude zu entdecken. 

In drei Etappen erforschten hierfür zeitgleich jeweils zwei Künstler*innen einen der sechs Sinne. Ihre Arbeit wurde begleitet von drei Dokumentar:innen aus den Bereichen Musik, Journalismus und Design/Fotografie. 

Ob Kulinarik, Intervention, Performance, Installation oder Rundgang – wir machten den Sonnenberg mit allen Sinnen sicht- und fühlbar.

Dialogue box 2

  • ANNA TILL

    Anna Till (*1983) lives and works as a freelance choreographer and dancer in Dresden. She studied ‘Dance, Context, Choreography’ at the HZT - Inter-University Centre for Dance in Berlin and ‘Applied Cultural Studies’ in Lüneburg. Under the situation productions label, she develops stage plays with cultural manager Bettina Lehmann in changing collaborations with artists from different genres. Supported and co-produced by partner institutions such as HELLERAU in Dresden and tanzhaus NRW in Düsseldorf, she works as a performer, realises mediation concepts for children and young people, teaches at several universities and coordinates exchange and discourse formats in the context of TanzNetzDresden.

  • Nobody watching

    A polygonal object moves through the city. Made of foam, moved from the inside, observed from the outside, it explores the Sonnenberg. Disappeared in it: the body of the dancer and choreographer. No longer recognisable as a human being, the creature appears comical. It doesn't belong here. It moves from house wall to house wall, from edge to meadow, to staircase, to rubbish bin, to park bench. Robbed of her sense of sight, the performer feels her surroundings. The material, the foam that surrounds her, is a second skin that offers protection but also makes contact with the outside world more difficult. Touch is the sense that locates ‘ in the world. By absorbing information through touch, Anna Till recognises the temperature of a surface, feels whether it is soft or hard and at what distance from it. With the help of touch, she places her body in relation to its surroundings.

  • ANNA TILL

    Anna Till (*1983) lives and works as a freelance choreographer and dancer in Dresden. She studied ‘Dance, Context, Choreography’ at the HZT - Inter-University Centre for Dance in Berlin and ‘Applied Cultural Studies’ in Lüneburg. Under the situation productions label, she develops stage plays with cultural manager Bettina Lehmann in changing collaborations with artists from different genres. Supported and co-produced by partner institutions such as HELLERAU in Dresden and tanzhaus NRW in Düsseldorf, she works as a performer, realises mediation concepts for children and young people, teaches at several universities and coordinates exchange and discourse formats in the context of TanzNetzDresden.

  • Nobody watching

    A polygonal object moves through the city. Made of foam, moved from the inside, observed from the outside, it explores the Sonnenberg. Disappeared in it: the body of the dancer and choreographer. No longer recognisable as a human being, the creature appears comical. It doesn't belong here. It moves from house wall to house wall, from edge to meadow, to staircase, to rubbish bin, to park bench. Robbed of her sense of sight, the performer feels her surroundings. The material, the foam that surrounds her, is a second skin that offers protection but also makes contact with the outside world more difficult. Touch is the sense that locates ‘ in the world. By absorbing information through touch, Anna Till recognises the temperature of a surface, feels whether it is soft or hard and at what distance from it. With the help of touch, she places her body in relation to its surroundings.

  • HEIKO WOMMELSDORF

    After studying fine arts at the Muthesius Academy of Fine Arts and Design in Kiel, Heiko Wommelsdorf studied sound sculpture and sound installation with Ulrich Eller at the HBK Braunschweig from 2009 to 2012. In addition to numerous scholarships and many exhibitions in Germany and abroad, Wommelsdorf held a teaching position in the field of sound art at the Muthesius Academy of Fine Arts in Kiel from 2014 to 2015.

     

    https://vimeo.com/heikowommelsdorf

  • Schall Leistungspegel

    Whether refrigerators or freezers, washing machines, dishwashers or radiators - such appliances are given an EU energy label, on which the sound power level (in dB; decibels) is labelled alongside the energy efficiency class. Even outdoors, people now attach great importance to sound regulation, which is why even when buying tyres for cars, the volume or quietness is advertised. Every machine on a construction site is tested precisely with a decibel meter and labelled with a corresponding level value. In Heiko Wommelsdorf's work ‘Schallleistungspegel Chemnitz-Sonnenberg’, even the machines on the Sonnenberg are labelled that are not mentioned in the guidelines. The ticking of the traffic lights, the humming of the ventilation systems, the whirring of the electricity boxes - they are measured and labelled. In order to find the measured locations, visitors are given a map of the neighbourhood with markings and further information specially designed for this work.

  • HEIKO WOMMELSDORF

    After studying fine arts at the Muthesius Academy of Fine Arts and Design in Kiel, Heiko Wommelsdorf studied sound sculpture and sound installation with Ulrich Eller at the HBK Braunschweig from 2009 to 2012. In addition to numerous scholarships and many exhibitions in Germany and abroad, Wommelsdorf held a teaching position in the field of sound art at the Muthesius Academy of Fine Arts in Kiel from 2014 to 2015.

     

    https://vimeo.com/heikowommelsdorf

  • Schall Leistungspegel

    Whether refrigerators or freezers, washing machines, dishwashers or radiators - such appliances are given an EU energy label, on which the sound power level (in dB; decibels) is labelled alongside the energy efficiency class. Even outdoors, people now attach great importance to sound regulation, which is why even when buying tyres for cars, the volume or quietness is advertised. Every machine on a construction site is tested precisely with a decibel meter and labelled with a corresponding level value. In Heiko Wommelsdorf's work ‘Schallleistungspegel Chemnitz-Sonnenberg’, even the machines on the Sonnenberg are labelled that are not mentioned in the guidelines. The ticking of the traffic lights, the humming of the ventilation systems, the whirring of the electricity boxes - they are measured and labelled. In order to find the measured locations, visitors are given a map of the neighbourhood with markings and further information specially designed for this work.

  • 07.01 ‣THREE QUESTIONS TO ANNA TILL
    Dialogue box 2

    You’ve been in Chemnitz (travelling) for a few weeks now:
    What are your impressions of the city? Did you notice anything in particular? Why? What differences do you see compared to your home cities of Dresden and Hamburg, for example?

    Anna: “For me, Chemnitz is all about having lots of space. Wide streets, big houses, few people. That leaves a lot of space. I’m quite impressed by all the different cultural initiatives that use this space to shape the diverse subculture and always seek a strong connection to the urban society of Chemnitz. In contrast to Dresden, which has been almost completely renovated to death in recent years and mainly maintains its baroque heritage, stylistic breaks are visible in Chemnitz. I am reminded much more of the GDR past by certain buildings or monuments from that time. I enjoy that in a strange way. There is not one image, one aesthetic of Chemnitz. Chemnitz is like a jigsaw puzzle in which individual pieces have been lost over time and replaced by new ones. A cluster without a centre.”

    As part of the 2020 Von Sinnen dialogue fields, you are focusing on the sense of touch: are there any impressions that you draw from the Sonnenberg in particular? What are they specifically? How are these reflected in your work?

    Anna: “Touch is the sense that locates me in the world. By taking in information through touch, I recognise the temperature of a surface, feel whether it is soft or hard and at what distance I am from an object. This is initially independent of the exact surroundings. I use touch to relate my body to its surroundings. That is crucial for me. Moving the body into the centre, so to speak, and positioning it. In this case in Sonnenberg. Where do I walk past quickly? Where do I want to linger? Which surface structures have I perhaps never noticed before? Which corners and edges offer space for the body to adapt and hide in? Which surfaces are wide and large so that they can be used as a stage?”

    Can you give us a small preview of the work in progress? What can visitors to the presentation week from 31 October to 6 November look forward to?

    Anna: “I want to try something at DIALOGFELDER that I’ve never done before. Normally, my work is characterised by minimalism, precision and artistic dialogue; I also mainly produce pieces for the (theatre) stage. This time I’m going into the urban space and working intensively with a special material: foam. I’ve basically looked for an oversized costume as a performance partner. The object consists of different polygonal shapes (conception and construction: Tobias Eisenkrämer) and is a bit bigger than me. I am inside the object, so my body disappears almost completely, but moves the material from the inside. There are also several holes that I use to give the foam creature arms, legs and a head. In this way, I feel the city, the Sonnenberg.”

  • 07.01 ‣THREE QUESTIONS FOR HEIKO WOMMELSDORF
    Dialogue box 2

    You’ve been in Chemnitz (travelling) for a few weeks now:
    What are your impressions of the city? Did you notice anything in particular? Why? What differences do you see compared to your home cities of Dresden and Hamburg, for example?

    Heiko: “Chemnitz was a blank slate for me. I didn’t know the label Raster-Noton or Raster-Media and nothing else apart from the events of 2018. Compared to Hamburg, the extreme vacancy rate here on Sonnenberg is an absolute extreme. There are no vacancies in Hamburg and entire houses are empty here. Nevertheless, I got to know Chemnitz with enthusiasm. The “Gegenwarten/Presences” exhibition and the “Hang zur Kultur” event were part of my first week in Chemnitz. There was also a wonderful bike tour through Chemnitz with the kerbside lobby and a warm introduction to Galerie Borssenanger and Galerie OSCAR in Weltecho.”

    As part of the 2020 Von Sinnen dialogue fields, you are devoting yourself to the sense of hearing: are there any impressions that you draw from the Sonnenberg in particular? What are they specifically? How are these reflected in your work?

    Heiko: “I’ve been working as a sound installation artist since 2007. My focus has long been on the sounds of urban space, although I very rarely exhibit outside of a gallery/museum. I position ventilation/air conditioning systems, radiators, fluorescent tubes or drops of water in downpipes in exhibitions. I am therefore delighted to have been invited to work directly in an urban space. With a decibel meter in my hand, I have taken many walks through the neighbourhood, and the results of my tours will be presented from 31 October.”

    Can you give us a brief preview of the resulting work? What can visitors to the presentation week from 31 October to 6 November look forward to?

    Heiko: “In my work “Schallleistungspegel Chemnitz-Sonnenberg”, the ticking of traffic lights, the humming of ventilation systems, the whirring of electricity boxes and other noise generators in public spaces are measured. A sticker informs passers-by that there is something to hear here. To find the places where I measured and labelled the sound power level on the Sonnenberg, you get a map of the neighbourhood with markings and further information.”

  • SEMÂ BEKIROVIĆ
    January 1, 2020
    IRÈNE HUG
    December 30, 2020
  • ANNA TILL
    January 1, 2020
    HEIKO WOMMELSDORF
    December 30, 2020
  • TAINÀ GUEDES
    January 1, 2020
    KLARA RAVAT
    December 30, 2020