Salons

#18
Salon Katarina Zdjelar

13 Aug 2013
Babette bar (Karl-Marx-Allee 36, 10178 Berlin)

Katarina Zdjelar

Artist-in-residence von Mai – August 2013

Der Salon fand in der Bar Babette statt. Katarina´s neue Filmarbeit über Klang und Stimmtraining wurde erstmals gezeigt, und Zeynep Bulut, ICI Fellow, sprach über das Thema ihrer eigenen PhD-Arbeit – Klangstudien, Psychoanalyse, Philosophie, Sprache und Bewegungswissenschaft – und verband es mit Katarina`s neuester Arbeit.

Gäste:
Benjamin Deboosere, Wouter de Raeve, Fred van Bose, Susanne Kriemann, Aleksander Komarov, Ilka Tödt, Bettina Klein, Anna Okrasko, Annika Hauke, Elke Marhöfer, Sabijn van der Linden, Federica Bueti, Ulrike Mohr, Peter Taylor, Ana Teixeira Pinto, Natasha Guinwala, Bitsy Knox, Silvie Buschman

http://katarinazdjelar.net/

ABA SALON/ Katarina Zdjelar with guest lecture by Zeynep Bulut
18h at Babette bar (Karl-Marx-Allee 36, 10178 Berlin)

Over the past years, Rotterdam based Katarina Zdjelar (born in Belgrade, Serbia in 1979) has been interested in investigating the manifold ways of negotiating between the code of language and the physicality of speech, as well as the ways in which language draws us together into communities, how it makes space and clears space away. Language learning is of particular significance for her, as this is a codified method of cultural integration involving not only a symbolic „rite of passage“ of the uprooted individual, but also the very material and corporeal affects that shape this „speaking body“. Zdjelar’s interest in language emerged out of practical applications of a „caring control“ imposed by regulated systems of social adoption and inclusion in the developed, liberal societies of the world.
Focussing on the ideas of foreigners, estrangement and normalisation, Zdjelar explores processes of self-realisation with all their paradoxes, promises and failures. She is particularly concerned with the inhabitation of regulated systems (knowledge, language, ideology) by non-authoritarian voices (amateurs, foreigners, children) who challenge the systems in which they are situated in terms of ethics, value and currency. Working with a variety of subjects, from a phonetic transmutation of the “Tears for Fears” song, utterances in the Russian language by citizens of Tirana, to “foreign accent removal” treatment, her work over the past years has explored the relation between an individual and a collective in these processes. (How does an act of speaking mark an individual? What are the limits of expression?). The impact of assimilative language policies imposed on particular groups of people to abstract manifestations of speech, including the musical manifestation of speech and the physical manifestation of voice, and instances in which even the most intimate pitch, melody and tuning of one’s voice open up the social relation between receiving a voice and having a voice, are also concerns of Zdjelar’s work. It is a voice lingering on the threshold in the process of arriving that she observes and follows. Zdjelar articulates these ideas through the moving image and through sound, two elements that she uses equally in her video pieces. She extends her interest in these ideas through various discursive projects that allow her to share knowledge and gain new knowledge in a dynamic interaction with other practitioners from different fields. She creates different platforms for speculation and exchange (including curating, writing, organising symposiums and discussions etc.). She has co-edited a number of books and publications including Resonant Bodies, Voices, Memories (2008, published Revolver & PZI)and Another Publication Book projects (2007, published by Revolver & PZI).

For Salon, Zdjelar will show her latest video piece Stimme which she completed during her residency at ABA/Mondriaan Fondation in Berlin. The piece focuses on the training between a voice coach and a young lady who doesn’t speak with her own voice, opening questions around historical implication of having and receiving voice and pitch, its economy and the politics of anatomy. The body of a trainee is akin to musical instrument.

Berlin based Zeynep Bulut received her Ph.D. in Critical Studies/Experimental Practices in Music from the University of California at San Diego in 2011. Prior to her doctoral education, she studied sociology (B.A.), opera, and visual arts (M.A.) in Istanbul, Turkey. Zeynep investigates the physical and phenomenal emergence of the human voice, drawing on avant-garde and experimental music, and sound art. Her broader research interests include historical epistemologies of hearing, anthropology of senses and affect, deaf performance and culture, and voice and speech disorders in the history of science and medicine. She is currently working on her book, entitled Skin-Voice: Contemporary Music Between Speech and Language. In addition, she is writing two articles, one for the forthcoming volume Gestures of Music Theatre: The Performativity of Song and Dance (Oxford: Oxford University Press), and another for the academic journal Musica Humana (Seoul, Korea). Her most recent publication, “Theorizing Voice in Performance: György Ligeti’s Aventures,” appeared in Perspectives of New Music. Alongside her scholarly work, Zeynep has also composed and performed voice and sound pieces for concert, video, and theatre, which have been exhibited in the United States, Europe and Turkey.