Award ceremony and opening of the exhibition with a laudatio of Prof. Lilian Haberer.
Paula Pedraza, awarded with the KHM-advancement price for women artists 2018
will realize a three-part performance on January 11th, 13th and 17th, 2019 at the church for culture St. Gertrud which pertains to the work in progress Advent of a Haunt. It is based on a composition where body and material, situation and communication come together in a symbolic, performative and gestural way.
“Mortality and Incubation” as first part is all about the resonant quality of body and material as well as the perceptual and haptic qualities of touch, which are translated through contact microphones. Within the second part, “Healing and Reduction”, the interaction with the theremin as instrument is an integral part of the sound performance and it puts a focus on the “tactless touch”, the similarity between high voice and the instrument, as well as the active role of the interpreters of the theremin.
„CRYSTALLIZATION: stroke towards a complex thought“, as third part, is based on a multi-layered collective composition with several performers who activate all spaces of the church for culture. Organic processes, such as the creation and forming of clay will be made audible through contact microphones, again be translated into musical notations and will be transformed into a polyphonic vocal piece by threefold repetition of the processes. Stones are also part of the performance, of the one part as found objects at the Rhine shore who become a medium of this landscape, transformed through erosion and industrialization processes. Of the other part, the stones symbolically bring to mind the aspect of work and the processing of a heavy material which was also relevant for the construction of this building. This composition gradually unfolds and makes the temporal procedures visible in an acoustic, visual and haptic way within the resonant space of the church for culture.
Since winter term 2017/18 Paula Pedraza is part of the postgradual diploma study
“Arts of Media”. Paula was awarded with the KHM-advancement price for female artists 2018 for her multi-sensorial, sound-based performances, collective scenographic compositions and installations. The award is connected with an exhibition at Matjö, Space for art of the BBK, which will take place from Feburary 7th till March 7th, 2019. On this occasion, Paula Pedraza will transfer her performance “CRYSTALLIZATION: stroke towards a complex thought“ into a video installation, and will show the stones which were part of her performance before with their outlines as floor installation. Through interaction with the visitors, these objects once more open up a reflection on self-perception, as well as on touch and on the relation between the body and the material.
Jury: Prof. Lilian Haberer, Fabian Hochscheid, Solveig Klaßen, Karin Lingnau und Prof. Franziska Windisch.
With this award the KHM’s Equal Opportunities office aims to facilitate the transition from the academy into the art, film and/or media business and support the professionalisation of women.
Ausgehend von Advent of a haunt, einem work in progress, das Körper und Material, Situation und Kommunikation symbolisch, performativ und gestisch kompositorisch zusammenführt, wird Paula Pedraza, die die Trägerin des KHM-Förderpreises für Künstlerinnen von 2018 ist, am 11., 13. und 17. Januar eine dreiteilige Performance in der Kulturkirche St. Gertrud realisieren.
In „Mortality and Incubation“, dem ersten Teil, geht es um die Resonanz von Köper und Material sowie um die perzeptiven und haptischen Qualitäten von Berührung, die mittels Kontaktmikrophonen übertragen werden. Im zweiten Teil „Healing and Reduction“ wird das Interagieren mit dem Theremin als Instrument zum Gegenstand der Sound-Performance, die Aspekte wie das „nicht-taktilen Berühren“ , die Ähnlichkeit des Instruments zur hohen Stimmlage und die aktiven Rolle der Interpret*innen des Theremins in den Fokus rückt.
„CRYSTALLIZATION: stroke towards a complex thought“ basiert als dritter Teil auf einer vielschichtigen, kollektiven Komposition mit mehreren Performer*innen, welche alle Räume der Kulturkirche mit einbeziehen. Organische Prozesse, etwa das Entstehen und Formen des Werkstoffs Ton wird mittels Kontaktmikrofonen übertragen, erneut in Notationen übersetzt, die sich durch dreifache Wiederholung der Prozedur zu einem polyphonen Gesangsstück zusammenfügen. Steine sind ebenfalls Teil der Performance, einerseits als Fundstücke vom Rhein und Träger dieser veränderten, durch Erosion und industrielle Prozesse, geformten Landschaft, andererseits vergegenwärtigen sie symbolisch die Arbeit und Verarbeitung eines massiven Werkstoffs, wie sie für den Bau dieses Gebäudes notwendig waren.
Diese sich allmählich entfaltende Komposition lässt die zeitlichen Prozeduren im Resonanzraum der Kulturkirche akustisch, visuell und haptisch anschaulich werden.