Hacklab Input II: Shapeshifters. Performance Personas, Transformation, and PowerKQB Studio 1, Mariannenplatz 2, 10997 Berlin → Map
Tickets: 5 / 10 € day pass
While the search for extraterrestrial life continues, what happens when the artist can make themselves alien? Metamorphosis has long been interwoven with myth and culture, and a part of performance tradition, but what does it mean in a secular, technological, scientific age?
We join two artists in conversation, to explore how persona and self-transformation has been part of their practice and also that of the artists that they've encountered. Eric D. Clark was a key figure in the evolution of dance music in both California and Paris before establishing himself in the Berlin scene - a career that itself was invented several times over. On the emerging artist end of the spectrum, Bora, a Hacklab alumnus, uses multiple dimensions of the digital to remake herself.
The Music Makers Hacklab is presented with CDM, Nusasonic, and the SHAPE platform, which is co-funded by the Creative Europe programme of the European Union. Funded by the Senate Department of Culture and Europe, and Initiative Musik.
Peter Kirn is a composer/musician, audiovisual artist, and journalist. Classically trained in composition and piano, his music and visuals meld minimalist and experimental dance music influences with a focus on texture and abstraction. He is the editor of Create Digital Music and Create Digital Motion, working extensively with free and open source tools and shared content.
Pauline Canavesio, aka Bora, is a France-born Berlin-based multidimensional producer and artist. Through an introspective process involving sound, digital media, and painting, she morphs to become one alien entity. For her, sound is shaping the unknown and inexpressible.
Eric D. Clark[US/DE]
Eric D. Clark's music career started decades ago. From Sunday church performances in California at the age of 10 as a classical and gospel piano prodigy to mastering disco and electronica keyboard, Clark trained his ears and hands until 1981 when he finally claimed his place behind turntables and took up residencies in San Francisco’s most famous clubs.