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Shot by the kind, gifted and generous lens of @rbn.plus . Thanks for letting me be the sphinx I am. 🫶🏼🌸

#robinplus #lifeonearth
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Today Friday 18 November : 'Manuel or A Hint Of Evil‘ @montezpressradio
Berlin 20 Uhr, London 7pm, New York 2pm

Manuel or A Hint Of Evil by Armin Lorenz Gerold 

The story of Manuel unfolds around the thoughts blending into an inner monologue of an unnamed observer, as he regularly visits the Olympic swimming pool in West Berlin in the summer of 2020. It is the story of a failed flirt, of urban bodies travelling across the city for a brief summer escape. It is the story of their sounds mixing in the hallway, showering, murmuring on the meadows, of their arms and legs slashing the water, forming rhythmic patterns that echo through Nazi architecture. 

By and with Armin Lorenz Gerold, with Alison Midgley and Heike Geißler reading extracts from Charlotte Beradts 'The Third Reich of Dreams'. 
'Manuel or A Hint Of Evil', premiered as a live audio play at Haus der Kulturen der Welt Berlin on 2 November 2022 (with Hanne Lippard) as part of the 'Alphabet Readings‘ series, curated by Mathias Zeiske. 

Huge thanks to Daavid Mörtl @daavidmoertl for this wonderful painting of Manuel. It’ll be in lots of mailboxes as a postcard soon. 

@wiredfoxterrier @heike_geissler @aamidgley @mathiaszeiske
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Some more photos from last Thursday with credits for the amazing work of so many talented friends and colleagues. 🪄✨

Manuel or A Hint Of Evil
2. November 2022 
Haus der Kulturen der Welt

Spoken by Armin Lorenz Gerold, Hanne Lippard and Heile Geißler.
Curated by Mathias Zeiske.
Text, sound and recordings by Armin Lorenz Gerold
Text translation by Shahin Zarinbal 
Copy editing by Edward Fortes
Voice post production by Jochen Jezzuzek 
Video animations by Michael Amstad
Voice-overs Trailer by Alison Midgley

Manuel or A Hint Of Evil was originally published by Mousse Publishing, Milan; supported by the Ruisdael Stipend.

The play contains quotes from the German and English versions of 'Das Dritte Reich des Traums' by Charlotte Beradt (Munich: Nymphenburger Verlag, 1966; Chicago: Quadrangle Books, 1968)

Additional thanks to Willem de Rooij, Thomas Niemeyer, Karen Khurana and Lori E. Allen.

Performance documentation by Malte Seidel

@hanoi_lizard @heike_geissler @mathiaszeiske @hkw_berlin @shahin_zarinbal @error.vision @malteseidel_ @aamidgley @moussemagazine @staedtischegalerie_nordhorn 
#ruisdaelstipend
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It was more than a dream to play in the auditorium at  @hkw_berlin. Thanks to everyone who came to share this special moment with me. I felt the waves of energy. 

The kindest thanks to @hanoi_lizard and 
@heike_geissler for their powerful voice contributions to the play. 

Also @mathiaszeiske for his invitation and amazing program (over the years). Thanks to @bonjour_k , Nadja Herrmann and the team at Haus der Kulturen der Welt for taking such good care of us. 

@fabian__saul for his wonderful support and each contributor to the beautiful and complex 'bad words' performance. 
 
The beautiful photos are by @malteseidel_ 

#arminlorenzgerold #manuelorahintofevil #heikegeißler #hannelippard #charlotteberadt #hausderkulturenderwelt #liveaudioplay#reading#alphabetreadings
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Very pleased to announce my first artist book 〰️ out now with Mousse Publishing @moussemagazine 

The book is part of a longer work process, that was initially planned as an exhibition in the context of the Ruisdael Stipend I received in 2020. Like most things that year, it ‚fell into the water‘ (as they say in German). So, I’ve decided instead to write a play and an audio play that revolves around a flirt in the public swimming pools of Berlin’s Olympiastadion, set in the direct aftermath of the first lockdown in Germany, trying to glimpse the atmosphere, acoustics, tensions and lingering political unrest — whilst gilding through liquid.

For the book, I designed a 3D Installation with artist Stefanie Schwarzwimmer. Artist and writer Anna Barfuss as well as curator and researcher Alejandro Alonso Diaz contributed wonderful essays that revolve around questions of sound and/or water. Over the course of a month, I had a conversation with composer Lori E. Allen about queer narratives in sound practices. Lastly, Shahin Zarinbal contributed a wonderful foreword to the book. Thank all of you for the wonderful words and thoughts. 

Edited by Armin Lorenz Gerold
Texts by Armin Lorenz Gerold @wiredfoxterrier , Lori. E. Allen @lori_e_allen , Anna Barfuss @___annagram__ , Alejandro Alonso Díaz @alexaldiaz , Shahin Zarinbal @zarinberg 

Also kind thanks to Dr. Thomas Niemeyer, Willem De Rooij, Michael Amstad and Edward Fortes. 

Edited by Armin Lorenz Gerold and @staedtischegalerie_nordhorn / Edition kunstwegen @ruisdaelstipendium 
2021
English
112 pages
Softcover, 19 × 24 cm
ISBN 9788867494767
€ 18/ $ 22
Get a copy via www.moussemagazine.it

Forthcoming 〰️ 'Manuel or A Hint of Evil' audio play release via @ruisdaelstipendium 

#arminlorenzgerold #lorieallen #annabarfuss #alejandroalonsodíaz #shahinzarinbal #ruisdaelstipend #moussepublishing 
#soundart #soundstudies #audioplay #swimming #queerfiction #water #publicpools #swimming

(Photos: Mousse)
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VERSTÄRKUNG (AMPLIFICATION) by ARMIN LORENZ GEROLD @wiredfoxterrier #arminlorenzgerold at HALLE FÜR KUNST STEIERMARK @hallefuerkunststeiermark #hallefuerkunststeiermark curated by CATHRIN MAYER @cat8rin #cathrinmayer [from 20210820 to 20210821]

How can sound be made visible? […]

Gerold places sculptures, which were produced collaboratively with historian of religions and experimental gardener Barbara Urbanic around the gallery, consisting of real loudspeakers and replicas made of ceramics. The latter, made using 3D printing, have protuberances looking like small goblets on their sides.  In these there are flowers, transforming the loudspeakers — their original form — unmistakably into vases. A number of flat screen monitors therein mounted on metal rods, due to their large size, have the appearance of sculptures. The screens show videos in which Gerold and other artists are reading various texts. With the inclusion of these collaborators, Gerold “amplifies” various voices that speak from and on behalf of different political and social contexts.

Recorded soundscapes are emitted from the objects — or sculptures — placed in the exhibition gallery. This term encompasses the sounds of a human environment, and includes sounds from nature, music, and language, and also noises that are caused by various activities such as industrial production and work. Gerold is currently collecting a personal archive of soundscapes, and has most recently been interested in the noises of marching and demonstrating bodies. By means of well-measured prerecorded sound sources, Gerold produces live sets that intervene more disruptively into his installations. […]

[Text: Cathrin Mayer] [Find the full version of the text, more images and links on >>> www.yyyymmdd.art #linkinbio]

#yyyymmddselected #yyyymmddcontemporary #contemporaryart #artecontemporanea #artcontemporain #graz #feature @yyyymmdd_contemporary 

[Floral installation by Barbara Urbanic @stadtblume_wien] [With text contributions by Alice Cannava, Alejandro Alonso Díaz, Jennifer Hope Davy, Enver Hadzijaj, Cornelia Herfurtner, Sinaida Michalskaja, Miriam Stoney, Bruno Zhu]

[Photos: @kunstdokumentationcom]
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