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With interpretations and performances by Nina Canell and Hajnal Németh

From 4 pm

Hajnal Németh, Five Songs, One End (Systematic Assimilation Version – Score), 2021, Ordner mit Textilbezug, Foto © die Künstlerin
Hajnal Németh, Five Songs, One End (Systematic Assimilation Version – Score), 2021, Ordner mit Textilbezug, Foto © die Künstlerin © Hajnal Németh, Five Songs, One End (Systematic Assimilation Version – Score), 2021, Ordner mit Textilbezug, Foto © die Künstlerin
Zyklus for Water-Pails (or bottles) – an interpretation by Nina Canell
Based on Tomas Schmit, Zyklus for Water-Pails (#1), 1962 

Nina Canell works with transformation and material agency in her sculptural installations.She uses diverse materials such as electricity, water, subsea cables, mastic gum and shoelaces. They demonstrate the artist’s engagement with energy distribution and their partially hidden modes of action. Canell’s focus is not on the finished art object, but on the temporary and material aspects of process and synergy.

On the occasion of the Tomas Schmit Retrospective, Canell will interpret Schmit’s central work, Zyklus for Water-Pails (or Bottles) (1962), and its underlying reflections on the nature of time, matter, and processuality in the form of a sculptural situation.  

5 pm
Sanitas #10 – Solo Version – an interpretation by Hajnal Németh
Based on Tomas Schmit, Sanitas – 200 Theater Pieces #10 (#3), 1962

Performed by:
Júlia Koffler, Erik Leuthäuser, Daniel Mattar, Fama M’Boup, Dora Osterloh 

6 pm
Five Songs, One End– a piece by Hajnal Németh

Based on Tomas Schmit, Two Compositions to Justify a Performance (#25), 1964

Performed by: 
Júlia Koffler, Erik Leuthäuser, Friederike Merz, Dora Osterloh and Michael Schiefel 

Hajnal Németh works at the intersection of visual art and music. Her interdisciplinary work includes performances, spatial installations, and moving image formats. Her works are based on notations, song lyrics, poems, or prose fragments from sources as diverse as pop music, classical genres, Fluxus scores, as well as the artist’s own texts. Her experimental handling of time, rhythm, and intonation, as well as her playful questioning of structures of meaning often manifest themselves in minimalist interventions in existing material, with which she twists the meaning of a spoken or sung sentence, for example. In her ongoing collaborations with singers, choirs, and actors, she shows how contexts can be arbitrarily constructed and then dissected again. In her exploration of Tomas Schmit’s work, Németh has explicitly based her interpretations on pieces that declare the principle of chance to be the measure of meaning or which destabilize the perception of time and duration in a conceptual inversion. 


On September 15, 2021, the tested-vaccinated-recovered rule (3G rule) applies for all exhibitions and events. Please register via contact tracing form upon your visit. Wearing a medical mask that covers mouth and nose is mandatory.
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