Performance Premiers in the UK:
Ikon Gallery Birmingham -- Thursday November 9th, 3:00 pm
Austrian Cultural Forum London -- Friday November 10th, 7:00 pm
by Khadija von Zinnenburg Carroll & Nikolaus Gansterer, with sound by Christopher Haworth
The Restitution of Complexity, 2017
10 parts, 40 mins
Pen & ink, diagrams, paper, charcoal, paint, various objects, Mictlāntēcutli, leg rattles, flashlight, feather, sound, photographs, glass box, Quetzalcoatl, archives and the unconscious
The Restitution of Complexity is a new performance by Khadija von Zinnenburg Carroll & Nikolaus Gansterer of live drawing, storytelling and sound that explores the body as archive. Improvising a state of constantly becoming something else, in collaboration, Carroll and Gansterer show the unconscious archives of Austria’s Stockholm Syndrome about its brief colony in Mexico, which ended with the assassination of Maximillian. A live video feed turns the sculptural accumulations that trace a delirious ficto-criticism into two dimensional projections. Made especially for the Austrian Cultural Forum, there are cameo appearances by Freud in Mexico, dreaming the demise of the empire. The Restitution of Complexity is based on a book about the return of the many complex agents who make up history, a history of humans’ relationships to objects and their restitution after conquest.
Nikolaus Gansterer's work encompasses drawing, performances and publications. A main focus of his body of work are what he calls ‘Translectures’ - the articulation of philosophical ideas through live performances involving objects, drawings and actions. Nikolaus completed post-academic studies at the Jan van Eyck Academie, Maastricht in The Netherlands, and previously undertook a MA in Visual Arts, Transmedia Art, at the University of Applied Arts in Vienna, as well as Sculpture Studies at the Hochschule für Angewandte Kunst, Vienna, and Anthropology studies at the University of Vienna. He has been Guest Professor at the Center Research Focus, University of Applied Arts Vienna; Guest Lecturer at the University of Applied Arts, Vienna; and is a founding member of the Institute for Transacoustic Research, Vienna.
Khadija von Zinnenburg Carroll uses experimental writing and her voice to represent the politically marginalized. Telling histories in embodied, dramatic, and poetic texts that emphasize affect and imagery as a form of evidence and process of repair, Khadija is an Austrian-Australian artist and historian based in the UK who studied Art in both Vienna and Melbourne before going on to obtain an MA and PhD from Harvard University. Her installations and texts have been exhibited at the Venice Biennale, Marrakech Biennale, Kranich Museum, MAA Cambridge, and will be in the Sehnsucht exhibition during Frieze 2017. Her films have been screened at Film Festivals in Casablanca, Berwick, Melbourne, Tallinn, as well as programs at LUX, Chisenhale, Calvert22, Space, UrbanLab, Project Space Dublin, Irish Film Institute, and the National Museum of Australia. She has had performances commissioned by the Institute of Contemporary Art London, Pesta Bonka Festival Indonesia, and Konzerttheatre Bern. Khadija is the author of the books Art in the Time of Colony; Botanical Drift; and The Importance of Being Anachronistic, and related exhibitions include Ore Black Ore in the Allegory of the Cave Painting at Extracity Kunsthal Antwerp; Investigated at Savvy Contemporary Berlin; Artists in Residence at the Pitt Rivers, Oxford; Embassy Embassy at Haus der Kulturen der Welt and Homebase V, Berlin. She is currently working on a book entitled Fragile Crown: Empire, Collection, Restoration on which this script is based.
Christopher Haworth is a composer and musicologist with interests in electronic music and sound art. His recent music has focused on the exploration of ‘systems’ broadly conceived, from technical systems that have some level of mechanical autonomy to the biological system of hearing. In his composition ab (2014), a self-authored feedback system creates live 'emergent' sound with chaotic dynamics, while his work Correlation Number One (2011) is composed for auditory distortion products, or sounds generated inside the ear. Christopher's work has been issued by Optophono, MIT Press, and Sonic 360 records, and he has performed at numerous international festivals and conferences including Monafoma, Musicacoustica, Quadrophonia, Shut up and Listen, and the International Computer Music conference. He is currently Lecturer in Music at the University of Birmingham where he teaches courses in experimental music and sound art, and music perception.