Art Association Giannozzo - Berlin

Symposia

The Art Association Giannozzo organized a series of symposia, in which certain aspects of the field of work, in which Giannozzo is active, were theoretically examined.
Giannozzo's activity lies in and between the areas visual art, music and science and therefore can not fall back upon a fixed canon of historically developed art forms. The works of artists especially within this field often raise the questions: 'Is this still art or music?' or 'Is that already art or music?'

The symposia, with which one tried to examine these relations always united both, the presentation of artistic works and the lecture of philosophical and scientific reflections in the same group of topics.
The relation of art and philosophy (Symposium Discretio in Helmstedt, Germany 1988), the term of the experimental (Symposium Gefährlich Leben in Potsdam, Germany 1991) and the phenomenon of the feedback in art and science (Symposium Feedback in Plasy, Czechia, 1994) were the topics of the past symposia.

GIANNOZZO Symposium Discretio

Giannozzo Symposium Discretio, Helmstedt, December 1988

The art is an art of distinction: discretio. In a time, where specialization and isolation collide into many subsections on the one hand and thoughtless exceeding of boundaries, hasty entireness and system thinking on the other hand suddenly, it seems appropriate not to neglect the fine differences. Discretio is the realization that connecting lines are hyphens and hyphens are connecting lines. The distinction is a deeper, more differentiated understanding of the affiliation.
This thought should be guidance motive for a symposium, which the Art Association Giannozzo organizes from 2nd to 4th of December 1988 in Helmstedt, apart of Berlin, but not without relationship with the culture metropolis. The main emphasis of Giannozzo is on a field, where visual art, music and science meet, in the area of space and sound installations. As association again Giannozzo belongs to the culture business, in whose constant expansion the differences of art, culture and social event become indistinct.
From it three ranges of topics result for the self communication of Giannozzo and for the symposium: Points of contact, transitions, boundaries between visual art and music, between the art generally and science and philosophy and finally between art and culture. Is the art overwhelmed by the culture, does give it in the tradition to the modern art and science an alternative to the initiated 'Kontingenz' culture? - the art became conceptual, the philosophical theory aesthetical. Do they meet somewhere or do they miss each other? - Sound installations make themselves independent of the text of a composition. The music becomes what the listener perceives at the different points of the space. Does the music of the sound installation thereby become a reflexive system, which structures itself by the internal observers (listeners) themselves?
Hannes Böhringer

Lectures, performances and concerts of

Walter Zimmermann - Frankfurt/M/Germany

Alvin Curran - Rome/Italy

Felix Hess - Groningen/Netherlands

Bernhard Lypp - Munich/Germany

Attila Kotanyi - Budapest/Hungary

Peter Gente - Berlin/Germany

Frauke Tomczak - Düsseldorf/Germany

Ulrike Grossarth - Berlin/Germany

Henning Brandis - Berlin/Germany

GIANNOZZO Symposium Gefährlich Leben

Giannozzo Symposium Gefährlich Leben, Potsdam, June 1991

The experiment is a symbol of the modern natural sciences, a character of modern trend and science at the same time. Experiment means venture to expose itself to the risk of the experience therefore their check, modelful simplification and variation in the scientific experiment. Humans seem to be a nature of risked and risky experiences, therefore its attempts to control it by observation and introspection, therefore the rationalization of the experience to the experiment. Experience is called: constantly new experience, modern times. Since the beginning of the modern times the art stresses a 'Rationalitätsstandard' equal to that of the sciences. So it can come finally to an equating of artistic avant-garde and experimental art (experimental lyric poetry, experimental film, experimental painting etc..). The too closely seized analogy of art and science, the expiry of the progress term and the avant-garde metaphor discredit the term of the experimental in the modern arts. It disappears. Or did it change?
Hannes Böhringer

Performances and concerts of

Christian Bertram - Berlin/Germany

Norbert Radermacher - Berlin/Germany

Eva Maria Schön - Berlin/Germany

Terry Fox - Liège/Belgium

Hans Jürgen Treder - Potsdam/Germany

Otto E. Rössler - Tübingen/Germany

Wolfgang Kos - Wien/Östereich

Heiko Idensen - Hildesheim/Germany

Michael Bock - Tuscon/USA

Alf Bold - Berlin/Germany

Robert Golub - Berlin/Germany

Pauline Oliveros - New York/USA

GIANNOZZO Symposium Feedback

Giannozzo Symposium Feedback, Plasy, Czechia, August 1994

Die Zeit vergeht - unwiederbringlich. Nur deshalb sind Ereignisse einmalig. Die Umkehrbarkeit der Zeit, die Möglichkeit der Wiederholung würde sie entwerten. Und doch lieben wir die Wiederholungen, Feste, feste Brüche, Riten, Gewohnheiten: Proteste gegen die Vergänglichkeit, Haltepunkte im Fluß, Raststätten in der Flucht der Zeit. Der Reiz der Wiederholung liegt in ihrer Unmöglichkeit, in der Differenz, der Abweichung und Variation, in der Brechung der Wiederholung durch Reflexion und Wiedererinnerung, die den Zwang zur Wiederholung aufhebt.
Raststätten haben Tankstellen und Restaurants, Orte der Wiederherstellung und der Nahrungsaufnahme. Man könnte essen, wie man tankt: wenn es gerade nötig wird. Meistens aber hält man sich an die gewohnten Mahlzeiten. Auch wenn wir gern immer wieder das Gleiche essen, - was wir einmal verzehrt haben, ist für uns ungenießbar geworden. Babies probieren manchmal den Kurzschluß eines direkten Feedback. Kompostierung (Kompost - Kompott), das Recycling von Abfall, die Wiederaufbereitung von Müll sind größere Kreisläufe des Feedback. Im kulturellen Recycling spielt die Kunst eine wichtige Rolle, indem sie den Abfall von technischen Produkten, die überholten Theorien der Wissenschaften in das geistige Leben wiedereinschleust, ästhetisch rückkoppelt.
Immer geht es hierbei um Kreise, Kreisläufe und deren Schliessung zu Regelkreisen bis zu kybernetischen Systemen und deren Selbstreferentialität. Eingeschlossen in die innere Unendlichkeit des geschlossenen Kreises ist die Unvorhersehbarkeit des Feedback, sein Out of Control, der Zufall, Freiheit in der geschlossenen Anstalt. Die Söhne essen ihre Väter, wenn sie nicht vorher von diesen aufgegessen wurden: Feedback mythisch-psychoanalytisch. Die Natur wird artifiziell, die modernste Technologie biologisch: Feedback zwischen Kunst und Natur.
Hannes Böhringer

Performances und Konzerte von

Marie Kawazu - Paris/France

Rolf Langebartels - Berlin/Germany

Udo Idelberger - Kassel/Germany

Zdenek Neubauer - Prag/Tschechien

Tom Johnson - Paris/France

Wolfgang Ernst - Berlin/Germany

Benoit Maubrey - Baitz/Brandenburg/Germany

Attila Kotanyi - Budapest/Hungary

Akio Suzuki - Tango/Japan