internationales künstlerhaus

villa waldberta 2013 – 2017

2013 – 2017

international artist residence villa waldberta

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Contents

Forword 11Dr. Hans-Georg Küppers

Five Years Artist-in-Residence Program: The Agony of Choosing … 13Karin Sommer

2013ALTERNATIVE CONCEPTS

Alpenklezmer: Yiddish plus Bavarian music – can that end well? 19 2013: Ilya Shneyveys, Lorin Sklamberg 2015: Alan Bern, Christian Dawid, Sasha Lurie

Urban art from the global south 23PlusBrasil13: Achiles Luciano, Bernardo Galegale, Gabriel Spinosa, Isabel Hölzl, Leo Cavalcanti, Marina Massoli, Mônica Burity and Mario LopesPlusBrasil16: Bárbara Foulkes, Dandara Modesto, Caroline Lee Rice, Danilo Oliveira, Dudu Tsuda, Martín Lanz Landázuri, Michelle Moura and Patricia Black

Schamrock – Salon and Festival of Woman Poets 37 2013: Marie T. Martin, Sainkho Namtchylak, Carina Nekolny2015: Anja Golob, Christine Huber, Judith Nika Pfeifer2016: Ewa Boura, Liana Langa, Inguna Rubene, Rati Saxena, Georgia Triantafyllidou

ARTIST EXCHANGE

Bulgaria revisited 43 Diana Ivanova, Sonia Kovatcheva, Kamelia Spassova

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2015CHANGE THROUGH APPROACH

Shredding maps – Ukraine trapped in an ordeal 89 Olya Mykhailiuk, Myroslav Vayda, Vitaliy Kokhan

Castilian Culture Days 93 Juan Andrés García Román, Germán Díaz

Ludwig / 2 – The success story of a theater play 97 Gustavo Bicalho, Henrique Gonçalves, Rodrigo Belay, Manoel Madeira, Dai Fiorati, Daniel Belquer

Mystical Gnawa Culture from Morocco 101 Younes Paco, Mohammed Imel, Youssef Amazi

GEDOK: Crossover Artists in Art and Culture 107 2013: Christiane Spatt, Claudia-Maria Luenig2015: ”Vier Grazien” (Petra Gell, Mela Kaltenegger, G. Maria Wetter, Susanna Schwarz)2016: Patricia Earnhardt, Myrna Pronchuk

Special „Stayed on!“Former Villa Waldberta guests enrich Munich: 115Dine Doneff aka Kostas Theodorou, Fotini Potamia, Theräs Reich, Helen Varley Jamieson, Ian Chapman, JJ Jones

2016EYE-TO-EYE EXCHANGE

LAUTyodeln – Musical Olympics in the Art of Yodeling 129 Christian Zehnder, Christoph Wagner

Brandner Kaspar gets a visit from Mallorca 133 Erick Bürger, Eduardo Moya

Artist Exchange: Taipei and Munich 137 Wei-Lung Lin, Te-Yu Wang

Special signalraum Signalraum – spheres of ”unforehearble“ 492013: Eva Kekou, Consuela Guijarro, Kathy Hinde, Simon Whetham, Matthew Olden 2014: Simon Whetham, Lewis Kaye2015: Franciszek Araszkiewicz, Annie Abrahams2017: Gero König

2014THE UNKNOWN AND ONE’S SELF

Olga Benario: unknown in Munich, famous in Brazil 61 Marcio Antunes, Ursula Cabral, Manoel Madeira, Pedro Emanuel de Vasconcelos, Arley Veloso

Acoustic Night Allstars & Jamaram:Bavarian-African Crossover 65 Tariro neGitare, Prayersoul, Tendex Madzviti, Fungai Nengare, Munya Nyamarebvu, Tafadzwa Violet Senderayi

YOUNG INTERNTIONAL ART

Award-winning EU project:What’s the deal? What’s going on in Europe’s urban scenes? 71 Lisa Simpson, Gayatri Vijayshima, Georg Hobmeier, Johanna Kronhofer, Mac Krebernik, Onur Ceritoğlu, Bert Scholten, Marjanne van Helvert, Matthias Wermke, Jurij Bobič, Petra Gosenca

Special AnderArt FestivalVilla Waldberta and its artists as guests at the anderart festival 77

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2017CHANGE AND CONTINUITY

Gamelan – Courtly traditional music in new clothes 147 Nyoman Ayuda, Ketut Rupa, Iwan Gunawan, Made Arnawa, Dewa Alit, Aafke de Jong, Sinta Wullur, Charlie Richter, Wayne Vitale, Larry Reed

Young Contemporary Art from Afric 153 Choreography from Uganda: Philip Buyi, Walter Ruva, Kiryowa Fahadhi, Catherine NakawesaPhotography from Burkina Faso: Issa Nikiema, Harouna Marané, Nomwindé Vivien Sawadogo

OVERFLOW – an experimental art project 159 Jarek Lustych, Suzon Fuks, James Cunningham

Beyond Ritual. The body of power I the power of body 167 AKUZURU, Dimple B Shah, crazinisTartisT, Marta Bosowska, Yishay Garbasz

“TO BE CONTINUED …”

Ruffinihaus: Urban DependenceVilla Waldberta pays a visit to the city 173 Curator: Fotini Potamia

Special „Heimat“ evening2013: Brasilian „Heimat“ evening 182

2013: Improvisation’s „Heimat“ evening 184

2015: Castilian-alpine „Heimat“ evening 185

2016: Latinamerican „Heimat“ evening 186

KARIN SOMMER

Onwards to new horizons: creating visions 189

Grant holders 2013 – 2017 192

The History of Villa Waldberta 203

Cooperation partners 206

Guestbook memories 208

Imprint / illustration credits 211

contents

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Foreword Dr. Hans-Georg Küppers Director of the Department of Arts and Culture

The City of Munich is, in terms of culture, not only active globally with festivals, exhibitions, concerts, and guest performances by theaters and orchestras, but it also supports the exchange between artists in Munich and international part-ners. For this reason the municipality has, as the only big German city to do so, supported and maintained its own international artist residence, Villa Waldberta, for 35 years. In 2018 an addition-al, second artist residence for grantholders was established: an apartment in the city at Eben-böckhaus in Pasing, a quarter in Munich. This means Munich has eight places that can be made available on a temporary basis to artists from all around the world.

Artist-in-residence programs offer ideal require-ments for combining local with global elements and vice versa, providing one is always open and ready to accept what’s new and unknown. These distinguishing marks of every modern metropolis are key qualities not only for life in society but for the creation of art in particular. In this respect, art-ist-in-residence programs are probably among the most sustainable international cultural activities.

A good network of guest artists in the scene and the city’s cultural projects provide for a prolonged personal contact among the artists as well as between the artists and the cultural institutions. Something like this can hardly develop when the artist is only briefly flown in for a concert, the opening of an exhibition or a festival, and then leaves the city again after a few days. Further-more, our international guests are often among the best diplomats of culture in their home

countries, because they could get to know Munich and Bavaria much more intensively.

Facilities like Villa Waldberta are especially impor-tant for the independent scene and for smaller in-stitutions, which frequently have intensive honor-ary commitments, because they have to manage with very little means. Without the support of the artist residence Villa Waldberta many of their pro-jects in recent years would not have been done at all, in particular those with international par-ticipation. Therefore, the city certainly gets back with a good amount of interest what it invests in a residence such as Villa Waldberta.

Villa Waldberta is one of the few artist resid ences in Germany that allows all genres, including the sciences involved with culture, and here the emphasis is not only on a global exchange but also on an interdisciplinary one. This is especially noticeable when one examines a longer period of time. That is why I am particularly pleased that now with the documentation of these five years the impressive variety of its program will become more visible.

I can only wish you a pleasurable time as you page through, browse, and read this documen-tation!

Dr. Hans-Georg KüppersDirector of the City of Munich’s Department of Arts and Culture

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Five Years Artist-in-Residence Program: The Agony of Choosing ...Karin Sommer

The international artist residence Villa Waldberta in Feldafing, south of Munich in an idyllic location on Lake Starnberg, has been a residence for artist grantholders since 1982; initially it was primarily for authors of literature, but since 2005 it has also welcomed guests from every art genre as well as from the sciences dealing with culture. In addition, all of the grantholders at Villa Wald-berta are integrated into a cultural project of the City of Munich, which means it isn’t possible for artists to apply on their own.

This concept, where the emphasis is on interdis-ciplinary works, has proven its worth in an excel-lent manner as grantholders living under the same roof simultaneously mutually inspire one another, and sometimes this even results in new collaborations that cross over between genres. In addition, one special quality of Villa Waldberta is the invitation to groups of artists. In this tight situation unconventional experiments can then be conducted in team work and over a longer period. Very often this results in exciting, unpredictable developments when the grantholders at times mutually inspire one another’s creative impulses.

In Germany there are many residences for grant-holders, but none of the artist residences are similar – each has its very own special conditions, opportunities, and local characteristics. There are privately-run as well as publicly-run residences, residences run by state governments, small resi-dences with room for only one artist, as well as large castles with room for 40 artists. Villa Wald-berta, with its five apartments, is actually one of the smaller residences. But if one looks at the hard and fast number of between 30 to 40 guests

annually, then the residence’s significance in the grant programs moves it up toward the top of the list.

If at this time the projects of the last five years involving 150 artists with more than 100 events are meant to be illustrated in a documentation, then it is unavoidable that not everything can be depicted extensively. For this reason, at the be-ginning of every chapter there is an overview of all events and guests. Then in the text section for the most part the projects were selected where several artists were involved, or projects which led to special projects or even far-reaching fol-low-up projects. Through this “additional value” that resulted when projects had an effect far be-yond the original reason for the invitation, the sustainability and networking accomplishments of such a grant program will presumably become especially transparent.

However, for me it is a genuine torture to have to make the decision regarding what will be por-trayed more extensively and what won’t be. I hope that all of those grantholders whose pro-jects, by necessity, don’t appear in detail in the documentation will forgive me. Independently of this, for me personally these five years with the many wonderful guests from all over the world, and with all of the intensive encounters was once again a vast enrichment!

Karin SommerDirector of Villa Waldberta

2013Under the title “Gegenentwürfe” (“Alterna-tive Concepts”) as a focal point for the allo-cation of the grants, in 2013 there were many different projects featuring a wide spectrum, ranging from ghetto art to music theater, from puppet theater to sound experiments.

A total of forty artists from 16 countries were guests: Belgium; Brazil; Bulgaria; Denmark; Canada; Latvia; Greece; Great Britain; Germany; Austria; Russia; Switzerland; Siberia; South Africa; Turkey; and the U.S.

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ALPENKLEZMER: YIDDISH PLUS BAVARIAN MUSIC – CAN THAT END WELL?

This even goes together so well that it wasn’t only enough for two CDs, but also for renowned awards, first the City of Munich’s “Inno-vation Award for Folklore” in 2012, and then the prominent world music award RUTH from the Rudolstadt folk festival in 2014. The Munich musician Andrea Pancur, who invented this direction in music together with her Latvian colleague Ilya Shneyveys, researched and dusted off the corresponding treasury of songs, and, in accordance with the motto “long live the kosher mountain yodeler,” composed new material from this.

With its seclusion, Villa Waldberta was the ideal place for working and being creative, where much was tried and tossed aside again, or refined and perfected. And Munich, as the site of a very lively and openly alternative folk music scene, had the best prerequisites for the presentation of this new crossover music. In addition to Ilya Shneyveys, in 2013 the American klezmer musician and Grammy- winner Lorin Sklamberg came to Villa Waldberta. In 2015 Alan Bern, Christian Dawid and Sasha Lurie, three more top-class klezmer musi-cians, came to stay at the artist residence in Feldafing for a while, and they tried out new formats and arrangements together with Andrea Pancur.

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Concert

Alpenklezmer II: ”Zum Meer” (“To the Ocean”)January 29, 2016 at Museum Fünf Kontinente, Munich

As the Alpenklezmer project was so well-received requests for concerts came in from all over Germany and its neighboring countries, and so the German-American Alan Bern, founder of the “Yiddish Summer Weimar” festival, the Latvian singer Sasha Lurie, and the German clarinet player Christian Dawid came to Feldafing in 2015 to start working extensively on expanding their repertoire. The presentable final product was the CD “Zum Meer”, which later also entered the world music charts. The Alpenklezmer project could not only establish itself as a new genre in the world music scene, but it also provided for innovative impulses, and has found in the meantime several imitators and musicians who are continuing to develop this style further.

Concert

Alpenklezmer I January 20, 2013 at Hofbräuhaus, Munich

It was very Bavarian and also very Yiddish, wild and raw, and soft and ani-mated, too. The Yiddish dance hora took the Bavarian folk dance Zwiefache valiantly by the hand, and together they twirled over the peaks until the Alps glowed to the sound of klezmer. For the presentation of the CD at Hofbräu-haus the New Yorker Lorin Sklamberg, the front man of the legendary group Klezmatics, came especially to join them.

The prize RUTH for newcomers from the folk festival Rudolstadt was awarded in 2017 to the Austrian group Alma; Matteo Haitzmann (grantholder in 2009) plays violin in the group. In 2018 a third grantholder, Dine Doneff, received this award; there’s more infor-mation in the chapter „Stayed On!“.

In 2014 the Alpenklezmer Project won the world music award RUTH at the folk festival in Rudolstadt.

Left: Alpenklezmer at the Rudolstadt folk festival in 2014: Christoph Well, Lorin Sklamberg, Evi Heigl, Andrea Pancur, Guy Shalom, Ilya Shneyveys, Alex Haas, and Alan Bern.

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URBAN ART FROM THE GLOBAL SOUTHPLUSbrasil13 and PLUSbrasil16

The associations Humavida in São Paulo and Lusofonia in Munich initiated PLUSbrasil as an artist exchange in order to experience the interface of their cultures and to learn about the culture of other people beyond their expectations.

From February to April 2013 PLUSbrasil13 was the first artist collec-tive at Villa Waldberta, consisting of Achiles Luciano; Bernardo Galegale; Gabriel Spinosa; Isabel Hölzl; Leo Cavalcanti; Marina Massoli; Mônica Burity; and Mario Lopes. The artist residence is ideal for stays of artist groups, in particular when the groups are so color-ful and multidisciplinary. Here they could continue to successively develop together – and also with the creative scene in Munich – their projects in peace and quiet.

Three years later Isabel Hölzl and Mario Lopes, who had already been in charge of PLUSbrasil13 in 2013, acted as curators to assemble and bring a completely new group with fresh artistic ideas to Feldafing. From January to March 2016 the multidisciplinary group PLUSbrasil16 with Bárbara Foulkes; Dandara Modesto; Caroline Lee Rice; Danilo Oliveira; Dudu Tsuda; Martín Lanz Landázuri; Michelle Moura; and Patricia Black were active in Munich and the surrounding areas.

Both platforms dealt with artistic perspectives of the global south via theater, dance, performance, music, film, fine arts, and multimedia art; they did this, however, with completely different presentations and results.

Caroline Lee Rice showed in her “sewing performances” how clothes can become our second skin.

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Performance

TREPP – an open-air eventMarch 21, 2013 at Villa Waldberta, FeldafingJuly 11, 2014 at the artist association streitfeld, Munich

TREPP is an open-air performance that combines graffiti, video art, contem-porary dance, and live “new music.” The piece generates a symphony of moving images, which follow the tact of the music and alter the everyday perspective. The main performance elements were light, white cubes that reminded one of oversized building blocks; sometimes they were placed together to form a uniform wall, sometimes they were set up in loose rows, and sometimes they were in constant motion, like stairs. Videos and electronic light images generated live were projected onto these blocks, but at the same time various dancers constantly broke through the illusions created by film and brought the audience back to real time.

The performance was tried out initially during a Brazilian “homeland evening” at Villa Waldberta; in the meantime, the performance can look back on a genuine success story with new productions in Portugal and in various cities in Brazil. In 2014 it came back one more time to Munich, to the artist association streitfeld, this time accompanied by the eight-member music ensemble Ôctôctô.

PLUSBRASIL 13Concert

The singer-songwriter Leo CavalcantiMarch 1, 2013 at Rationaltheater, MunichApril 6, 2013 at Black Box, Gasteig Cultural Center, Munich

The music of the singer, composer, and instrumentalist Leo Cavalcanti is strongly influenced by the melting pot of the city of São Paulo. This musician impresses through his originality and exciting stage show. The creative atmosphere at Villa Waldberta and the intensive exchange with other musi-cians inspired Leo Calvacanti to create a series of compositions, which were published in 2014 on his new album “Despertador” (alarm clock).

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Leo Cavalcanti at a get-together for musicians at Hofbräuhaus in Munich; in the background Achiles Luciano paints during the live performance.

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Dance theater

VRUM – body and light in motionFebruary 16 and 17, 2013 at Schwere Reiter, Munich

You have to be a survival artist if you want to live in the Brazilian city São Paulo, because you have to constantly adapt to new circumstances in this dynamic metropolis. The dance performance theater VRUM, which gave guest performances in 2013 for a weekend at Kreativquartier München, Schwere Reiter, played around with this – in other words, they continuously adapted their presentation possibilities to existing occurrences. As a result, Achiles Luciano; Gabriel Spinosa; Marina Massoli; Mario Lopes; Mônica Burity; Isabel Hölzl; and Yamila Khodr used improvisation while undergoing such an artistic adaption process, in particular through the permanent inter-action with light, sound, and movement, with a stage set that changed during the performance as it was “painted” live with light by Achiles Luciano.

Achiles Luciano ex-panded and perfected his impressive technique of overlapping images in 2013 at Villa Waldberta so well that the works created there could be presented in a solo exhi-bition in the Projection Room at streitfeld in 2014.

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PLUSBRASIL 16Happening

Okkupation Projeto – “display window” performance days January 15 – March 31, 2016 at Stachus Square, Munich

Where the pedestrian zone starts in Munich (in other words, very centrally located) the display window of a closed, empty shop was a space for cul-tural happenings for three months, and a Latin American collective and guest artists performed there. There were dance performances, (wall) paint-ings, videos, music, film, and installations; attempts were made to make creative processes visible and perceivable for passers-by. Time and again, this also resulted in new collaborations when Munich artists who showed an interest were spontaneously invited to participate.

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Concert

»Dois Tempos de Um Lugar« / »Two dimensions of one space«January 29, 2016 at Black Box, Gasteig Cultural Center, Munich May 14, 2017 at Flostern, Munich

Dandara, singer and actor, developed together with the musician Paulo Monarco a music piece where the different forms of performance melt together in an extremely ornate manner. Therefore, a lot more was offered than just a normal concert, because the interdisciplinary interplay of music, theater, and audio-visual elements resulted in a special type of experience. Two more grantholders participated, namely Caroline Ricca Lee, who was responsible for the costume and set design, and Patricia Black, who was responsible for the video installation.

PLUS

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The opening of Danilo Oliveira’s exhibition at Die Färberei in Munich with a concert by Dandara and Paolo Monarco.

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Happening

Promenade – a street sound installationMarch 19, 2016 in the Haidhausen quarter, Munich

For his musical interventions in public spaces the musician Dudu Tsuda always conducts intensive field research beforehand, for he not only needs an appropriate location, but he needs in particular people who participate in his comprehensive sound installations. Before he started doing this in Munich he had already gathered similar experiences in São Paulo; Paris; Cadiz; and Bogotà.

In Munich, Dudu Tsuda found what he was looking for in the quarter Haidhausen, known for the urban scene there. All around the square Bordeauxplatz there are many shops and bars, and also residents who were open to participate, who wanted to turn their street into the site of a musical happening. Inasmuch the project became at the same time a social installation in an urban space, under the artistic supervision of the Columbian architect Zamira Duque.

On the appointed day, all of the participants put loudspeakers in their windows or shop doors facing the street and played a 30-minute sound installation composed by Dudu Tsuda. In order to hear the entire compo-sition one had to stroll down the street – ergo “promenade.” This was the only way one could surround oneself with the music. The strollers listened and moved in an almost meditative manner; many people said afterwards that they felt like they were in a film or a dream. And so, Tsuda’s goal to create a change in the perception of everyday spaces and to conjure up unusual emotions toward one’s usual living environment was achieved.

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Performance

Where are we now?March 23, 2016 at Schwere Reiter, Munich

The Munich artist couple Augusta & Kalle Laar invited a number of Munich artists to consider with them where we are globally, politically, and socially right now. The Brazilian grantholders at the artist residence spontaneously joined them as international guests.

Bárbara Foulkes from Argentina showed her recently created dance performance “Fenómeno”; in the dance performance she deals in-depth with issues concerning the “turning point” from the impossible to the possible, and over and over again it revolved around the relationship of energy, weight, stability, power, and balance. Dandara Modesto (vocals), Danilo Oliveira (tagging) and Mario Lopes (movement) presented their collaborative improvisation of dance, music, and visual art: movements of defense, reverberant screams, and bodies in conflict with an unfamiliar location.

Dance theater

ALBUM kodex_feedbackMay 18 – 20, 2017 at Theater Hoch X, Munich

The two choreographers Mario Lopes and Martin Lanz Landázuri contem-plated social norms of behavior, physical adaptation processes, and mo-ments of confrontation when a body is perceived as being foreign based on language, skin color, or behavior. The starting point for their contemplations was the oft-heard sentence in Brazil, “a black man who stands is suspicious; a black man who runs is a thief.”

The dance piece with pounding music by Denilson Oliveira attempted to provide an answer to the question of how the body reacts to the continuous discrimination, violence, and day-to-day racism that affects the Afro-Brazilian population. In the subsequent debate on racism the artists, experts, and au-dience members exchanged viewpoints. In addition, an after show concert by the Brazilian singer Dandara took place.

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SCHAMROCK – SALON AND FESTIVAL OF WOMAN POETS

This “Salon of Women Poets” began as a series of readings, and then expanded into a festival that lasts several days and was the very first of its kind worldwide: a large poetry event only for women from all across the globe. The Munich artist Augusta Laar (with the energetic support of her husband, the artist Kalle Laar) has been up to the present day a driving force behind this mammoth project, which has spread to Vienna and Bamberg. Started in 2012, this biennale festival will take place in the autumn of 2018 for the fourth time in Munich.

The readings, discussions, workshops, concerts, and performances are meant to help establish a network for women poets that goes beyond the borders of genres, generations, and languages. Time and again, lyric poetesses from all over the world were invited to Villa Waldberta for this, and most of them were from the respective focus countries as well. The guests in 2013 were the Austrian Carina Nekolny; the Siberian Sainkho Namtchylak (who lives today in Vienna); and the German Marie T. Martin. In 2015 the guests were Christine Huber and Judith Nika Pfeifer from Austria; and Anja Golob aus Slowenien; from Slovenia. In 2016 the guests were the two Latvians Liana Langa and Inguna Rubene; the two Greeks Ewa Boura (who lives today in Berlin) and Georgia Triantafyllidou; and the Indian Rati Saxena.

Left to right: Christine Huber, Karin Sommer, Marie T. Martin, Judith Nika Pfeifer, Anja Golob, Sabina Lorenz, Augusta Laar

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Salon

Female Myths: Of Nymphs, Nuns, and Female ShamanisnNovember 24, 2013 at Pasinger Fabrik, Munich

Die Fremde ist ein Ort (“The outlands are a place”)November 29, 2015 at Pasinger Fabrik, Munich

Two of the many Schamrock events are especially interesting for the documentation, because they took place primarily with grantholders from Villa Waldberta. In 2013 the salon was devoted to female myths and how different they are treated in poetry. The texts were from Carina Nekolny, involving her research into the erotic mysticism of Medieval Dominican nuns; from Marie T. Martin, involving the mysterious, eerie, beautiful water nymph Undine; and from Sainkho Namchylak, with texts musically devoted to the shamanic, musical myths of Southern Siberia.

In 2015 the grantholders Marie T. Martin; Christine Huber; Judith Nika Pfeifer; and Anja Golob dealt with the themes in contemporary poetry by women concerning what it’s like being a foreigner, homeland, and the “nowhere.” As grantholders who had already “set up camp” in many places, and as lyric poetesses who for the most part find their home in their language, these four female poets had plenty to contribute. The Slovenian poetess Anja Golob in particular was very interested in experimenting. She formed a lyric poetry tandem with the Munich author Nikolai Vogel. “Golob” means “pigeon” in English, and that’s why the two of them more or less “hatched” a text with many beautiful flights of verses.

Das nicht Sichtbare kannst du

greifen eine Bergkette die

durch dich hindurchgeht

Flechtwerk ein Dickicht

aus Silberfell Frost der dir

in die Lunge steigt atme atme

to die Rippen singen

Marie T. Martin

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Festival

3rd Schamrock Festival of Women PoetsOctober 28 – 30, 2016 at Pasinger Fabrik, Munich

The international artist residence was nicely represented at the 3rd Scham-rock Festival by the four current grantholders at that time (Ewa Boura; Georgia Triantafyllidou; Liana Langa; and Inguna Rubene) and three previous guests who had stayed at Villa Waldberta (Rati Saxena; Anja Golob; and the musician Dine Doneff from Macedonian part of Greece). Overall, the Munich audiences got to know some 50 women poets and musicians over the course of three days. In addition to readings, the program was enhanced by further facets of spirited lyric poetry through concerts, and performances of poetry and sound. Spoken-word performers were represented and also sound artists and electro-acoustic artists; there was a workshop on musical ver sions of lyric poetry, and a podium discussion on the subject of translations.

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Festival

2nd Schamrock Festival of Women PoetsOctober 24 – 26, 2014 at Pasinger Fabrik, Munich

An entire weekend full of poetry, music, performances, and conversations – a sensual, transnational lyric poetry festival with over 50 authors and guests from 13 countries. Here people not only read, sung, and laughed, they also discussed the conditions of writing lyrical poetry for women. The partici-pants were encouraged to develop fresh forms of writing “with creative fury and poetic verve.” Among the many guests were also four artists who had stayed at Villa Waldberta in recent years, namely Yolanda Castaňo and María Reimóndez from Galicia, Spain; Judith Nika Pfeifer from Austria; and Sainkho Namtchylak from Tuva, Siberia.

In time for the 2nd Schamrock Festival, the Galician poetess and translator María Reimóndez presented her volume of poems “kleinigkeiten” (“trifles”), poems she wrote during her stay at Villa Waldberta in 2011. The exclusively designed bibliophile art book was published as a limited edition.

the publisher saidthat she had no interestin my works,because i “only” wrote in galician.as if english, french or germanwere more than “only” a language.

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BULGARIA REVISITED

In 2012 seven artists from Bulgaria were invited to Munich by the artist association Gedok Munich to be guests at the international artist residence Villa Waldberta. The artistic results of the collabora-tions at that time with Munich artists were first shown in a large exhibition at Villa Waldberta, and then they traveled in 2013 to Sofia and were exhibited at the Goethe Institute there. There was an extensive series of freshly started projects, which furthermore dealt intensively with Munich and Villa Waldberta, and as a result three of these Bulgarian artists, namely Diana Ivanova; Sonia Kovatcheva; and Kamelia Spassova were invited back to Feldafing for one month.

Sonia Kovatcheva was inspired by the richly decorated historical furniture in Villa Wald-berta; she portrayed the decor as art works via a frottage technique.

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Film

The Bulgarian Secret Police and the Role of Radio Free Europe December 16 and 21, 2013 at Werkstattkino, Munich

For a long time now, the journalist and documentary filmmaker Diana Ivanova has been dealing with post-Communism memories and collecting stories such as, for example, the story of Radio Free Europe in Munich, which played an important role during the Cold War. During her intensive research in Sofia and Munich she came across, among other things, the film archive of the Bulgarian Secret Police, a subject that practically had not been researched in her homeland up until now. She made her first full-length documentary film “Listen!” in 2015 from this material. She presented the first excerpts at the cinema Werkstattkino in Munich.

Happening

Bulgarian Advent: Cuisine and CultureDecember 20, 2013 at Villa Waldberta, Feldafing

The two authors Diana Ivanova and Kamelia Spassova and the visual artist Sonia Kovatcheva worked together on texts and images concerning the international artist residence and their stay there. There were several artistic and culinary samples in an intimate framework, in compliance with the “quiet” pre-Christmas period. The catalogue to this event was published in 2014.

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SIGNALRAUM – SPHERES OF THE “UNFOREHEARBLE”

What would culture in Munich be without the commitment of the independent scene, where many enthusiastic people – all too fre-quently without the prospect of an appropriate reimbursement, but with an innovative furor – contribute extensively through their work to the variety in Munich’s cultural landscape. The author and curator Horst Konietzny belongs to this valuable species.

Since 2012 he has been managing, among other things, the “Signal-raum für Klang and Kunst” (“Signal Room for Sound and Art”), which was initially located at Einstein Kulturkeller, and today it floats freely from location to location. A whole number of artists were also invited to Villa Waldberta for this, for example, in 2013 Eva Kekou from Greece; Consuela Guijarro from Spain; and Kathy Hinde, Simon Whetham, and Matthew Olden from Great Britain. In 2014 Simon Whetham came for a second time, and Lewis Kaye from Canada was also a guest. In 2015 Franciszek Araszkiewicz from Poland and Annie Abrahams from the Netherlands completed Signalraum projects, and recently, in 2017, the sound artist from Berlin Gero König was a guest at the artist residence. In addition, time and again the current grant-holders have been inspired to participate in Signalraum projects.

The Munich musician Christoph Reiserer and the British com-poser Kathy Hinde at Schauing, the temporary performance venue at the Pinakothek der Moderne art museum in Munich.

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Sound event

Music Box Migrations at Schauing July 14 and 20, 2013 at the Pinakothek der Moderne, Munich

During the renovation phase, the modern art museum Pinakothek der Moderne in the immediate neighborhood provided a makeshift location for art for several months: Schauing. In a type of scaffolding construction dif-ferent happenings and exhibitions were on display, and in front of that there was an “artists’ village” that could be used for spontaneous performances.

Kathy Hinde and Matthew Olden were also invited to participate. Their offers were enthusiastically accepted, in particular the offer to conduct a workshop on assembling mini barrel organs and making the notes for them, with which one could, for example, make one’s own city quarter or vacation route audible. To do this, one had to bring the appropriate map in a certain format, put holes in the map on the spots where one’s apartment building, school, favorite bar, etc., are, and then pull it through the organ. This is how routes can be made audible.

Together with the improvisational musician Christoph Reiserer from Munich, Kathy Hinde and Matthew Olden performed there on another date a very special concert with electronic, instrumental, computer-generated, and vocal sounds.

Sound event

BIRDS, INSECTS and SOUND MACHINES July 26, 2013 at Signalraum, Munich

Kathy Hinde’s poetic “Piano Migrations” was a mixture of installation and concert: projected birds fluttered over piano wires, touched them by acci-dent and thus produced real sounds from the piano wires. In the resulting “concert for birds, electronics, and two hands,” this British woman ran into a very special surprise guest from Bavaria, whom she had met when she was a grantholder and staying at Villa Waldberta. Helmut Wolfertstetter is a birdcall expert, and he can imitate a whole series of birdcalls, true to the original. Kathy Hinde visited him, and interviewed and filmed him while he imitated birdcalls; the film was part of the sound performance.

Matthew Olden presented his installation “Brian Forest,” which consisted of small computer animals that can chirp, call out, and scream, controlled by special software he invented that independently and continuously generates new effects.

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Sound event

Active Listening & Field Recording March 29, 2014 at Villa Waldberta, Feldafing

In 2013 Simon Whetham explored the land and surrounding areas of Feldafing for one month, in order to come back the following year with software and technical material especially designed for Villa Waldberta. There Simon Whetham then continued to experiment intensively with his hydrophones (underwater receivers) and to develop them further.

For his one-day workshop he asked the participants to consciously and attentively concentrate on listening to the hidden sounds around us, in other words, to perceive how Lake Starnberg probably sounds under the surface of the water, or which sounds could be concealed in a tree.

Simon Whetham is specialized in site-specific field research recordings, which he has also presented in concerts and exhibitions worldwide. His workshop had to do with consciously listening, techniques for recording in the field, and also putting together one’s own hydrophone.

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signalraum 2013 |2014 | 2015 | 2017

Concert

Tribal Sound Aura Project October 1, 2013 at Einsteinkeller, Munich

Sainkho Namtchylak’s grandparents were still nomads, and through her grandmother she came into contact with the traditional throat harmonic singing of Turkic peoples in Southern Siberia. She learned from her many traditional songs before she started studying in 1975 at the music school. She has been living in Vienna for years now, and been increasingly devoting herself to crossover music by combining traditional Siberian music with Western styles of music such as free jazz and pop music. At the same time, she continued to develop her ambitions in the visual arts and lyric poetry, and she taught at, among other institutions, the vienna poetry school. Today, Namtchylak works in an avant-garde style on the borders between language and vocals, poetry, music, and painting. Together with the percussionist Roland HH Biswurm, whom she got to know during her stay at Villa Wald-berta, she impressively presented the “magic voice” in a spontaneous concert.

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signalraum 2013 |2014 | 2015 | 2017

Concert

Grande finale at signalraum March 21, 2015 at Einsteinkeller, Munich

For three years, Horst Konietzny and his comrades-in-arms have brought people to the cellar at Einsteinstrasse who like to experiment and perform with their hearts and souls, people who displayed to Munich audiences their complete improvisatorial skills and interdisciplinary desire to discover previ-ously unheard sounds. Time and again, grantholders from Villa Waldberta also participated, as was the case with the huge jam session at the closing of Signalraum at Einsteinkeller. Participants included the Galician Germán Díaz with his barrel organ; the clarinet player Christian Dawid from Berlin; the American singer JJ Jones; and Dine Doneff, the all-round instrumen-talist from Macedonia. With this concert the project “Signalraum” ended its existence at Einsteinkeller, but it lives on at other locations up until the present day.

Concert

CHORDEOGRAPH June 29, 2017 at Münchner Stadtmuseum, Munich

For an interactive concert Signalraum found a temporary shelter in the department of the music instrument collection at Münchner Stadtmuseum. The musician and composer Gero Koenig, who was a grantholder in 2017 at the international artist residence, began inventing and constructing new instruments through his research in sound and perception, and this is also how he came up with his “chordeograph.” During an interactive video installation the sound of the instrument was made visible through graphic music scores.

How this electronic instrument functions in detail is extremely complicated, but suffice to say: the audience can, without touching the instrument and only through movements, create different sequences of sounds. Andras Varsányi, the director of the music instrument collection, was so fascinated by this that he commissioned a large model conceived especially for the museum. And so very soon visitors will be able to stand in front of a sound wall where they can make it produce sounds through dance movements.

Concert with Gero König (chordeograph), Dine Doneff (double bass, percussion), and Masako Ohta (piano).

2014There were two criteria for the allocation of the grants in 2014, namely “young interna-tional art” and “the unknown and one’s self,” and the focus was primarily on projects from South America and Africa.

A total of thirty artists were guests, and they came from the following 13 countries:Bosnia-Herzegovina; Brazil; Germany; Great Britain; Haiti; India; Israel; Canada; the Netherlands; Austria; Zimbabwe; Slovenia and Turkey.

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Zimbabwe Allstars in der Villa Waldberta

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OLGA BENARIO: UNKNOWN IN MUNICH, FAMOUS IN BRAZIL

The Brazilian actor and director Arley Veloso had already been at Villa Waldberta once before, in 2006, as part of a collaboration with Volks-theater in Munich and involving a German-Brazilian version of the Othello material. Ever since that time he has wanted to do a theater piece about Olga Benario, who was born in 1908 in Munich and even holds a place in history lessons in Brazil.

Her extremely eventful life took her from Berlin in the 1920s to revolu-tionary Russia and all the way to Brazil. There she tried, together with the Brazilian revolutionary leader Luiz Carlos Prestes, the “knight of hope,” to overthrow the military regime, but she was betrayed and in 1936, in the advanced stages of pregnancy, handed over to the Nazi regime in Germany. In a prison in Berlin she gave birth to her daugh-ter, and later on she was moved to the Ravensbrück concentration camp, where she was murdered in 1942. Her daughter survived and became a historian in Brazil, and while she was staying in Munich in 2008 – on what would have been her mother’s 100th birthday – she also visited Villa Waldberta.

For three months Ursula Cabral, Manoel Madeira, Pedro Emanuel de Vasconcelos and Arley Veloso from Brazil stayed at the artist’s residence in Feldafing, and Marcio Antunes joined them for the last month of their stay. Together with Kim Bormann and Andreas Mayer, two artists from Munich, they created an experimental theater piece about presumably the most unknown famous person from Munich.

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Theater

WANTED!An experimental theater piece about Olga Benario from Munich June 20 and 21, 2014 at Pasinger Fabrik, Munich

The scenic portrayal of young Olga Benario’s life was inspired by the spiritus loci of her hometown, the spirit of the place, and it was further developed in a collective, intercultural creative laboratory during the Brazilian theater-makers’ grant to stay in Munich. While at that time tens of thousands of people were taking to the streets in their home country to protest against the corrupt Brazilian government, the guests at Villa Waldberta set out to search artistically for present-day Olgas, women who dare to stand up for a more just world.

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ACOUSTIC NIGHT ALLSTARS & JAMARAM: BAVARIAN-AFRICAN CROSSOVER

The group Jamaram from Munich is one of the most successful reggae bands in Germany. For almost 20 years now the group has enjoyed a huge success with their music, which in the meantime can be heard on 10 albums. In 2012 they were invited to HIFA (Harare International Festival of the Arts) in Harare, one of Munich’s sister cities. With the aid of the Department of Arts and Culture and the Goethe Institute they travelled to Zimbabwe, where they met the Acoustic Night Allstars. This loose group of young, high-caliber singer-songwriters got together once a month for an acoustic night to present their latest songs, and thus provide a face for the young generation of musicians in Harare.

There a series of mutual songs were developed with Jamaram, and the concerts and workshops were so well received that Jamaram in-vited the musicians to join them on a tour of twenty German cities in the spring of 2013. The tour far surpassed every expectation, and the response from the fans was so overwhelming that they decided to produce an album together.

And thus in the summer of 2014 the five musicians Tariro neGitare, Prayersoul, Tendex Madzviti, Fungai Nengare, and Munya Nyamare-bvu, came to the artist’s residence Villa Waldberta in Feldafing, and the filmmaker Tafadzwa Violet Senderayi also joined to document the project. And so for three months the African guests could work intensively on their mutual album project and try out the songs they created in live concerts in and around Munich, such as, for example, at the annual Chiemsee Reggae Festival.

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Same old song with “Lucy in the Sky” Saturday, September 6, 2014, at Lustspielhaus, Munich

John Jones, who during his stay at Villa Waldberta in 2013 had enough peace and quiet to conceive many beautiful new projects, is the creator of “Same Old Song” (SOS). This wonderfully wacky series of events has gained cult status in the meantime: for an entire evening only one single song is performed, but in very different versions – in a live performance the song is sung, played, spoken, drummed, yodeled, or performed on the zither by many different interpreters.

For this evening – which was dedicated to “Lucy in the Sky with Dia-monds” – JJ Jones convinced the African musicians at Villa Waldberta to participate, although they weren’t familiar at all with this famous hit by the Beatles. The result was an almost eight-minute, very poetic version, in which African melodies and rhythms of a song that Tendex had composed at Villa Waldberta were wonderfully interwoven with Western elements of pop music.

Concert

African voices under a starry Bavarian sky August 28, 2014 at Villa Waldberta, Feldafing

With Prayersoul, Tendex Madzviti, Fungai Nengare, and Munya Nyamarebvu from Zimbabwe that evening there were four guest singer-songwriters who all were excellent guitar players and who at the same time also have won-derful voices. Each of them, however, was distinctive on their own. During the acoustic summer night at Villa Waldberta the musicians performed solo, as duos, and even as a quartet – in other words, each one of them present-ed himself as a solo artist and also performed with the other artists, and each one of them performed also his own songs, some of which had just been composed in Feldafing.

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CD-Release

Everything’s great: Jamaram & the Acoustic Night Allstars April 18, 2015, at Backstage, Munich

The summer of 2014, when the Acoustic Night Allstars transformed the Villa Waldberta into a vibrating, singing, swinging music laboratory for three months, bore productive fruit. The five gifted musicians from Zimbabwe worked there and in a studio with the Munich group Jamaram on a CD that has many songs with catchy qualities. Their mutual album is entitled “Heavy Heavy,” which in Shona, one of the languages in Zimbabwe, means approxi-mately “everything’s great,” and which became an adage while they worked together in the studio.

To kick off their CD release tour three of the african musicians came back to Germany. The 1,500 concert-goers at Konzerthalle (the concert venue was completely sold out) went crazy when Fungai, Tendex, and Munya stepped up to the microphone during the show and said they had not only performed reggae music in Bavaria, but they had also learned something very special that is Bavarian. And then they let loose with “Alperer,” a fantastic yodel tune ...

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AWARD-WINNING EU PROJECT: WHAT’S THE DEAL? WHAT’S GOING ON IN EUROPE’S URBAN SCENES?

For two years, from 2013 – 2015, young creative artists in very differ-ent urban scenes dealt with the subject of sustainability. The result was worthy enough to receive a prize from the European Commission – in 2017 they awarded the project the label “Success Story.” This international culture project under the direction of the Department of Arts and Culture of the City of Munich and with cooperation partners in Austria, Slovenia, and the Netherlands, was meant to make young urban scenes in Europe aware of a sustainable lifestyle and encour-age them in an entertaining way to be aware of ecology.

In Munich a mobile sculpture on skateboards was made out of recy-cled wood and called “Nomadic Sculpture” and set up at different locations in the city of Munich; it was designed to illustrate how one can use difficult, public spaces in imaginative ways. In Ljubljana and Amsterdam stylish fashion and furniture were created with waste products from the textile industry, and also mural art as an artistic counterbalance to omnipresent advertising. Also in Ljubljana as well as in Hallein, Austria, bicycles were developed that could be adapted to one’s own lifestyle in a do-it-yourself process.

Villa Waldberta invited a total of eleven artists to participate in the project: Lisa Simpson (Brazil); Gayatri Vijayshima (India); Georg Hobmeier, Johanna Kronhofer, and Mac Krebernik (Austria); Onur Ceritoğlu (Turkey); Bert Scholten and Marjanne van Helvert (the Netherlands); Matthias Wermke (Germany); and Jurij Bobič and Petra Gosenca (Slovenia)

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Happening

What‘s the deal? – Subculture in the Undergrounds November 22, 2014 – January 10, 2015, at Maximiliansforum, Munich

On Munich’s luxury avenue Maximillianstrasse high society enjoyed itself in expensive designer boutiques while street life pulsed below street level in subculture’s alternative low-budget happenings. For seven weeks Maxi - miliansforum, the municipal art space located in a pedestrian underground passage, was a space for skateboarding, art, and design: the “Nomadic Sculpture,” a mobile sculpture on skateboards made out of recycled wood, was the star of the exhibition. It was enhanced by an installation with inter - active projections, and a temporary design concept store with sustainable local fashion, accessories, and jewelry products.

Festival

Festival of Urban Cultures June 11 – 20, 2015, at Kreativquartier München

At the end of the international and multidisciplinary E.U. project “What’s the deal?” with its bubbling creativity, novel intellectual approaches, and exciting art productions, there was also a firework of different events, a type of “competitive exhibition” of what the City of Munich’s Department of Arts and Culture – together with its partners in Ljubljana; Amsterdam; and Hallein near Salzburg – had developed – an appraisal of the urban scenes with a focus on mural art, skateboarding, urban biking, design, and D.I.Y. concepts.

In addition, Bert Scholten, Georg Hobmeier, Marjanne van Helvert, Lisa Simpson, Jurij Bobič, Johanna Kronhofer, and Onur Ceritoğlu came from their home countries to present their works. But the Munich scene was also heavily represented during the ten-day festival of sustainability featuring young urban scenes from four European countries.

Natural recycling lamp (designed by Jurij Bobič and Petra Gosenca) out of moss from Villa Waldberta’s garden.

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VILLA WALDBERTA AND ITS ARTISTS AS GUESTS AT THE ANDERART FESTIVAL

Every year the festival AnderArt takes place on the second Saturday of Oktoberfest time. The festival is an intercultural alternative to that very traditional Bavarian Oktoberfest, for the festival program is everything but traditional: Visitors can expect artistic contributions and crossover performances from different cultures, generations, genres, and forms. On the large open-air stage in front of the mon-umental Feldherrnhalle wacky urban elements meet ethno-poetic elements, music meets literature, and romantic elements meet punk elements, and during the intermissions while changes are made on the stage the program continues with spontaneous music sessions in the beer garden. The diversity of the cultures in the city certainly contributes to Munich being so livable. The famous Munich flair is very influenced by migration and the cultural treasures that through migration have, ever since one can remember, been brought and are being brought to our city. The reason for this one-day festival, which in 2017 celebrated its twentieth anniversary, is to show appreciation in an appropriate manner for this culturally rich and diverse society.

Villa Waldberta has also been participating in the festival since 2006, usually with a tent for passing out information and displaying how the artistic exchange functions between the international residence for grantholders and the art scene in Munich. In the meantime, the City of Munich’s Department of Arts and Culture has set up a second artist residence, an apartment at Ebenböckhaus in Pasing, and starting in 2013 both residency programs and their diversity were presented to-gether. The current guests at both artist residences at that time were given an attractive platform to show their works, and sometimes this included workshops or concerts, and sometimes they even had their own tents to exhibit their art works.

2014

In the summer of 2014 Villa Waldberta was full with musicians from Zimbabwe, who produced a CD with the Munich reggae band Jamaram while they stayed at Villa Waldberta. Their performances during the jam sessions in the beer garden were so captivating that hardly anyone could keep their feet still. JJ Jones, who has “stuck around,” also stopped in spontaneously and participated in the session.

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2013

The South African artist Garth Erasmus, who in his work frequently refers to his indigenous roots in the Khoi society, started things off. In his art tent he presented an exhibition of works that were all created during his obviously productive time at Villa Waldberta.

This South African shared the tent with the Greek artist Fotini Potamia, whose graphically clear paintings and linoleum prints formed an appealing contrast to Erasmus’ often abstract-dynamic paintings.

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2016

Passers-by hardly allowed the Japanese artist Hisako Inoue time to take a breather during her workshop in the art tent, where they could create their very own personal fragrance. A lot of children and adults kept on stopping in the wholeday long, and, by following expert instruction in this “sniffing station,” they could make, for example, receptacles for fragrances and so compose their own brand of fragrance.

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2015

In 2015 in the information tent of the artist residence program the workshop table of the two Greek artists Fotini Potamia and Christina Sapouna was a bustling center of attention. Passers-by constantly wanted to be shown how silkscreen and linoleum prints could be used to create book covers, CD covers, and postcards, or how books could be designed and bound by hand.

The current grantholders at Villa Waldberta, the Indian poetess Rati Saxena and the German artist Charlotte Mumm, also let themselves get caught up in the creative atmosphere.

In the autumn of 2017 an acclaimed exhibition at Villa Stuck in Munich fea-tured Hisako Inoue’s preliminary olfac-tory works: “Bibliothek der Gerüche” (“Library of Odors”), where books were placed like delicate dishes under glass covers, and visitors could sniff their characteristics.

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In his art tent, the Iraq artist Kadir Fadhel presented not only his own works but he also called attention to himself with a very special performance. Inspired by the famous munich dadaistic comedian Karl Valentin, he washed images, hung them up on a clothesline, and wrapped visitors in a red thread in order to “dress them” and have them actively participate in his art in the tent.

2015This year’s focus for the allocation of the grants was “Wandel durch Annäherung” (“Change Through Approach”), the result was very different projects that dealt with art during times of change, with photogra phic experiments, and crossover world music. In addition, under the title “Fortset zung folgt...” (“To Be Continued…”) projects were con-ducted that were based on previous activities.

A total of thirty-five artists were guests, who came from the following countries: Brazil; Germany; Great Britain; Greece; Iran; Israel; Latvia; the Netherlands; Austria; Morocco; Poland; Russia; Slovenia; Spain; Ukraine; and the U.S.

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SHREDDING MAPS– UKRAINE TRAPPED IN AN ORDEAL

In 2014 and 2015 the West registered the escalating conflict in the Ukraine with increasing horror –all of a sudden the war was all over the news in Central Europe. The people in the Ukraine were very directly affected by the war and tried to react in very different ways. Olya Mykhailiuk, Myroslav Vayda, and Vitaliy Kokhan are three Ukrainian artists who were guests at Villa Waldberta at the beginning of 2015, and the horrors of these developments in their homeland had badly shaken them. Their artistic works were evidence of this. The Starnberg artist Carlotta Brunetti and the Munich curator Cornelia Oßwald-Hoffmann assisted in the realization of the Ukrainian guests’ projects, who had already introduced themselves to the citizens of Munich in December 2014 with their various art happenings.

Olya Mykhailiuk’s installation and performance “just went away” at the Munich gallery GEDOK were especially impressive; they dealt with the reaction of the population in the hard-fought battles raging in the Donets Basin in eastern Ukraine. She attempted to reenact the flight of the people there after the first bombardments by trekking the same kilometer-long route through snow and ice, and she doc-umented this happening on film, under ongoing, threatening condi-tions.

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Exhibition

Shredding Maps – Topical art from Ukraine February 25 – 28, 2015 at Giesinger Bahnhof, Munich

During their two-month stay at Villa Waldberta Olya Mykhailiuk, Myroslav Vajda, and Vitaliy Kokhan created extremely topical, diverse works for the exhibition at Giesinger Bahnhof in Munich, which dealt with the current political situation in the Ukraine and the social upheaval resulting from the conflict. As eyewitnesses of what had happened at the square Maidan Nezalezhnosti, it was very important to these three activists to point out the diversity of Ukrainian culture in history and in present times.

All three of the artists represented in their own biographies the multi-ethnic, multicultural society in the Ukraine: they come from the west, east, and center of the country; they have Polish, Russian, and Ukrainian roots; and they speak different languages. During the revolution and afterwards they conducted various, hazardous art happenings and interventions on Maidan, on the Crimea peninsula, and in the hard-fought Donbass region. The media they use are visual art forms, video works, performances, installations, land art, and also texts and music.

The Giesinger Bahnhof venue proved to be an ideal location for the pro-ject, which dealt with arrival and departure, encounters with strangers and reunions with friends, but also with disappearances. There was a podium discussion with the Ukrainian protagonists and experts from the university for anyone interested in gaining a deeper understanding of the situation.

Vitaliy Kokhan’s ingen-ious interactive mix of materials was an ideal enhancement to Myroslav Vayjda’s ex-pressive paintings and Olya Mihailuk’s rather bleaker impressions.

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CASTILIAN CULTURE DAYS

Villa Waldberta has been a cooperation partner of the Spanish Cul tural Institute in Munich many times now already, as when, for example, the focal points were Basque or Galician culture. For the Castilian Culture Days the writer and poet Juan Andrés García Román came to Villa Waldberta. This scholar of German has translated into Spanish works by, among others, Rilke and Hölderlin, and he worked on the translation of an anthology of new German lyric poetry at the artists’ retreat in Feldafing. The second guest from Spain at Villa Waldberta was the musician and composer Germán Díaz, who has been called the “Jimi Hendrix of the Hurdy Gurdy.” He demonstrated his art not only in a discussion concert, but also when he spontane-ously joined in a performance at the “beer palace” in Munich, the Hofbräuhaus, at the monthly musicians’ get-together there.

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poetry panel

Word Art between the Lines February 20, 2015 at Instituto Cervantes, Munich

Juan Andrés García Román writes texts that are sparkling with fantasy, and are courageous and unusual, beyond the mainstream. Michael Krüger, author and former director of the publishing house Carl-Hanser-Verlag and current president of the Academy of Fine Arts, published recently a volume of his poems, which were translated into Spanish by García Román. Krüger and García Román talked about their word art, about the communication between words and lines, about how both authors view other languages and cultures, respectively, and what they can learn from one another.

Concert

Hurdy-gurdy Art between the Middle Ages and Avant-garde March 1, 2015 at Münchner Stadtmuseum, Munich

As a researcher, composer, and instrument maker in one, this busy artist demonstrated what sounds, playing techniques, and wonders he can carry over from a medieval pan-European instrument into the modern age. Germán Díaz has also made a name for himself internationally; he is a guest at relevant festivals across the globe, and has collected numerous awards, including one for his CD “Popular Music from the Civil War.” In the extra-ordinarily informative discussion concert Germán Díaz presented the hurdy- gurdy from the Iberian peninsula with its thousand-year history, including the instrument’s origin and development, based on surviving evidence in Spanish paintings, sculpture, and literature.

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LUDWIG / 2THE SUCCESS STORY OF A THEATER PLAY

For three months the Brazilian theater group “Artesanal” was a guest in the spring of 2015 at the international artist residence Villa Wald-berta. In Feldafing Gustavo Bicalho; Henrique Gonçalves; Rodrigo Belay; Manoel Madeira; Dai Fiorati; and Daniel Belquer developed an unusual three-person piece about the Bavarian swan king Ludwig II – more or less in sight of the spot where he died, straight across Lake Starnberg on the other side of the shore.

The artist residence was the best place to prepare for the piece: the six theater artists, as a group, could set up a perfect rehearsal stage in the windowless gallery on Villa Waldberta’s third floor and re-hearse their piece undisturbed at all times of the day and night. And they came with the pretension of presenting their very own view of this so extraordinary personality, because to the director Gustavo Bicalho Ludwig II was “a visionary, a man before his time. A man who contributed to making Bavaria one of the best places in the world today.”

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A foreign view of a Bavarian myth June 11 – 13, 2015 at Pasinger Fabrik, Munich

Is it possible at all for a theater piece to tell in a new way the story about the fairy-tale king, Ludwig II, who is omnipresent in Bavaria? Isn’t one very much at risk of lapsing into clichés and recycling already well-known stories?

The theater group from Rio de Janeiro avoided this precisely. They managed a small miracle and related the material in a different way and with terrific means: starting with the hand-sewn, extremely lovingly made costumes by Henrique Gonçalves; the wonderfully minimalized sets with lightbulb cur-tains by Rodrigo Belay that could be used in various ways; the music by the sound artist Daniel Belquer, who had previously adapted Wagner composi-tions for techno freaks; not to mention the acting performances by the three protagonists Manoel Madeira, Dai Fiorati, and the Munich actor Andreas Mayer; and the amazing and intelligent work done by the director and writer Gustavo Bicalho.

Theater

Ludwig / 2 – I want to remain an eternal riddle September 4 – 27, 2015 at Theater Sesc Copacabana, Rio de Janeiro

The theater piece apparently struck an important nerve in the theatermakers’ home country. They were the theater sensation in Rio de Janeiro in the autumn of 2015, and performed the piece sixteen days in succession in one of the best theaters in Rio, the “Sesc Copacabana”; every performance was sold-out, there were long lines of people who wanted to see it, and the press sang hymns of praise.

Afterwards, they went on tour with the piece and were invited to a whole number of renowned Brazilian theater festivals; in 2016, for their 20th anni-versary on theater stages, they also received an exhibition and a catalogue. Now it paid off that the piece had been conceived as bilingual from the be-ginning (German and Portuguese). The Bavarian fairy-tale king really brought luck to a Brazilian theater group ...

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MYSTICAL GNAWA CULTURE FROM MOROCCO

In the south of Morocco, slaves once organized themselves in the brotherhood of the “Gnawa.” Their traditional African rituals inter-locked with Berber influences and Arabian Sufism. Their music be-came the “blues of Morocco.” Initiated by Roswitha Pross from the munich Alphornkollektiv, Younes Paco, the son of the legendary and honored Maghreb musician Abderrahmane Kirrouche PACO (who passed away in 2012), came to Feldafing with the two Moroccan musicians Mohammed Imel and Youssef Amazi. For three months in the summer of 2015 they enchanted Villa Waldberta and Munich with their Oriental sounds.

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Gnawa Culture Days June 10 – 13, 2015 at Fraunhofer Theater, Munich

For four days films, readings, and discussions provided information on the mysterious Gnawa culture, which has one of its centers in the Moroccan city of Essaouira; the three grantholders come from this city. Historical and contemporary films showed the charismatic musician PACO with his group Nass El Ghiwane, who are considered to be the “Beatles of North Africa,” and the healing ceremonies of the women who offer an intoxicating, sensual experience during their “purple nights.” And of course there had to be music: two concerts united three extremely unusual formations, the Younes Paco Band performed together with the world music group Embryo and the Munich group Alphornkollektiv.

Younes Paco has enjoyed a long friendship with Embryo, probably the oldest world music group in Germany whose founder, Christian Burchard, passed away at the beginning of 2018. As early as 1971 Embryo was touring in Morocco with his father, PACO. This musically extremely fruitful combi-nation continued in Munich with an entire series of additional concerts at, among other venues, Münchner Stadtmuseum, and Import Export at Kreativquartier München. And naturally they were also very welcome guests at the monthly gathering of musicians at Hofbräuhaus in Munich.

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Gnawa Music Evening: Paco Band & Alphornkollektiv & Embryo August 26, 2015 at Villa Waldberta, Feldafing

At the close of their three-month stay there was a fulminate concert under the tall trees in Villa Waldberta’s gardens. Well over three hundred people came on this balmy late summer evening as the alphorns – with a view of Lake Starnberg and the mountain range in the background – laid out a carpet of sound on which Younes Paco, Mohammed Imel, and Youssef Amazi let their meditative music dance, and time and again they and the musicians from Embryo formed long chains of melodies. The notable composer and music ethnologist Peter Michael Hamel, who, indeed, has worked with greats like John Cage and Karlheinz Stockhausen, jumped at the chance to spontaneously join in this fascinating world of sound and accompanied them on the piano.

Hammerling goes Maroc February 6, 2016, Fraunhofer Theater, Munich

The duo Hammerling – the alphorn player and all-around horn specialist Fritz Moßhammer from Salzburg and the percussionist Erwin Rehling from Bavaria – has been performing since 2012 with the Gnawa musician Youness Paco from Morocco with his gembri, a special Arabian string instrument. Intensive sound collages were generated, marked by the respect and curiosity on the part of the respective musicians to approach different, seemingly foreign music and a desire to take an improvisatorial path, which can been heard on their CD “Hammerling goes Maroc.” This sounds as if the connection between Alpine and North African traditions would be entirely logical, because all of the participants were willing to get involved in each other’s music. When Youness Paco was a guest at Villa Waldberta for three months in the summer of 2015 he used the time to continue to intensively experiment with these different realms of sounds, and he presented the results to the Munich audience during the Volksmusik-tage (“Folk Music Days”) at Fraunhofer in Munich.

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GEDOK: BORDER CROSSER ARTISTS IN ART AND CULTURE

GEDOK was founded in 1926 in order to give women in art and culture a larger platform, and to help those who have been marginalized for a long time to achieve better basic conditions. It’s the oldest network for women artists of all genres and the largest in Europe. Time and again, the committee active in Munich has invited artists to Villa Waldberta for their projects, and for the most part they exhibited their works in their own gallery, Gedok Galerie. For this program in 2013 two Austrians came to the City of Munich’s international artist residence, Claudia-Maria Luenig and Christiane Spatt; and in 2016 Patricia Earnhardt from the U.S., and Myrna Pronchuk from Canada.

Then in 2015 a prominent and large exhibition was set up at the renowned Rathausgalerie, in other words, right in the center of the city, with 20 women artists primarily from Bavaria and Austria partic-ipating. Along with Luenig and Spatt there were the “Vier Grazien” (“Four Graces”), Petra Gell; Mela Kaltenegger; G. Maria Wetter; and Susanna Schwarz, making a total of six grantholders from the artist residence who took part in the exhibition.

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Claudia-Maria Luenig at work on the terrace at Villa Waldberta.

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IDOL+ Prehistorical and Contemporary Images of Women July 10 – September 5, 2015 at Rathausgalerie, Munich

Organized by the traditional, interdisciplinary artist organization GEDOK München, this exhibition dealt with idols of all types and attempted to explore the perspectives on female identities and alternatives for female identities. Here there was room for prehistoric idol figures as well as experimental elements from contemporary art. The subject matters were the change in the image of women over the centuries, the concept of ideal beauty in the past and the present, and the questioning of classic role images. The historic idol figures, multifaceted and with an admiration for what’s feminine, appeared to be no less opalescent than present-day society’s allocations of the female identity. The works of the participating artists took critical positions and showed potential, tested wishful thinking regarding reality, and suggested alternatives.

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Christiane Spatt’s series of fotos “einmal wird ...”, made in Villa Waldberta

Series of fotos ROT made in Villa Waldberta by the “four graces”

below: Idol+ exhibition in munich’s townhall gallery with works of Claudia-Maria Luenig and Christiane Spatt

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Unknown Land – a transatlantic, collaborative exhibition May 12 – June 4, 2016 at Gedok Galerie, Munich

This exhibition project had to do with no less than critically questioning the hubris of humans and their apparent omnipotence over nature, and with developing scenarios of alternative options for how we think and act. The Munich artist Sabine Schlunk invited two like-minded colleagues to partic-ipate in this project, namely Patricia Earnhardt (U.S.), and Myrna Pronchuk (Canada). These two artists developed a mutual installation during their stay at Villa Waldberta and augmented it with found objects from the residence’s extensive gardens. In addition, Myrna Pronchuk, who is also a musician, formed several sound instruments out of these “objets trouvés,” making them into playable art objects.

Lifting per adhesive tape – that’s how Patricia Earnhardt “prettified” herself in her video piece.

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STAYED ON!VILLA WALDBERTA GUESTS ENRICH MUNICH

Inspired by their stay at Villa Waldberta, several of the guests created such an enduring network that they are now an indelible enrichment to the local art and culture scene. If it weren’t for the tough apartment situation and the high rents, then many more international artists would probably have settled down here – Munich was a positive sur-prise to several of them, in contrast to their expectations beforehand.

Dine Doneff (aka Kostas Theodorou), musician

In 2013 the Greek-Macedonian artist couple Dine Doneff and Fotini Potamia came to Munich on a grant. In the meantime, the two of them have built up such multifaceted connections in the city that it’s difficult to single out any one of them. And so, for example, Dine Doneff played a central musical role during the 2014-2015 season in the theater piece “Exiles” by James Joyce (directed by Luk Perceval) at Münchner Kammerspiele. He performed with the formations Embryo and Canto deiSass at diverse concerts, and he presented several times his own compositions in his project “Lost Anthro-pology.”

He founded a highly-regarded duo with Maria Dafka, a Greek bayan accor-dion player and student at the music school in Munich; this duo gave its first performance during the Felix Hörburger Festival at Münchner Stadtmu-seum. The acclaimed concert was recorded and broadcast by the Bavarian state radio station. In addition, the duo Dafka Doneff will receive in 2018 the sponsorship award RUTH at the traditional folk festival in Rudolstadt.

Time and again spon-taneous collaborative efforts came about between Dine Doneff and the current guests at Villa Waldberta, like in 2016 with the Ugan-dan dancer Philip Buyi.

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Fotini Potamia, visual artist, photographer, graphic designer

Fotini Potamia could show her works while staying at Villa Waldberta in an exhibition at Griechisches Haus in Munich, a center for culture, education, and meetings for Greeks, Germans, and people of other nationalities, and she and Theräs Reich had an exhibition together in 2016 in the Palm House at Villa Waldberta, where she exhibited her sensitive works, recycled ob-jects, and paper objects. In addition, she worked on an artists’ calendar with the Greek artist Christina Sapouna, who was also at Villa Waldberta; the cal-endar featured poems and images from numerous current grantholders as well as previous grantholders. The two artists also are involved in the mutual production of imaginative recycled objects: patkiout productions.

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Dine Doneff is always an esteemed guest at the Music Collection Department of the Münchner Stadtmuseum. Here he conducted his popular workshops for Balkan rhythms, and he also presented his independent label neRED here. The first CD on this label, which has the support of the renowned music publisher ECM, was the release of his own compo-sition, the Balkan folk opera “Rousilvo,” which Dine Doneff (aka Kostas Theodorou) presented in an impressive concert at the end of 2017.

Theräs Reich, visual artist

In 2007 Theräs Reich came to the artist residence via the EU project “ConsTRUCKtions – ConNEXTions.” From that time on her home has been the Lake Starnberg area, where she works and has her circle of friends. For this reason it made sense to organize for her and Fotini Potamia an exhibition in the Palm House at Villa Waldberta. The Munich journalist Katja Sebald wrote in the newspaper “Süddeutsche Zeitung” about the exhibition:

“The two visual artists have divided the exhibition space into exactly two halves – Theräs R. Reich exhibits her extremely decorative works on the left wall and in the left section of the greenhouse, and Fotini Potamia exhibits her unpretentious prints and miniature objects (which intensify into enchant-ing, lyrical realms of images) in the right-hand section. The small exhibition’s appeal comes from the straightforwardly contrarian artistic positions and methods.”

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Fotini Potamia also distinguished herself with her aesthetic photographs: the Münchner Stadtmuseum could acquire her services for a documentation of the events of the gamelan artists staying at Villa Waldberta in 2017. She made a name for herself with her emphatic photographs taken during music events, and the Munich music scene likes to book her to photograph music events. The renowned music label ECM records in Munich also appreciates her art: she has designed around 20 CD covers for their productions in the meantime.

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Ian Chapman, musician

This musician is originally from Birmingham, and in 2009 he participated in the successful EU project MELT. For this project musicians were invited to Villa Waldberta via the sub-project making musi by the project’s partner cities, namely Birmingham; Istanbul; Sighișoara; Genoa; and Vienna. The intention was that the musicians present their traditional styles of music and teach the other musicians these respective traditional styles of music. Together with musicians from Munich, the result was such a multifarious repertoire that rousing concerts in taverns gave Munich a very spirited, alternative folk music scene that still exists today.

Since then it is impossible to imagine the local scene without Ian Chapman. Using the artist name Gurdan Thomas he founded his own band, which per-forms music he describes as between “chaotic folk music” and “Baroque pop music.” He plays the tuba or trumpet for folk music avant-garde artists such as the Schicksalscombo, the Lischkapelle, and Jodelfisch, and he is also a master of the guitar, ukulele, harmonica, and piano.

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Helen Varley Jamieson, performance artist

This artist from New Zealand came to Munich in 2008 via the project “A day in a life,” a project of the Munich curator Horst Konietzny, and in the meantime she’s happily married here. Originally known for her innovative cyberformances, Helen Varley Jamieson has established herself through her numerous connections all over the world as an organizer and director of festivals for women, such as, for example, the Magdalena Project. She managed to bring this festival of contemporary performance and theater by women to Munich for the first time in 2016, and for three months in the spring of 2018 she will usher in another Magdalena season with more than a dozen grantholders at Villa Waldberta.

With Annie Abrahams, grantholder at Villa Waldberta in 2015, she devel-oped the poetic performance “Unaussprechbarlich. Variationen des Mißverstehens” (“Unpronounceable. Variations of Misunderstanding”); since then it has been performed in several countries.

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John Richard Jones, musician

This American musician from Nashville, Tennessee, was at Villa Waldberta in 2013. The inspiring atmosphere of the artist residence was indeed an inspiration for JJ Jones to conceive a new event format, which up until the present day has cult status. At irregular intervals he organizes his “Same Old Song” event, for the most part at the trendy music venue Milla Club. He selects a song from the history of pop, rock, or classical music, which is then performed live the entire evening by different performers in very pleasurable and diversified ways. The versions may be hardly discernible from the original cover versions, or performed on unusual instruments such as the theremin, or music cabaret numbers, or congealed into small dramatic interpretations. The very first evening event was devoted to the rock classic “Stairway to Heaven”; the evening started off with a version for two harps ...

In the meantime, there have been eighteen evening events in Munich; most of them took place at Milla Club but also at Lustspielhaus and Nachtkantine. As the events were so suc-cessful, other cities booked JJ Jones; for example, Augsburg for their international Brecht festival – with the song “Mack the Knife,” of course, or the “Alabama Song”. For the last three years an extremely special SOS event takes place on Christmas Eve: 24 hours of “Silent Night.”

In addition to this successful format, JJ Jones has conceived, among other projects, a magical evening at the Gasteig Cultural Center: “ES WAR EIN KLANG – Improvisierte Musik erzählt neue Märchen” (“THERE WAS A SOUND – impro-vised music tells new fairy tales”), for to him, the wisdom of fairy tales is so elementary that one can also relate them via purely improvised music. In addition, he regularly performs in concerts with the two music formations “Big Band Dachau” and “Edlrost” – if he isn’t appearing as a live soap bubble at a happening.

Left: Same Old Song with Abba’s “The Winner Takes it All” on Feb. 9, 2018 at Milla Club in Munich.

2016The two focal points “Elementare Vielfalt” (“Elementary Diversity”) and “Austausch auf Augenhöhe” (“Eye-to-Eye Exchange”) were the basis for the allocation of the grants in 2016, and the projects were for the most part in the fields of art and theater.

For these projects there were a total of thir-ty-six artists from the following 19 countries:Australia; Brazil; Germany; Finland; Greece; Great Britain; India; Indonesia; Iraq; Japan; Latvia; Mexico; the Netherlands; Nigeria; Switzerland; Spain; Taiwan; Uganda; and the U.S.

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LAUTYODELN – MUSICAL OLYMPICS IN THE ART OF YODELING

For a long time yodeling more or less was greeted by a large section of the world‘s population with a slight smile and was put in the cor-ner with oldfashioned traditional folk art. But in recent years word has gotten around that there is much more to this archaic singing art than one suspects, more than just solo yodel singing in a style suitable for a television show shot in a hay barn. Yodel courses are booming, not only in the countryside and in Bavaria, but also in big cities in Germany, such as Berlin. It has already been paraphrased as the „Alpine blues,“ and also the „primal scream of the soul.“ Through the use of onomatopoetic syllables and simple melodic lines, yodel vocals are ideal for cross-linking different cultures.

The City of Munich‘s Department of Arts and Culture decided there-fore to devote a festival week to this vocal technique and its entire spectrum with concerts, workshops, and singalongs in hipster bars as well as in taverns. Improvisational and extreme yodelers partici-pated, and there were also sounds from the African rain forest, Swiss „Naturjuuzer“, regional yodeling, urban yodeling, and global yode-ling.

In 2016 the music journalist Christoph Wagner and the Swiss „vocal acrobat“ Christian Zehnder were invited to Villa Waldberta for this. Wagner is considered to be an expert in the cultural history of this singing technique, whereas Zehnder is a guarantee that this certainly won‘t have anything to do with folkloristic nonsens.

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Concert

CD Release for the LAUTyodeln festival November 16, 2016 at Münchner Volkstheater

The festival LAUTyodeln, which was organized and recorded by the City of Munich‘s Department of Arts and Culture and the publisher TRIKONT-Verlag in June 2016, resulted in a „best of“ CD. The accomplished music journal-ist Christoph Wagner wrote the knowledgeable booklet for the CD. This convincingly laid to rest the old prejudice that yodeling is only an Alpine phe-nomenon. Whether in America, Africa, the South Seas, Southern Europe, Switzerland, Austria, and naturally Bavaria – artists everywhere indulge in this „inarticulate gurgling from the throat“ (Zehnder).

Whoever has once, for example, experienced the Swiss vocal acrobat Christian Zehnder live in concert senses physically how here in an archaic- experimental manner moving vocals unfold, which in the meantime is causing a sensation worldwide. The palette of his signing techniques ranges from monologic harmonics to „Swiss natural yodeling“ to enhanced artistic avant-garde vocals, and he combines everything in an equally surprising as well as convincing manner. Zehnder performed a furious presentation of the LAUTyodeln CD together with Mrs. Zwirbl, a vivacious female trio from Munich.

lautyodeln eye-to-eye exchange 2016

Concert

LautYodeln June 11, 2016, at the church Allerheiligen Hofkirche in Munich

The festival week started off with a concert at Münchner Volkstheater fea-turing four different yodel performers and groups (Erika Stucky; Black Patti; Yellow Bird; and Baka Beyond), followed by six days of various workshops, and at the end of the festival week things moved to a formerly sacral set-ting, the former church Allerheiligen Hofkirche. There, along with the voice virtuoso Christian Zehnder, the Swiss yodel group „Natur pur“ from the swiss Muota Valley performed music, as well as Monika Drasch with Maria Reiter & Freinds* and the horn players from the Münchner Philharmoniker.

(*“Freinds“ is actually spelled like this; it derives from the Bavarian word „Freindla,“ which means „little friend.“)

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A VISIT FROM MALLORCA FOR THE BAVARIAN BRANDNER KASPAR

In 1983, the Munich theater artist Traudl Bogenhauser was the very first female grantholder at Villa Waldberta, and thus for a long time now she has had an intensive connection to the residence. She has been working since 2007 on projects with the theatre group Imago-nem „Theater without Borders“ from Palma de Mallorca, Spain. She invited two of their members, namely Erick Bürger and Eduardo Moya, to stay at Villa Waldberta in order to produce their latest pro-ject: the theater play „Brandner Kaspar“ in Spanish and Bavarian.

This quintessentially Bavarian theater work by Franz von Ko-bell where Brandner ingeniously gambles for his life with the „Boandlkramer,“ (a bavarian word for „Death“) surprisingly has sev-eral parallels in Spanish folk culture with its pronounced death cult. That‘s why the story was partially translated into Spanish and the play performed in two languages – although the „heaven“ certainly remained to be Bavarian.

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Theater

La mirada del Kaspar Brandner en el paraísoBrandner Kaspar looks into the paradise August 11 – 13, 2016 at Pasinger Fabrik in MunichAugust 17, 2016 at Villa Waldberta in Feldafing (with a concert)

The initiator of the theater evening, Traudl Bogenhauser, has been working for years with project ensembles where amateurs develop a piece together with professionals, as was the case this time with a course at the Munich School of Adult Education. She also likes to think outside of the box when examining other cultures, preferably the Spanish culture. The result of this Spanish-Bavarian collaboration was performed three times at Pasinger Fabrik and once in the recently renovated Palmenhaus („Palm House“) at Villa Waldberta with the two Mallorquin grantholders Erick Bürger and Eduard Moya in the lead roles.

While staying in Munich Erick Bürger, a native of Venezuela, met a family of three from his home country who perform entrancing South American music: Cuatro Cuerdas. He invited them to the international artist residence as surprise guests. After the theater play they took the audience on a mu-sical journey through their homeland and introduced them to the different rhythms and styles of Venezuela.

Left to right: Eduardo Moya, Erick Bürger und Traudel Bogenhauser

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ARTIST EXCHANGE: TAIPEI AND MUNICH

The Munich artist Lars Koepsel has had a connection with Taiwan for years now, and he has made great contributions with his volunteer, dedicated work for the art world there and with his small but digni-fied gallery “Apartment der Kunst.” For this he has also been receiv-ing support from the Department of Arts and Culture since 2014, and starting in 2017 an exchange program was added, which they initiat-ed together with the Goethe Institute Taipei and Taipei Artist Village. This enables artists from Munich once a year to spend two months in Taipei, and in return corresponding guests from Taiwan come to Munich.

In advance of this, in the summer of 2016 an invitation went out to Wei-Lung Lin and Te-Yu Wang to come to Villa Waldberta for two months, so that they could each prepare and present a solo exhibition

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No. 84 – solo for Te-Yu Wang July 9 – August 5, 2016 at Apartment der Kunst in Munich

The Taiwan artist Te-Yu Wang has been known in Asia for many years for combining sculpture and installation. The titles of her exhibitions are numbered consecutively, because her works always explicitly refer to the respective space and are developed only for the respective space. Her No. 84 at Apartment der Kunst consisted of two soft membrane sculptures like spinning tops that almost filled the space completely, so that one had the impression it was insurmountable. However, one quickly realized that the objects reacted to counterpressure and receded. In addition, one could also enter and walk around inside of them, which, on the other hand, completely altered the perception.

artist exchange: taipei and munich eye-to-eye exchange 2016

Exhibition

SLICE – solo for Wei-Lung Lin June 4 – July 1, 2016 at Apartment der Kunst in Munich

Wei-Lung Lin belongs to a young generation of Taiwan artists who work in the cross-over genres of performance, installation, and video. In Munich he exhibited three of his physically intense works as videos and also live.

And so his long performance was developed in real time over the course of eight days at the gallery Apartment der Kunst. With this perfor-mance Wei-Lung wanted to make visible the tiny transition from consciousness to unconscious-ness. To do this, every day he laid down to sleep in the gallery, and at the same time he loosely held on to a balloon. As soon as he fell asleep the helium-filled balloon slipped out of his fingers and drifted upwards. As the ceiling was covered with needles the balloon burst when it hit the ceiling and the artist woke up, and then he repeated this procedure over and over again until the day of the opening.

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Installation

PNEUMA September 20 – October 15, 2017 at St. Lukaskirche, Munich

The projects of the two Taiwanese artists caught the pastor’s attention who is responsible for the church St. Lukaskirche in Munich; this church is proba-bly one of the most renowned sacral venues open for contemporary art. The reputation of the projects supported by this dedicated pastor have spread far beyond Munich and are talked about all across Germany, and they are meant to provide an impulse to perceive the church in terms of architecture and spirituality in a new way.

The voluminous and yet transparent, delicate objects of Te-Yu Wang appear to have been created for this special venue: using more than 500 meters of matt-finished, shiny white parachute silk, she sewed together what she calls an “air sculpture.” The entire altar – which is, at any rate, over eight meters tall – was covered with the material and one could walk inside. Four venti-lators, like giant hair dryers, maintained the soft, round shape of the “huge airbag” and gave the space a mystic atmosphere.

Once again, Wei-Lung Lin conceived for the space one of his long perfor-mances that tests physical boundaries. On eleven days, every half-hour he let a black helium-filled balloon float up to the church’s 48-meter high dome for his marathon art happening. The string connecting the balloon to stones on the church’s floor was made of real human hair, knowing full well that this material could cause great discomfort in particular in Germany, where the hair of concentration camp victims once was exploited by industry. To Wei-Lung Lin, however, the string of hair symbolized the person who is drawn to a higher level, in other words, to a spiritual level.

For almost two weeks the space was a popular attraction that many people came to see and marvel at. During the event “The Long Night of Museums” the church was practically constantly populated by people who admired the already rather exhausted Taiwanese artist during his unflagging perfor-mances.

2017“Umbruch und Kontinuität” (“Change and Continuity”) was the factor in the allocation of the grants in 2017 with a multitude of non-European projects. In addi-tion, once again some of the projects were based on pre vious activities, and therefore another focus was on “to be continued ...”

A total of forty-two artists were guests, and they came from the following 24 countries:Australia; Bulgaria; Burkina Faso; China; Finland; Germany; Ghana; Great Britain; Indonesia; India; Iraq; Israel; Italy; Croatia; Latvia; Macedonia; the Nether-lands; Poland; Switzerland; Zimbabwe; Taiwan; Trinidad & Tobago; Uganda; and the U.S.

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Yishay Garbasz:Vorträge:

Beyond ritual

de Jong, Rupa, Vitale: Typografi e von Charakteren im

balinesischen Tanz

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GAMELANCOURTLY TRADITIONAL MUSIC IN NEW CLOTHES

The Münchner Stadtmuseum has two complete gamelan orchestra ensembles on exhibit in its music collection, for the most part metal-lophones and gongs, with which the traditional gamelan music from Java and Bali can be played. The director of this collection, Andras Varsányi – who himself is a percussionist and gamelan player – is planning for June 2018 a large festival in Munich, and for this reason he has already invited in advance of the festival several renowned gamelan experts to stay at Villa Waldberta.

In the winter of 2016/2017 a total of eleven artists came to the inter-national artist residence: father and son Nyoman Ayuda and Ketut Rupa from Indonesia, who are both not only musicians but also gifted dancers and shadow puppet theater performers; and the composers Iwan Gunawan; Made Arnawa; and Dewa Alit. In addition, there was the dancer Aafke de Jong and the composer Sinta Wullur rom the Netherlands; the musician Charlie Richter from Switzerland; and the composer Wayne Vitale and the shadow puppet performer Larry Reed from the U.S.

Together with Cara Bali, a gamelan formation from Munich, they tried out new compositions in combination with dance and music theater, and through lectures and films introduced this foreign music realm to Munich audiences, performed traditional and modern mask dances, and conducted various workshops where one could enhance one’s knowledge with these masters of their fields.

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Gamelan: New Compositions and Choreographic Works March 24, 2017 at Münchner Stadtmuseum, Munich

With a multitude of popular events over the course of the spring, Munich audiences got to know the exotic, unknown world of Indonesian gamelan music. At the end of the four-month music, dance, and theater project there were some downright gamelan fireworks at Münchner Stadtmuseum: Larry Reed (U.S.), the internationally known director of Shadowlight Productions with years of training in Balinese shadow puppet theater, participated with a new production, as well as the composers Iwan Gunawan (Java) and Made Arnawa (Bali) with their new works.

gamelan change and continuity 2017

Dance theater

Bali meets the Balkans December 27, 2016 at Köşk, Munich

Right at the beginning of the project there was an exciting encounter between two exceptional artists. Dine Doneff, musician from macedonian Greece and previously a guest at Villa Waldberta who has now “stuck around here,” and Nyoman Ayuda, gamelan musician and dancer from Bali, attempted in a one-hour, improvised concert to discover new forms of musical-dance expressions. Over and over again they circled around each other and challenged one another to engage in creative impulses, which peaked in a very amusing exchange of roles when in the end the musician became a dancer and the dancer a musician on the drums.

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The Dutch choreographer and dancer Aafke de Jong succeeded, however, in doing something very special: for her new dance performance GONG, to which Iwan Gunawan at Villa Waldberta wrote the music for her, she needed four comrades-in-arms. A call for proposals on her website resulted in over 90 applications, not only from all over Germany but also from other countries. During a dance audition session in Munich four suitable candidates were selected, and after intensive rehearsals with them Aafke de Jong presented a modern version of traditional dance forms at Stadtmuseum. The project will undergo further development as part of the big gamelan festival in 2018.

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YOUNG CONTEMPORARY ART FROM AFRICA:CHOREOGRAPHY FROM UGANDA PHOTOGRAPHY FROM BURKINA FASO

In the spring of 2017 Villa Waldberta was firmly in African hands. For two different projects a total of seven artists from the big continent came to Villa Waldberta. Unfortunately, they couldn’t communicate with each other, because they only spoke their respective native lan-guage and either English or French. But the perception in Munich was different, here one subsumed both under the focal point of contempo-rary African art.

Three male dancers and one female dancer from Uganda were invited to Bavaria by the Munich curator Horst Konietzny so that they could share their choreographic experiences and their street dance skills with the independent dance scene: Philip Buyi; Walter Ruva; Kiryowa Fahadhi; and Catherine Nakawesa. The Munich School of Adult Edu-cation set up an exhibition and an extensive accompanying program for the three photographers Issa Nikiema; Harouna Marané; and Nomwindé Vivien Sawadogo from Burkina Faso.

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Exhibition

The African Revolution: Burkina Faso 2014 March 29 – June 5, 2017 at Aspekte Galerie / Gasteig, Munich

In October 2014 the young generation in Burkina Faso took to the streets and forced the dictatorial regime to resign. In the exhibition there were works by a whole series of Burkinabé photographers who have been doc-umenting various phases in the opposition movement “Le Balai Citoyen” (“the citizen’s broom”) since 2013. This revolution without bloodshed was an occasion for great hopes in all of Africa and in the rest of the world.

Along with the ambassador of Burkina Faso, the three photographers Issa Nikiema, Harouna Marané, and Nomwindé Vivien Sawadogo were also personally present at the exhibition opening, as they were guests at Villa Waldberta at the time. The comprehensive accompany program curated by the former director of the Goethe Institute in Ouagadougou, Peter Stepan, featured illuminative films and a podium discussion on the history of Burkina Faso, from the French colony the Republic of Upper Volta to the zenith during the social revolutionary Thomas Sankara’s government to the present process of building a democratic society.

Dance theater

THINK TWICE: African perspectives May 22, 2017 at Seidlvilla, MunichMay 25, 2017 at MetaTheater Moosach, near Munich

The four extraordinary performers from Uganda used their two-month stay at Villa Waldberta to try out new things and establish contacts with the local dance scene. In addition, they worked on a documentary dance theater piece that illuminated the subject of migration from an African perspective.

Interviews with migrants who are stranded in Uganda’s refugee camps formed the starting point for their artistic examinations. It dealt with their dreams of a European “paradise” and the nightmares of where they came from. These interviews formed the foundation for performative interventions and a further development of the subject. Some artists from the scene in Munich who enjoy experimenting caught the “bug” and participated. Dine Doneff contributed the music; he was previously a grantholder at Villa Wald-berta and has now “stuck around here.”

Harouna Marané and Nomwindé Vivien Sawadogo use photographs in the exhibition as they tell about their experiences during the revolution.

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Burkinabé Summer Festival, featuring Smockey May 13, 2017 at Villa Waldberta, Feldafing

Among others, the activist and musician Smockey was invited to the ex-citing podium discussion in the accompanying program; he’s a co-founder of the citizen movement “Balai citoyen,” which drove corrupt politicians in Burkina Faso out of office. The active Burkina Faso community in Munich in-vited him to a celebration and an intimate concert at Villa Waldberta, where one could experience close up this hip hop musician, who is an absolute star in his home country.

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Exhibition

Impressions of Munich May 22 – June 5, 2017 at Aspekte Galerie / Gasteig, MunichDecember 2017 at the Goethe Institute in Ouagadougou, Burkina Faso

It was in fact only two months that the three Burkinabé photographers could spend in Munich, but it was sufficient to gather enough photographic impressions to take back to their homeland. Nomwindé Vivien Sawadogo had already traveled extensively, but Issa Nikiema and Harouna Marané had never been outside of their country. Correspondingly, they were impressed by the completely new situation in the rich Bavarian Alpine foothills, which they assiduously documented in photographs. And so they could expand their Munich exhibition with several photographic impressions, and they presented these with success in an even more expansive exhibition of their own one year later at the Goethe Institute in Ouagadougou.

Top: Ugandan- Burkinabé “summit conference” at Villa Waldberta.

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OVERFLOWAN EXPERIMENTAL ART PROJECT

“It has to do with everything that’s left, with everyone who’s left, with everything that has gotten out of control or is overflowing. And it has to do with the creative potential that slumbers in what remains,” explained the Munich curators Carlotta Brunetti and Cornelia Oßwald-Hoffmann about their unusual art project. In the summer of 2017 the two of them invited a number of local and foreign artists to participate in their project.

At Villa Waldberta there were Jarek Lustych from Poland, as well as Suzon Fuks and James Cunningham from Australia, who had already spent a month in 2009 at the artist residence. The contacts established at that time with the two curators bore new artistic fruits. Along with the three Villa Waldberta guests there were also a whole number of Munich artists involved in the project, and they exhibited their works in the subsequent group exhibition at Domagk-halle in Munich.

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Happening

OVERFLOW – an art project submerges July 18 – October 2, 2017 in the canalization system of Munich

The first highlight of this urban field research proved to be the underground performance in the fascinating world of Munich’s canalization system, which normally is not open to the public. As so many interested people could not participate in the first date because of the large number of visitors who showed up, a second date and time for another art happening was sponta-neously added.

One could see and hear, among other things, the sounds of a Steinharfe (stone harp) (Christoph Nicolaus), water music of Bavarian rivers generated by the different sounds produced by the rivers Loisach, Isar, and Lech (Jarek Lustych), a meditative “walking performance” (James Cunningham, Suzon Fuks), and a “WaterColor” video installation (Carlotta Brunetti).

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Happening

OVERFLOW – an art project goes bathing August 3, 2017 at Müllersches Volksbad, Munich

Another highlight of the art project could only be experienced by visitors in swimwear, as everything took place in and around various swimming pools or in the steam bath at a munich Art Nouveau bathhouse complex, once again with the participation of the three Villa Waldberta guests Jarek Lustych, Suzon Fuks, and James Cunningham, as well as artists from Munich. Video installations in changing rooms or on and under the water, sound clouds, and poetic performances that dealt with the preciousness of water left behind dreamlike impressions with the audience.

Sent: Wed. 9 Aug 2017 21:50

Subject: Art project Overflow goes swimming

and strolling ...

I just wanted to say how COMPLETELY THRILLED

I was to experience your performances / exhibi-

tions at the Müller’sche Volksbad. The music

performance in the sauna was PERFECT and

BEAUTIFUL in EVERY WAY. … followed up by a

MIRACULOUS video from Suzon projected on the

vaulted ceiling of the Sauna area…. I watched it

from inside the pool. Water, Life, Breathing,

Simplicity, Material, Context -- all the elements of

great art at work in a vulnerable and temporary

space. So, so, so, so, GREAT.

Thank you so much for two UNFORGETTABLE

experiences within an hour or two.

Love,JJ

The email reaction to the bathhouse happening from John Richard Jones, a former grantholder at Villa Waldberta.

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Performance

#wecandobetter September 22, 2017 at Villa Waldberta, Feldafing

Very spontaneously and shortly before the end of the OVERFLOW project there was another evening event in the Palm House at Villa Waldberta. The center of attention was an impressive art installation by Suzon Fuks that revolved around the Australian refugee policies. She had printed out several hundred pages of the lengthy assessment report on the catastrophic situation of boat refugees in the camps on a secluded Australian island, and she constructed book sculptures out of them by using a combination of origami and bookbinding techniques. The books were initially folded tightly together but they could be unfolded into long paper snakes, revealing their scandalous contents.

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BEYOND RITUALTHE BODY OF POWER | THE POWER OF BODY

People need rituals – they can be found in every culture. Are they only symbolic communications, or secret, possibly even extrasensory knowledge based on experiences? For three months a comprehen-sive performance project was conducted that wanted to explore the borders of shamanism, spirituality, and religion in an artistic manner. Revolving around the subject of rituals today, there were alongside the performances also lectures and workshops on offer. In addition to the usual art spaces in Munich, performances took place most of all at traditional “power places” in the surrounding areas of Munich, and for the dates spiritual times such as the twelve nights (from Decem-ber 25 to January 6) were chosen intentionally.

The initiator of this project, the Munich performance artist Dorothea Seror, invited five artists from different cultural and religious back-grounds to stay at the international artist residence Villa Waldberta in the autumn of 2017: A K U Z U R U from Trinidad; Dimple B Shah from India crazinisTartisT from Ghana; Marta Bosowska from Poland; and Yishay Garbasz from Israel.

While still in their respective home countries the invited grantholders started to deal artistically with aspects of their indigenous cultures, as well as with the corresponding mystical and spiritual traditions, in particular with regard to the role of women in their respective society. In Munich they developed new rituals and performances together with local artists and people who work with rituals.

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Lectures

What is actually BEYOND RITUAL? October 28 and 29, 2017 at the Evangelische Stadtakademie München

Does it have to do with art or religion? Does performance art, which is becoming more and more popular, replace our need for spiritual actions? Are performance artists the priests of today? And why has shamanism recently become such a big topic in contemporary art? Dorothea Seror tried to answer such questions in her introduction to the project; the project was conducted over a period of several weeks. Afterwards, following the theo-retical discussions, all of the participants presented their artistic, colorfully diverse pieces, impressive in their richness, before they went to work during the corresponding workshops the next day.

Performance

The Long Night of Rituals October 31, 2017 at Villa Waldberta, Feldafing

The night of the last day in October leading into the first day in November is called “Samhain,” the traditional “Celtic New Year.” Artists from Munich, invited guests, people who practice shamanism, and four of the grant-holders at Waldberta conducted rituals and gave performances that were developed especially for this special night. Everywhere in the gardens around the residence there were colorful, poetic decorations illuminated by strings of lights or fire, which provided a fairytale-like atmosphere. On this cold but starry night, the audience wandered from one performance island to the next through the extensive gardens with the tall black pines like in an episodic theater play.

Top to bottom: Ritual performances in the gardens of Villa Waldberta by Dimpl B Shah, Marta Bosowska, AKUZURU, and crazinisTartisT.

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Shamanism and Contemporary Art November 30, 2017 at Gasteig Cultural Center, Munich

At the international Venice Biennale, which ended in November 2017, there was a distinct trend towards an artistic debate about archaic and shaman practices – is this an expression of a new “Zeitgeist”? In this respect, the art project dealing intensively with the role of performance in the borderland close to sacredness was very in line with this trend. The three grantholders AKUZURU from Trinidad & Tobago; Marta Bosowska from Poland; and crazinisTartisT from Ghana were the impressive protagonists in this devel-opment, which was expressed via their individual presentations and in the mutual discussion.

AKUZURU at the “power place” Mühltal; such historically significant locations in the surrounding areas of Munich were also performance venues for the project.

If anyone is familiar with the mythical musician and philosopher Sun Ra, then it’s Hartmut Geerken, him-self a musician and writer. AKUZURU is a big admirer of Sun Ra and while she stayed at Villa Waldberta she was able to inspect Geerken’s large archive, which is located not far from Feldafing.

Left to right: Dorothea Seror, Marta Bosowska, crazinisTartisT (aka VaBene Fiatsi), Christoph Nicolaus, Rasha Ragab, Raquel Ro, Dimpl B. Shah, Diana Popova, and AKUZURU.

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RUFFINIHAUS: URBAN DEPENDENCEVILLA WALDBERTA PAYS A VISIT TO THE CITYArt and art happenings Rindermarkt, Munich, from October 21, 2017 - January 14, 2018

For approximately three months the team of experts “Culture and Creative Industry” of the City of Munich were granted permission to use a spectacular venue in the center of Munich for artists and the creative community: the free-standing, strikingly colorful Ruffinihaus at Rindermarkt square, a short hop, skip, and a jump from Munich’s main square, Marienplatz – you can’t get more central than this. Formerly the tourism office, the over 50 rooms on two floors were temporarily used for performances before the general renovation commenced.

Villa Waldberta was allocated a space there and hired the Greek artist and photographer Fotini Potamia as a permanent curator; she is also one of the former grantholders at Villa Waldberta who afterwards stayed on in in Munich. She filled the space with life as she worked and exhibited there, and time and again she also invited former and current Villa Waldberta guests to participate in mutual happenings with her in the space.

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Interested audiences could, in particular during the open house on Thurs-days, see and experience the creative atmosphere in the building; the blog “RUFFINIHAUS - INMITTEN KREATIV” (“RUFFINIHAUS – CREATIVE IN THE MIDST”) reported on everything one needed to know. At the last open house on Thursday, January 14, 2018, there were downright fireworks of very different art happenings and music acts, and this marked the end of the successful experiment.

Top: Recycling workshop with Fotini Potamia; art can be created out of beer coasters, too ...

Left: For one whole day Fotini Potamia present-ed and sold her creative recycled objects in the shop at Ruffinihaus – with music by the Dafka Doneff Duo.

Opening gala event on October 20, 2017 with Ian Chapman (aka Gurdan Thomas) from the Jagdmuseum in Munich, fittingly with a trumpet.

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Calligraphy workshop with Kadir Fadhel.

JJ Jones (with the support of Dim Sclichter) with his “Same Old Song Special.” On December 24, 2017 “Silent Night” was played from recordings and per-formed live for 24 hours in a hundred different varia-tions in the shop in Ruffinihaus at the Rindermarkt square; the event was broadcast by Radio Munich.

ruffinihaus: urban dependence “to be continued …

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The intoxicating closing party at Ruffinihaus on February 11, 2018 lasted until the early morning hours; JJ Jones and Dine Doneff performed spontane-ously with many other musicians during the closing party of this branch of Villa Waldberta.

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OPEN HOUSE: “HEIMAT” – COMPLETELY DIFFERENT! AN INVITATION FROM VILLA WALDBERTA TO A LOOSE SERIES OF „HEIMAT“ EVENINGS OF THE SPECIAL KIND

Normally events with the Villa Waldberta grantholders take place in Munich, particularly as the artists after all are involved in correspond-ing projects in the city. From time to time the artist residence opens its doors to the general public in Feldafing as well, and the three floors of the villa and its extensive gardens transform into a colorful performance stage, a venue were one can pleasurably stroll and get to know art and artists from all over the world.

There has been a format especially for this, entitled “Heimatabend”, which deals with the artistic and critical treatment of the concepts homeland and native roots beyond the borders of coziness and local folk culture. The meaning and purpose of these evening events are to open up the villa and present its current grantholders and their projects: The respective occupants of the villa decide then whether painting, installations, dance, film or video presentations, concerts, or performances are on the program. And because the terrace and the gardens during the warm season simply are an invitation to pause and linger, calling out “don’t forget the picnic basket!” is definitely a part of these celebrations.

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Invitation to BrazilThe somewhat different “Heimat” evening on March 21, 2013

For three months coletivo+br13 from São Paulo had Villa Waldberta com-pletely to themselves, and so they could develop in peace and quiet all of the many projects that were then shown in Munich. The interdisciplinary group consists of the musicians Leo Cavalcanti; Ota Carvalho; Gabriel Spinosa; and Bernardo Galegale; the choreographers Mario Lopes; Marina Massoli; Monica Burity; and Isabel Hölzl; and the visual artist Achiles Luciano.

Everyone produced copious artistic creations that went far beyond the borders of their respective art genres. The audiences were encouraged to be curious and wander around the entire house, looking into all of the rooms where the doors were open; the audiences could gain insights into the respective creative process in the apartments and studios. Under the trees in the gardens “Trepp,” the multimedia spectacle with mobile elements de-veloped at Villa Waldberta, was set up here for the first time: films in a large format were projected onto it and dancers interacted with it in a live perfor-mance. In subsequent years different versions of “Trepp” were shown to great success again and again in Europe and Brazil. Naturally there was also plenty of live music that was an invitation to dance, and the catering provid-ed genuine Brazilian delicacies, too.

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Invitation to Castile with a Detour over the AlpsThe somewhat different “Heimat” evening on March 25, 2015

From the Castilian region in Spain came the author, lyric poet, and transla-tor Juan Andrés García Román and Germán Díaz, the “Jimi Hendrix of the Hurdy Gurdy,” and they presented themselves in a musical reading: poetry and music at its best!

The Berlin clarinet player Christian Dawid in turn joined the AlpenKlezmer group led by the Munich singer Andrea Pancur, which interlaces Alpine music with Yiddish music. This crossover was so convincing that many people asked why no one had come up with this idea before. Two Munich colleagues, Alex Haas (double bass) and Michel Watzinger (dulcimer), joined them for the concert, and the musicians skillfully and full of relish got the house swinging.

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Invitation to the Country of Improvisational ArtThe somewhat different “Heimat” evening on August 29, 2013

The three current artists at the residence were a perfect match. Sainkho Namtchylak wanders between worlds, the arts, times, and styles. One could say the same about the visual artist and musician Garth Erasmus from South Africa, who likes to invent his instruments himself, and about the composer Dine Doneff (aka Kostas Theodoru) from Macedonia, who learned his multi-instrumental handicraft as a street musician. Namtchylak grew up with the shamanic traditions of her nomadic family, and she learned a special type of harmonic throat gurgling of the Tuva peoples before she devoted herself more and more to jazz, avant-garde and world music, where Erasmus and Doneff are also at home. The three met at the artist residence in Feldafing and came to appreciate one another there. So the result was a very exciting live improvisational concert for vocals, saxo-phone, percussion, and double bass.

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Invitation to Latin AmericaThe somewhat different “Heimat” evening on March 17, 2016

The collective plusBrasil16 attempted on this evening to build a bridge between Latin America and the “Five Lakes Region” near Munich. Villa Waldberta grantholders from Brazil, Mexico, and Argentina exhibited some of their projects that were created during their stay in Feldafing. The process-orientated and adventurous works of the interdisciplinary eight-member group aroused the interest of audiences – for example, the dance performances by Michelle Moura; Mario Lopes; and Bárbara Foulkes; the video installations by Patricia Black; Caroline Ricca Lee; Danilo Oliveira; Dudu Tsuda; and Martín Lanz Landázuri; and the music performance by Dandara with her partner Paolo Monarco.

Left: Danilo Oliveira’s works, which were created in the Palm House at Villa Wald-berta, were shown in his solo exhibition at Die Färberei in Munich.

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Onwards to new horizons: creating visions Karin Sommer

In 2018 the focus for the allocation of the invitations to stay at Villa Waldberta for the projects is “Visionen gestalten” (“Creating Visions”), and this is also to be taken literally for me personally because I retire in the fore-seeable future.

Since 2004 I have been the director of this wonderful venue of art and culture, of en-counters, exchange, creativity, networking, and experiments – and celebrations. I have kept in contact with several of the interna-tional guests over the years, and even some friendships have developed as a result.

When I, the director of an international artist-in-residence program with a degree in ethnology, mention during a conversa-tion that actually I do not like to travel, then people are quite astounded. But it wasn’t necessary at all to travel – through the work at Villa Waldberta practically the entire world was my guest, so that with the aid of my guests I was able to “travel” without having to go away. I will miss this terribly. And many other things, too ...

But every ending is also a new beginning, and behind every beginning a new adventure awaits, or to put it another way: Life is a construction site and nothing is as constant as change.

To this effect: onwards to new horizons!

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Jurij Bobič Slovenia urban art, multimedia artist 2014 Marta Bosowska Poland

performance artist 2017 Eva Boura Germany/Greece writer 2016 Andrea

Brandani Brazil graffiti artist 2013 Erick Bürger Venezuela/Spain actor Regisseur 2016

Mônica Burity Brazil dancer 2013 Philip Buyi Uganda dancer, fashion designer

2016/17 Hera Büyüktaşçiyan Turkey fine artist 2013 Ùrsula Cabral Brazil actress

2014 Otavio Carvalho Brazil musician 2013 Leo Cavalcanti Brazil musician 2013

Erdoğan Onur Ceritoğlu Turkey urban art, multimedia artist 2014 Young-Eun

Chang Korea germanist 2017 James Cunningham Australia performance artist 2017

Louis-Philippe Dalembert Haiti/Italy writer 2014 Regina Dalkalacheva Bulgaria

illustrator, fine artist 2017 Neil Davidson Great Britain composer, musician 2015

Ali Abdollahi Iran writer 2015 Annie Abrahams Netherlands/France Cyber-

for mance artist 2015 Ronit Agassi Israel fine artist 2014 Dewa Alit

Bali gamelan musician 2017 Youssef Amazi Morocco musician 2015 Cadu de

Andrade Brazil musician 2016 Marcio Antunes Brazil theater 2014 Franciszek

Araszkiewic Poland sound artist, composer 2015 Madé Arnawa Indonesia gamelan

musician 2017 Nyoman Ayuda Bali gamelan musician, dancer 2016

Tatjana Baskakowa Russia translator 2013 Hilario Batista Haiti journalist, translator 2014

Rodrigo Belay Brazil light designer 2015 Daniel Belquer Brazil performace /

installation artist 2015 Alan Bern USA /Germany musician 2015 Gustavo

Bicalho Brazil author, theater, director 2015 Patricia Black Brazil documentary filmer 2016

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dance dramatic advisor 2015 Henrique Gonçales Brazil actor 2015 Petra

Gosenca Slovenia urban art, multimedia artist 2014 Consuelo Guijarro Rincón Spain / Great

Britain fine artist 2013 Iwan Gunawan Java gamelan musician 2017 Matthias

Hammann Germany photographer 2015 Marjanne v. Helvert Netherlands designer 2015

Kathy Hinde Great Britain composer, sound artist 2013 Georg Hobmeier Austria

network-, game designer 2014 Isabel Hölzl Germany/Portugal dancer 2013

Christine Huber Austria poet 2015 Christian Hufen Germany writer 2013 Miika

Hyytiäinen Finland composer, musician 2016/17 Mohammed Imel Morocco musician 2015

Hisako Inoue Japan fine artist 2016 Diana Ivanova Bulgaria journalist, docu-

mentary filmer 2013 Béatrice Jaccard Switzerland choreographer, dancer 2013

Fiona Davies Australia fine artist 2016 Christian Dawid Germany musician

2015 Germán Diáz Spain musician 2015 Patricia Earnhardt USA fine artist,

film 2016 Garth Erasmus South Africa fine artist 2013 Kota Ezawa Germany/

USA fine artist 2016 Kadir Fadhel Iraq fine artist 2016/17 VaBene Fiatsi Ghana

performance artist 2017 Dai Fiorati Brazil actress, dancer 2015 Bárbara

Foulkers Argentinien choreographer, dancer 2016 Suzon Fuks Australia performance artist,

photographer 2017 Bernardo Galegale Brazil director 2013 Yishay Garbasz

Israel performance artist 2017 Pélagie Gbaguidi Senegal/Belgium fine artist 2013

Petra Gell Austria fine artist 2015 Claudio Gobbi Germany/Italy photographer

2017 Oliver Godow Germany photographer 2015 Anja Golob Slovenia author,

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choreographer 2016 Erin Leland USA writer 2013 Wei-Lung Lin Taiwan per for-

mance artist 2013/16 Mario Lopes Brazil dancer 2013 Achilles Luciano Brazil fine

artist, multimedia artist 2013/16 Claudia-Maria Luenig Austria fine artist 2013

Sasha Lurje Latvia musician 2015 Jarek Lustych Poland performance artist 2017

Manoel Madeira Brazil actor 2014/15 Tendai Madzviti Zimbabwe musician, dancer 2014

Harouna Marané Burkina Faso photographer 2017 Marie T. Martin Germany

writer 2013/15 Marina Massoli Brazil dancer 2013 Alen Meškovič Bosnia writer

2013 Dandara Modesto Brazil singer, actress 2016 Scott Morrison Great Britain

sound artist 2016 Michelle Moura Brazil dancer, choreographer 2016 Eduardo

Moya Spain actor 2016 Porcia Mudavanhu Zimbabwe documentary filmer 2017

John Richards Jones USA musician 2013 Aafke de Jong Netherlands choreog-

rapher, dancer 2017 Manuela Kaltenegger Austria fine artist 2015 Lewis Kaye

Canada sound artist 2014 Eva Kekou Greece art historian 2013 Rupa Ketut Bali

gamelan musician, dancer 2017 Asoo Khanmo ham madi Iran/Austria graphic designer,

photographer 2015 Fahadhi Kiryowa Uganda dancer 2017 Vitaly Kokhan

Ukraine fine artist 2015 Gero König Germany musician, instrument inventor 2017

Sonia Kovatcheva Bulgaria fine artist 2013 Mac Krebernik Austria urban art,

multimedia artist 2014 Johanna Kronhofer Austria cultural manager 2015 Nicolas

Kuhn Germany composer, musician 2016/17 Vjacheslav Kuprijanov Russia writer, translator

2015 Liana Langa Latvia writer 2016 Martin Lanz Landázura Mexico performer,

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communication scientist 2015 Anthony Phelps Haiti/Canada writer 2014 Diana

Popova Latvia curator 2017 Edo Popovič Croatia writer 2017 Fotini Potamia

Greece fine artist, photographer 2013 Prayersoul Zimbabwe musician 2014

Myrna Pronchuk Canada fine artist 2016 Damir Radović Sarajevo writer 2014

Larry Reed USA shadow puppet performer 2017 Caroline Lee Ricca Brazil fine

artist 2016 Charlie Richter Switzerland musician, composer 2017 Juan Andrés

García Román Spain translator 2015 Inguna Rubene Latvia musician 2016

Walter Ruva Uganda dancer, choreographer 2017 Christina Sapouna Greece graphik

designer, actress, costume designer 2015 Denis Saraginovski Macedonia fine

artist, performer 2017 Vivien Sawadogo Burkina Faso photographer 2017

Charlotte Mumm Netherlands fine artist 2016 Anna Maria Münzner Germany

stage-, costume designer 2016/17 Olya Mykhailiuk Ukraine fine artist 2015

Catherine Nakawesa Uganda dancer, choregrapher 2017 Sainkho Namtchylak Mongolia

musician, sound artist 2013 Carina Nekolny Austria writer 2013 Fungai Nengare

Zimbabwe musician 2014 Chantal Neveu France writer 2013 Issa Nikiema

Burkina Faso photographer 2017 Munya Nyamarebvu Zimbabwe musician 2014

Stefanie Oberhoff Germany fine artist 2013 Matthew Olden Great Britain musician 2013

Danilo Oliveira Brazil fine artist, musician 2016 Lanre Olupona Nigeria cultural

manage r, film producer 2016 Youness Kirouche Paco Morocco musician, instrument inventor

2015

Meira Peri Brazil curator, artist 2014 Judith Nika Pfeiffer Austria author,

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Georgia Triantafyllidou Greece writer 2016 Dudu Tsuda Brazil multimedia-,

sound artist 2016 Pedro Emanuel de Vasconcelos Brazil actor, author, director 2014

Myroslav Vayda Ukraine fine artist 2015 Arley Veloso Brazil actor, director 2014

Gayatri Vijaysimha India network-, game designer 2014 Wayne Vitale USA

musician 2017 Christoph Wagner Germany/Great Britain musik journalist 2016/17

Te-Ju Wang Taiwan installation artist 2016/17 Barry Webster Canada writer,

translator 2014 Matthias Wermke Germany photographer, performance artist 2014

Simon Wetham Great Britain musician 2013/14 Sinta Wullur Netherlands/Indo-

nesia musician 2017 Christian Zehnder Switzerland musician 2016 Fan Zhang

China germanist 2017

Rati Saxena India writer 2016 Peter Schelling Switzerland dancer 2013

Hank Schmidt in der Beek Germany fine artist, musician 2016 Bert Scholten

Netherlands multimedia artist 2014 Tafadzwa Violet Senderayi Zimbabwe film maker 2014

Dimple Shah India performance artist 2017 Amichai Shalev Israel writer 2015

Ilya Shneyveys Latvia musician 2013 Lisa Simpson Canada/Germany urban

art, multimedia artist 2014 Lorin Sklamberg USA musician 2013 Kamelia

Spassova Bulgaria spoken-word-artist, writer 2013 Christiane Spatt Austria fine artist

2013/14 Gabriel Spinosa Brazil musician 2013 Slobodanka Stevčeska Macedo-

nia fine artist, performer 2017 Akuzuru Tala Trinidad performance artist 2017

Kostas Theodoru Macedonia musician, composer 2013 Irem Tok Turkey fine artist 2013

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The History of Villa Waldberta

1901 / 1902 Munich financier and writer Bernhard Schuler builds the 14-room villa “Felsenheim.”

May 1903 Dutch publisher Albertus Willem Sijthoff and his wife Waldina from Leiden buy the villa and give it the name “Waldbert”; it’s an open house for many guests and artists from all kinds of art who live and work for months together with the owners.

July 1917 The new owner is Hugo Schmeil, businessman and art collector from Dresden.

August 1925 The villa is sold to Franz and Bertha Koempel from New York (founders of the Steuben Society), Americans of German descent; the name of the house changes to “Villa Waldberta”.

1939 – 1945 Villa Waldberta is confiscated by the Nazi government and from april 1943 on used as a military hospital.

May 1945 – After the end of the war the villa is occupied by the 1953 U.S. Army, who turn it into accommodations for

displaced persons (survivors of the holocaust).

1953 –1965 Bertha Koempel returns to the house; Franz Koempel has died in the meantime. The widow gives the house as donation to the city of munich (1965).

October 1966 Bertha Koempel dies.

Willi Daume with family in the 1970s

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the history of villa waldberta

1968 – 1974 Letting of Villa Waldberta to Willi Daume (National Olympic Committee) as his private residence. During the Olympic Games in Munich in 1972, Willy Brandt, then the German chancellor, lives there and receives international statesmen like George Pompidou, Edward Heath or Henry Kissinger.

1974 – 1982 The villa becomes “Haus Feldafing,” rented to a Montessori school with educational seminars and family weekend events.

1982 – 2004 The villa becomes a residence for international authors and fine artists (5 apartments); again named “Villa Waldberta”; the first grantholders are 1983 Traudel Bogenhauser (actor and writer) and Wolfgang Dietrich (writer).

As of 2005 The villa is an international artist residence for all kinds of artists, as well as for social scientists. Invitations are based on the City of Munich’s cultural projects.

Albertus Willem Sijthoff, 1910 Waldina Sijthoff

Bertha Koempel on the terrace of Villa Waldberta in the 1950s

Family Schmeil, circa 1920

Chancellor Willy Brandt with painter Max Ernst (1972)

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Cooperation partners Villa Waldberta 2013 to 2017

Tolstoi-Bibliothek

Russische Bibliothek

VeranstaltungenSozialberatung

MÜNCHEN

PasingerFabrik.indd 1 10.10.2007 15:37:07 Uhr

Atelier Caveau

Aspekte Galerie

GriechischesHaus

BlaugoldSecondhand

AUTOREN GALERIE 1MUNCHEN

KunstraumLanz

Lusofonia MUG

The MunichReadery

rathaus galerie

kunsthalle

Streitfeld

seidlvilla

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Guestbook memories

Staying at Villa Waldberta is such an unique experience because it makes you live and meet with people who not necessarily have the same back-ground and profession. During my stay I could concentrate on new work in collaboration with Helen Varley Jamieson and I think together we both made an individual leap in our performance practice by finding new ways to adapt to the other. (Annie Abrahams, Niederlande, Stipendiatin 2015)

The program of Villa Waldberta as an artistic residence has meant for me a before and an after in my artistic life. the international vision of the villa has undoubtedly changed and expanded my creative vision. the exchange of works, the observation of the creative work of the artists of Villa Waldberta is perhaps one of the things that are most appreciated. Munich, The Villa, Feldafing, are already incorporated in my mind, my work and now ... my heart. (Erick Bürger, Mallorca, Stipendiat 2011 und 2016).

Staying at Villa Waldberta allowed me to concentrate intensively on a project (the exhibition „ASYL STADTMUSEUM“ [„ASYLUM STADTMUSEUM“] at Stadtmuseum München) to such a degree as was never before possible. Since then I have learned to be sure to give the artistic undertaking more time, calmness, and intensity. I am very pleased about this.The stay changed my way of working to a certain extent. I exchange ideas and thoughts with numerous other former grantholders. Likewise with sev-eral artists whom I met during my time in Munich. And certainly – of course now I‘m a dazzling artist personality since I swam daily around Rose Island in Lake Starnberg ... (Stefanie Oberhoff, Deutschland, Stipendiatin 2013)

I believe the residency at Villa Waldberta had a huge positive impact in my artistic career. At that time I was new in Berlin, and the residency has defi-nitely influenced my career in this country ever since, staying in Germany after the residency. I have been lucky to return to the Villa a few times when I visited Munich, and in a way it feels that I am still somehow connected to the Villa Waldberta! (Lisa Simpson, Brasilien, Stipendiatin 2014)

I have been at Villa Waldberta at Spring of 2014. It was an extraordinaire experience. When I came back, all the things, I learned during my stay, worked as combustive for new projects. The opportunity to meet a lot of different people and discover other possibilities to artistic creation were truly important to my artistic development. I start to work, in Rio de Janeiro, with actors from other nationalities on my productions. That perspective came from my experience at Villa Waldberta. (Pedro Emanuel da Vasconcelas, Brasilien, Stipendiat 2014)

The future is secured – Villa Waldberta has more or less become a grandmother. Dandara Modesto, musician and grantholder 2016:

„During my stay at Villa Waldberta (Residenz Plus­Brasil) I met Antonio, we fell in love and got married within one year. Now I have moved my home from São Paulo to Zurich and given birth to a child. None of this would have happened if Villa Waldberta didn‘t exist!“

Ivanova Diana, p. 45Jamieson Helen Varley, p. 120Jones JJ, p. 67Jong Aafke de, pp. 150, 151Koepsel Lars, pp. 136, 138, 141Konietzny Horst, pp. 48, 50, 51, 52Kovatcheva Sonia, pp. 42, 45Laar Augusta und Kalle, pp. 36, 38, 41Loes Nadine, pp. 60, 62, 63, 96, 99Longa Maria, pp. 40Lorenz Susanne, pp. 4, 14 / 15, 56 / 57, 142 / 143, 178 / 179Luciano Achilles, p. 24, 27Luenig Claudia-Maria, p. 109Martin Marie T., p. 39Nikiema Issa, pp. 189 / 190Oliveira Danilo, p. 28, 29OPA (Denis Saraginovski & Danka Stevčeska), p. 10Pancur Andrea, pp. 18, 185Pe Anna, p. 66Petrossanyak Halyna, pp. 2 / 3 Plusbrasil, pp. 22, p. 24, 30, 31, 35, 186, 187, 212Potamia Fotini, pp. 46 / 47, 55, 74 / 75, 80, 107, 112 / 113, 114, 115, 116, 117, 121, 122, 123 / 124 , 146, 147, 148, 164, 172, 174, 175, 176, 177, 184Radlwimmer Thomas, p. 131Reich Theräs, p. 119Rotsch Michaela, pp. 82, 83Schaschko Hias, p. 128Schlunk Sabine, p. 110Schmerda Susanne, p. 94Schneebauer Claudia, pp. 100, 103, 104, 180Seror Dorothea, pp. 166, 169, 170, 171Siegel Ingrid, p. 152Spatt Christiane, pp. 108, 109Tsuda Dudu, p. 33Vier Grazien, p. 109Wang Te-Yu, p. 139Whetham Simon, p. 53WTD München, p. 73

All other photos: archive Villa Waldberta(Frank Hassler, Marie-Amelie Bauer, Martin Rohmer and others)

Cover: Edson Luciano

Imprint

Publisher:Department of Arts and Culture of the City of MunichBurgstrasse 4, 80331 München, Germany

Concept, text and editing:Karin Sommer

Translation:Robert Rowley

Graphics:Heidi Sorg & Christof Leistl

Printed by:Weber Offset Gmbh

Printed on: FocusArt Natural

Limited edition of 300

(c) Kulturreferat der Landeshauptstadt München, 2018

Illustration Credits

Bauer Werner, p. 105Birinci Mehmet, pp. 71, 73Bosowska Marta, p. 9Brunetti Carlotta, pp. 88, 91Brummer Gabriele, pp. 25, 163Bundesarchiv, p. 204Carstor, p. 21Díaz Germán, pp. 92, 185Earnhardt Patricia, p. 111Fuks Suzon, pp. 158, 161, 163, 164, 165Gerschner Petra, p. 155Giesder Stefanie, p. 130Goeltenboth Natalie, pp. 132, 135Goldschmidt Matti, p. 20Haas Robert, p. 163Inoue Hisako, p. 81Instituto Cervantes, p. 94

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Housedog Gino from Villa Waldberta as graffiti by the brasilian artist Andrea „Dé“ Brandani (Grantholder 2013).