#warehouse9

[maviveloso]

Teve baum de mais!!! Words are not enough to describe the delicious it was last gig in Copenhagen (sweet sweet sweet) thank you @beckheiberg@warehouse9.dk@kapelvej44

Love y'all @pauli_scharlach & @urubumarinka (we getting better and better at this ahahahaha aloka)

🎥 @urubumarinka

Can't wait to see y'all again 🥰 #TravestiBiológica

[xavierdesousaofficial]

queeringborders | Copenhagen Landscapes

curated by Xavier de Sousa and An*

LISTEN: https://performingborders.live/2019/10/14/queeringborders-copenhagen-landscapes/

This instalment of performingborders series’ queeringborders, which we called Copenhagen Landscapes, emerged from a research residency between artists Xavier de Sousa and An* at Warehouse9, in Copenhagen, on the lead up to the city’s 24th Pride Parade in August 2019.

The volume is composed of four self-contained interviews with artists and activists from Copenhagen’s queer and live-art communities and was first exhibited in video-form as part of QueerLands, a community-focused alternative to the hyper-commodified Copenhagen Pride. They are now published digitally, in audio format, as a podcast made in collaboration between the artists (UK/PT), Warehouse9 (DK) and performingborders (UK).

These conversations call for a nourishing of (hyper-)locality whilst maintaining a global focus, for knowing our histories of resistance and of protest and of acknowledging our position, our privileges, and our complacency, within the different political forces and shifts that affect our surroundings.

During these four 30 minute-long interviews we discuss Pride and co-option, racism and racial inequality in the arts and queer communities and the artists working and living conditions as well as how those reflect and relate with the city’s developments and current political situation. From various angles and perspectives, with the interviewees’ experiences at the core, we speak about the importance of preserving arts and community-focused venues, of DIY initiatives for making and collaborating, of intersectionality and interlinking struggles and of fighting for spaces for gathering outside of consumerism.

The podcasts find artists Sara Hamming & Lukas Raki fighting against rapid gentrification around the Astrid Noak Atelier which threatens the local community and their ability to continue to hold that space in the Nørrebro area of the city.

Filmmaker and visual artist Lasse Lau explores the commodification of Pride across the West, and the differences between queer communities in Copenhagen, Beirut and Tijuana.

Visual and Performance Artist Jupiter Child discusses their journey from Mozambique to Denmark and the difficulties accessing and navigating the art world in the west as a Queer Black person.

We end with our hosts Jørgen Callesen and Emma Møller reminiscing on the beginnings of Warehouse9, the importance of having a venue in central Copenhagen with a focus on live-art and queer practices, the intersections of art and activism, and how important it is to understand and support ones surroundings.

[tekiela-generative]

ANDROMORPH ’17 interactive live piece exploring the human silouettes and selfperception over an extended timeframe. See yourself from different angles in the 2 slit-scanned video slices. A Baconesque anti-selfie where you become part of the gritty city textures of the actual gallery space. No face-Tune needed.

Wanderlost festival Warehouse9, Copenhagen

[xavinisms]

2019 Round-up | A Vintage Year

Wow... What a ride it's been.

Between trips to places I have never been before, from Copenhagen to Tasmania, Melbourne to Ahmedabad and New Delhi, I have worked with and met so many amazing artists, thinkers and activists that have shaped the way I came to understand the world this year.

I felt equally privileged, delighted, sad and unwelcome in various capacities throughout the year.

The quality and breath of work I had the pleasure to engage with this year has been incredible. Every artist, producer, curator, tech manager, designer, and overall colleague, has shown me what humanity can create: a sense of risk, ambition and most of all, humanity. For that, I am incredibly thankful.

The political and social developments in the UK continue to disturb me and at the same time meant I joined groups of activism that I consider to be of the utmost importance right now, namely Momentum and Migrants in Culture.

It is no surprise that I am quite tired with constantly being told - directly and indirectly - that I am not welcome in the UK. It's been like that for a while and if it wasnt for the people here mentioned (and many,many more) I most probably would have left by now. The fight continues though, and as the UK enters a new darker period where fascism is ever creeping up our public and private systems and life, we must never loose sight of the end goal: each others and our well being. So much is dependent on our generations to turn this around, and it all feels impossible at the moment. I don't know exactly what I can tell you about the future. What I know is that things wont be the same in the new year and beyond, personally and professionally.

Nonetheless, there is plenty to celebrate...

2019 in Chronological-ish order:

🇮🇳 Travels to Ahmedabad and New Delhi in India where I was privileged enough to work with my friend Pankaj Tiwari on a performance research and then spent time exploring, learning and adoring the culture and people I met.

The project, Coding The Currents, is set in the river Khari in the vicinity of Ahmedabad, in the Gujarati state. Led by Pankaj and Agat Sharma. You can read more about the work here and the overall project (which you should, because it is excellent). https://codingthecurrents.cargo.site/Post-Human-Dinner-Party

I will forever cherish the time I spent there, the people I met and that made me feel so welcomed. Experiencing the local cultures, the food, the history of the country and learning how to get around was a breathtaking experience - and I look forward to returning in the future.

🇦🇺 Travels to Australia, where I hang out with my friend Bek Berger and met some new wonderful friends and colleagues, swam in the ocean and the swimming pools of Melbourne, went to music festivals in Tasmania, and generally relaxed.

💃🏼 Toured POST a bit more including a run at Battersea Arts Centre and gathered some of the best feedback and reviews of my career. Some info here: https://www.xavierdesousa.co.uk/post/165981228414/post-tour

👑 Got commissions, residencies and performances booked and engaged on for new show REGNANT which I will open in 2020. A durational play, REGNANT focuses on structures of power and local government. This project will be the biggest of my solo career, and it will be a new chance to work collectively and learn new skills along the way, as well as collaborating with new and exciting artists.  

🌆 Curated and delivered a lot of New Queers on the Block across the UK:

·       Returned to the towns and cities we visited in 2018, from Folkestone to Blackpool, via Hastings and Bradford, to present small to mid-scale performances, film works, talks and events by Ira Brand, Last Yearz Interesting Negro, Harry Josephine Giles, Demi Nanhdra, Marikiscrycrycry, Harry Clayton-Wright, Rachael Young, Mandla Rae, Lucy Hutson, Samir Kennedy, Istanbul Queer Arts Collective, Benjamin Sebastian, Nando Messias and Subira Joy, amongst many others.

·       Commissioned local LGBTQ+ artists such as Sea Sharp, Subira Joy, Wandia Wahogo, Kirsty Taylor and Adam Frost to create their first theatre shows, with development and producing support from us, as well as producing teams around them.

·       Commissioned Oozing Gloop, Marikiscrycrycry and Rachael Young to create new work and upscale their practices to larger, tour-able models or to experiment with new forms.

·       Released ‘New Queers On The Road’, a documentary following our first ever tour and explores the impact the work has already had in local communities. Directed by the incredible Rosie Powell, this has been seen by over 100,000 people across the country and online, as well as local TV stations.

·       Worked more closely with our Local Ambassadors Bean, Benjamin Sebastian, Elis Johnson and Sonia Sandu across those locations, and developed new local audiences; Welcomed new members to the New Queers team, such as our General Manager Carmen D’Cruz, Marketing Manager Rasheed Rahman and Associate Producer Lee Smith, who, together with our PR Anna Smith have taken the projects to new hights of efficiency and awareness.

·       Partnered with new friends, such as SHOUT Festival and FIERCE Festival (Birmingham), Art BnB and Abingdon Studios (Blackpool), Brick Box Rooms (Bradford) and Camden People’s Theatre (London) to present new performances, a full day symposium on care practices in the queer arts scene and co-produce the development of local queer artists.

·       New Queers on The Block is a Touring and Artist Development Scheme led by Marlborough Productions in partnership with Attenborough Centre for the Creative Arts (Brighton), Theatre in the Mill (Bradford), Left Coast & Art BnB (Blackpool), Home Live Art (Hastings), Creative (Folkestone), FIERCE Festival & SHOUT Festival (Birmingham). Funded by Arts Council England, Jerwood Arts, Esmée Fairban & The Space.

✊🏼 Curated and delivered a LOT of performingbordersLIVE with my friend Alessandra Cianetti

·       Commissioned new performance for camera by Istanbul Queer Arts Collective and Tara Fatehi Irani

·       Live interviews with Nima Séne and Tuna Erdem (Queer Contact, Manchester), Sim Chi Yin and Annie Jael Kwan (Attenborough Centre for the Creative Arts, Brighton) and Anti-Cool & osborn&møller (Artsadmin)

·       Commissioned All The Tea in China by Burong (曾不容) and Patrolling by Critical Interruptions

·       Curated and produced the event Curating Borderless Spaces at Live Art Development Agency, which included provocations, talks, interventions, workshops, key notes, performances and food by Season Butler, Instanbul Queer Arts Collective, Raju Rage, Bojana Janković, Dana Olărescu, Kai Syng Tan, Helena Walsh, and Lois Keidan.

·       Online interviews with Pelin Başaran and Warehouse9

📻 Did an extensive residency with Warehouse9 in Copenhagen with An* Neely that resulted in an exhibition and a series of podcasts with Lasse Lau, Jupiter Child, Sarah Lamming and Lukas Raki.

✊🏼 Co-founded Migrants in Culture and launched an investigation and the final report on the Impact of the UK Home Office's policy Hostile Environment against Migrant Culture Workers. You can read it here.

👨🏻‍🏫 Taught at Central St Martins for the first time and had a great time, although this time no-one called me Professor X. A bitter highlight.

🥖 Presented a new work in progress of a one-on-one piece, Breaking Bread, at ARC Stockton as part of Curious Festival

And more... much much more...

May 2020 be the year we turn things around politically and socially. And may it be a vintage year for you, for me, and for us.

Xavier

[jackielynn-de]

Tara Kiss in the Backyard Copenhagen 2009 #theportraitproject #warehouse9 #diva #danish-arts-council #translives (hier: Warehouse9)

[babettedesiree]

I finally picked up my portraits from Warehouse9!

[m3t4ln3rd]

Adema & Flaw announce U.S. tour

Adema and Flaw will be out on tour together this September. Adema have been working on new music. A couple of posts to their Facebook appear to suggest they are filming a music video. Then again, it could just be shots from them in their practice space. 9/01 Colorado Springs, CO – Black Sheep9/03 Clarksville, TN – The Warehouse9/04 Huntsville, AL – Shagnastys9/05 Bristol, TN – 423 Social9/06…

[globalmediacampaign]

Aurora multi-Primary first impression

For what reason should I use a real multi-Primary setup? To be clear, not a multi-writer solution where any node can become the active writer in case of needs, as for PXC or PS-Group_replication. No, we are talking about a multi-Primary setup where I can write at the same time on multiple nodes. I want to insist on this “why?”. After having excluded the possible solutions mentioned above, both covering the famous 99,995% availability, which is 26.30 minutes downtime in a year, what is left? Disaster Recovery? Well that is something I would love to have, but to be a real DR solution we need to put several kilometers (miles for imperial) in the middle.  And we know (see here and here) that aside some misleading advertising, we cannot have a tightly coupled cluster solution across geographical regions. So, what is left? I may need more HA, ok that is a valid reason. Or I may need to scale the number of writes, ok that is a valid reason as well. This means, at the end, that I am looking to a multi-Primary because: Scale writes (more nodes more writes) Consistent reads (what I write on A must be visible on B) Gives me 0 (zero) downtime, or close to that (5 nines is a maximum downtime of 864 milliseconds per day!!) Allow me to shift the writer pointer at any time from A to B and vice versa, consistently.    Now, keeping myself bound to the MySQL ecosystem, my natural choice would be MySQL NDB cluster. But my (virtual) boss was at AWS re-invent and someone mentioned to him that Aurora Multi-Primary does what I was looking for. This (long) article is my voyage in discovering if that is true or … not. Given I am focused on the behaviour first, and NOT interested in absolute numbers to shock the audience with millions of QPS, I will use low level Aurora instances. And will perform tests from two EC2 in the same VPC/region of the nodes. You can find the details about the tests on GitHub here Finally I will test: Connection speed Stale read Write single node for baseline Write on both node: Scaling splitting the load by schema Scaling same schema  Tests results Let us start to have some real fun. The first test is …  Connection Speed The purpose of this test is to evaluate the time taken in opening a new connection and time taken to close it. The action of open/close connection can be a very expensive operation especially if applications do not use a connection pool mechanism. As we can see ProxySQL results to be the most efficient way to deal with opening connections, which was expected given the way it is designed to reuse open connections towards the backend.  Different is the close connection operation in which ProxySQL seems to take a little bit longer.  As global observation we can say that using ProxySQL we have more consistent behaviour. Of course this test is a simplistic one, and we are not checking the scalability (from 1 to N connections) but it is good enough to give us the initial feeling. Specific connection tests will be the focus of the next blog on Aurora MM.  Stale Reads Aurora MultiPrimary use the same mechanism of the default Aurora to update the buffer pool: Using the Page Cache update, just doing both ways. This means that the Buffer Pool of Node2 is updated with the modification performed in Node1 and vice versa. To verify if an application would be really able to have consistent reads, I have run this test. This test is meant to measure if, and how many, stale reads we will have when writing on a node and reading from the other. Amazon Aurora multi Primary has 2 consistency model: As an interesting fact the result was that with the default consistency model (INSTANCE_RAW), we got 100% stale read. Given that I focused on identifying the level of the cost that exists when using the other consistency model (REGIONAL_RAW) that allows an application to have consistent reads. The results indicate an increase of the 44% in total execution time, and of the 95% (22 time slower) in write execution.  It is interesting to note that the time taken is in some way predictable and consistent between the two consistency models.  The graph below shows in yellow how long the application must wait to see the correct data on the reader node. While in blue is the amount of time the application waits to get back the same consistent read because it must wait for the commit on the writer.    As you can see the two are more or less aligned. Given the performance cost imposed by using REGIONAL_RAW,  all the other tests are done the defaut INSTANCE_RAW, unless explicitly stated. Writing tests All tests run in this section were done using sysbench-tpcc with the following settings: sysbench ./tpcc.lua --mysql-host= --mysql-port=3306 --mysql-user= --mysql-password= --mysql-db=tpcc --time=300 --threads=32 --report-interval=1 --tables=10 --scale=15  --mysql_table_options=" CHARSET=utf8 COLLATE=utf8_bin"  --db-driver=mysql prepare sysbench /opt/tools/sysbench-tpcc/tpcc.lua --mysql-host=$mysqlhost --mysql-port=$port --mysql-user= --mysql-password= --mysql-db=tpcc --db-driver=mysql --tables=10 --scale=15 --time=$time  --rand-type=zipfian --rand-zipfian-exp=0 --report-interval=1 --mysql-ignore-errors=all --histogram  --report_csv=yes --stats_format=csv --db-ps-mode=disable --threads=$threads run Write Single node (Baseline) Before starting the comparative analysis, I was looking to define what was the “limit” of traffic/load for this platform.  From the graph above, we can see that this setup scales up to 128 threads after that, the performance remains more or less steady.  Amazon claims that we can mainly double the performance when using both nodes in write mode and use a different schema to avoid conflict.   Once more remember I am not interested in the absolute numbers here, but I am expecting the same behaviour Given that our expectation is to see: Write on both nodes different schemas So AWS recommend this as the scaling solution: And I diligently follow the advice. I used 2 EC2 nodes in the same subnet of the Aurora Node, writing to a different schema (tpcc & tpcc2).  Overview Let us make it short and go straight to the point. Did we get the expected scalability? Well no: We just had 26% increase, quite far to be the expected 100% Let us see what happened in detail (if not interested just skip and go to the next test). Node 1 Node 2 As you can see Node1 was (more or less) keeping up with the expectations and being close to the expected performance. But Node2 was just not keeping up, performances there were just terrible.  The graphs below show what happened. While Node1 was (again more or less) scaling up to the baseline expectations (128 threads), Node2 collapsed on its knees at 16 threads. Node2 was never able to scale up. Reads Node 1 Node1 is scaling the reads as expected also if here and there we can see performance deterioration. Node 2 Node2 is not scaling Reads at all.  Writes Node 1 Same as Read Node 2 Same as read Now someone may think I was making a mistake and I was writing on the same schema. I assure you I was not. Check the next test to see what happened if using the same schema.   Write on both nodes same schema Overview Now, now Marco, this is unfair. You know this will cause contention. Yes I do! But nonetheless I was curious to see what was going to happen and how the platform would deal with that level of contention.  My expectations were to have a lot of performance degradation and increased number of locks. About conflict I was not wrong, node2 after the test reported: +-------------+---------+-------------------------+ | table | index | PHYSICAL_CONFLICTS_HIST | +-------------+---------+-------------------------+ | district9 | PRIMARY | 3450 | | district6 | PRIMARY | 3361 | | district2 | PRIMARY | 3356 | | district8 | PRIMARY | 3271 | | district4 | PRIMARY | 3237 | | district10 | PRIMARY | 3237 | | district7 | PRIMARY | 3237 | | district3 | PRIMARY | 3217 | | district5 | PRIMARY | 3156 | | district1 | PRIMARY | 3072 | | warehouse2 | PRIMARY | 1867 | | warehouse10 | PRIMARY | 1850 | | warehouse6 | PRIMARY | 1808 | | warehouse5 | PRIMARY | 1781 | | warehouse3 | PRIMARY | 1773 | | warehouse9 | PRIMARY | 1769 | | warehouse4 | PRIMARY | 1745 | | warehouse7 | PRIMARY | 1736 | | warehouse1 | PRIMARY | 1735 | | warehouse8 | PRIMARY | 1635 | +-------------+---------+-------------------------+ Which is obviously a strong indication something was not working right. In terms of performance gain, if we compare ONLY the result with the 128 Threads : Also with the high level of conflict we still have 12% of performance gain. The problem is that in general we have the two nodes behave quite badly. If you check the graph below you can see that the level of conflict is such to prevent the nodes not only to scale but to act consistently. Node 1 Node 2 Reads In the following graphs we can see how node1 had issues and it actually crashed 3 times, during tests with 32/64/512 treads. Node2 was always up but the performances were very low.  Node 1 Node 2 Writes Node 1 Node 2 Recovery from crashed Node About recovery time reading the AWS documentation and listening to presentations, I often heard that Aurora Multi Primary is a 0 downtime solution. Or other statements like: “in applications where you can't afford even brief downtime for database write operations, a multi-master cluster can help to avoid an outage when a writer instance becomes unavailable. The multi-master cluster doesn't use the failover mechanism, because it doesn't need to promote another DB instance to have read/write capability” To achieve this the suggestion I found, was to have applications pointing directly to the Nodes endpoint and not use the Cluster endpoint. In this context the solution pointing to the Nodes should be able to failover within a seconds or so, while the cluster endpoint: Personally I think that designing an architecture where the application is responsible for the connection to the database and failover is some kind of refuse from 2001. But if you feel this is the way, well go for it. What I did for testing is to use ProxySQL, as plain as possible, with nothing else then the basic monitor coming from the native monitor. I then compare the results with the tests using the Cluster endpoint. In this way I adopt the advice of pointing directly at the nodes, but I was doing things in our time.   The results are below and they confirm (more or less) the data coming from Amazon. A downtime of 7 seconds is quite a long time nowadays, especially if I am targeting the 5 nines solution that I want to remember is 864 ms downtime per day. Using ProxySQL is going closer to that, still too long to be called 0 (zero) downtime. I also have fail-back issues when using the AWS cluster endpoint. Given it was not able to move the connection to the joining node seamlessly.  Last but not least when using the consistency level INSTANCE_RAW, I had some data issue as well as PK conflict: FATAL: mysql_drv_query() returned error 1062 (Duplicate entry '18828082' for key 'PRIMARY')    Conclusions As state the beginning of this long blog the reasons expectations to go for a multi Primary solution were: Scale writes (more nodes more writes) Gives me 0 (zero) downtime, or close to that (5 nines is a maximum downtime of 864 milliseconds per day!!) Allow me to shift the writer pointer at any time from A to B and vice versa, consistently.    Honestly I feel we have completely failed the scaling point. Probably if I use the largest Aurora I will get much better absolute numbers, and it will take me more to encounter the same issues, but I will. In any case if the Multi muster solution is designed to provide that scalability, it should do that with any version. I did not have zero downtime, but I was able to failover pretty quickly with ProxySQL. Finally, unless the consistency model is REGIONAL_RAW, shifting from one node to the other is not prone to possible negative effects like stale reads. Because that I consider this requirement not satisfied in full.  Given all the above, I think this solution could eventually be valid only for High Availability (close to be 5 nines), but given it comes with some limitations I do not feel comfortable in preferring it over others just for HA, at the end default Aurora is already good enough as a High available solution.  references https://www.youtube.com/watch?v=p0C0jakzYuc https://docs.aws.amazon.com/AmazonRDS/latest/AuroraUserGuide/aurora-multi-master.html https://www.slideshare.net/marcotusa/improving-enterprises-ha-and-disaster-recovery-solutions-reviewed https://www.slideshare.net/marcotusa/robust-ha-solutions-with-proxysql https://docs.aws.amazon.com/AmazonRDS/latest/AuroraUserGuide/aurora-multi-master.html#aurora-multi-master-limitations   http://www.tusacentral.com/joomla/index.php/mysql-blogs/225-aurora-multi-primary-first-impression

[krae-syndikatet-blog]

LA-based Noysky Projects and the Cph-based Syndicate of Creatures in Collaboration:

Empedocles' Ghost – an exhibition about exploring science and mysticism's forgotten relationship

On view: July 4-11, 2019

Opening Reception: Thursday, July 4, 5-8 pm at KRÆ Syndikatet (Warehouse9), Copenhagen

Live performances: Sunday, July 7, 4-8 pm

Artist talk and performance: Monday, July 8, 5-8 pm

Curated by Sean Noyce

Artists: Naja Ryd Ankarfeldt and Elena Lundquist Ortíz (DK), Michael Carter (US), Jenalee Harmon (US), Alexander Holm (DK), Larry and Debby Kline (US), Sean Noyce (US), Camilla Reyman (DK), Samuel Scharf (US), Katya Usvitsky (US), and Melissa Walter (US) (see below for more on the participating artists)

Performers: Alexander Holm & Mads Kristian Frøslev (DK), Mycelium (DK), Morblod (DK), and Family Underground (DK)

Empedocles' Ghost

“The most beautiful emotion we can experience is the mysterious. It is the source of all true art and science.” — Albert Einstein

KRÆ syndikatet and Noysky Projects presents Empedocles’ Ghost, a week-long exhibition and series of performances featuring works that explore the relationship between science and mysticism. Empedocles’ Ghost is a collaboration between artist-run galleries KRÆ syndikatet of Copenhagen and Noysky Projects of Los Angeles. Empedocles’ Ghost is Noysky Projects’ first off-site, international exhibition, which opens at Warehouse9 in Copenhagen.

Scholars have ruminated on the connection between science and spirituality for thousands of years, applying folk pedagogy to explain the complexity of the world. The Greek philosopher Empedocles was one of the first to formalize this concept, stating that the foundation for all matter consisted of earth, wind, fire, and water. Respectively, Buddhist, Egyptian, Babylonian, Hindu, and Chinese scholars also drew connections with the four elements, emphasizing the universal nature of this concept.

But with the widespread implementation of the scientific method, science and religion separated, leaving folk practices like alchemy and esotericism to decline precipitously. The fallout from this schism has fostered the rise of literalism, pitting the definitive logic of science against the ascribed doctrine of religion.

Many of the works in Empedocles’ Ghost reconnect the fields of knowledge with that which is mysterious: Melissa Walter mines from her work as an illustrator for NASA, referencing near-fictional concepts like string theory, dark matter, and gravitational lensing, while Michael Carter’s interactive sculpture based on the methods of the ancient Egyptian harpedonaptai (“rope stretcher”) aligns the earth-bound viewer to the celestial bodies with great precision.

Some link the technology of today with the supernatural: Sean Noyce’s video projection renders data visualizations from sound frequencies of an ancient Greek funeral song, while Jenalee Harmon’s laminated transparent sequential photographs are an ode to time, space, speed, and technology of the Futurists that subtly allude to the hidden entities behind those forces.

Others reference Empedocles’ contribution to science and philosophy: Debby and Larry Kline’s large format pen and ink drawings of the four elements contain the visual language of illuminated manuscripts, while Samuel Scharf’s sculpture alludes to Empedocles’ himself, who was said to have committed suicide by throwing himself into Mount Etna; Scharf playfully invites viewers to toss a period-styled sandal into a ring of cobblestones, loosely referencing the active volcano.

About the artists

Sean Noyce’s Funeral Procession merges the technology of today with the mysticism and rituals of antiquity. Sampling a modern recreation of an ancient Greek funeral song, Noyce stretches the recording over 100 times so that the audible moments are abstracted to haunting drones and chimes. The recording is then imputed into a program that Noyce has written, rendering visualizations from those sound frequencies. The video projection references the fleeting moment when the spirit leaves the body as it travels between the transitory plane between the living and the dead.

Debby and Larry Kline’s The Alchemist is part of a large-scale installation devoted to the living cycle of trash. The main character is both ancient and modern. His garb is based on Han dynasty (206 BC–220 AD) jade burial suits. Through a contemporary translation, he has become a sleek superhero, emblematic of industry. The Alchemist shapes our world by creating value added products from raw or recycled materials, though his tendency towards overproduction is often to our detriment. We have created many drawings detailing his journey. The drawings in this exhibition are based on the alchemical principles of the four elements (earth, air, water, and fire).

Samuel Scharf’s sculpture alludes to the ancient Greek philosopher, Empedocles, who was credited as one of the first to theorize that all matter consisted of the classical four elements of earth, air, water, and fire. Empedocles was said to have committed suicide by throwing himself into Mount Etna so that the people would believe his body had vanished and he had turned into an immortal god. Scharf playfully invites viewers to toss a period-styled sandal into a ring of cobblestones, loosely referencing that dramatic moment at the volcano.

Michael Carter’s Solar Alignment reconnects the viewer to the hidden forces, properties, and geometries that bind the universe. Not unlike a neolithic earthwork, Carter’s interactive sculpture positions the earth-bound viewer with the sun using technology of the ancient Egyptian harpedonaptai (“rope stretchers”). As the viewer grounds themselves near the square patch of soil at the corner of the Euclidean triangle, they are positioned in alignment with path of the sun, represented as a golden disc perched high up in the gallery. Solar Alignment stresses the importance of hidden affinities and shared experiences that affect us on a deep, visceral way, and have inspired higher thinking for several millennia.

Jenalee Harmon’s photographs represent the liminal space between two distinct moments in time: the one that has just passed and the one that is yet to come. Meticulously produced and staged, her works are inspired by the theatrics of performers, magicians, illusionists, and trick photographers of 20th century cinema. Harmon’s sequential photographs exemplify a world in constant motion — an ode to time, space, and speed of the Futurists, machine learning and technology of artificial intelligence, and the mystery and intrigue of the supernatural.

Melissa Walter visually explores concepts concerning astronomy and astrophysical theories. Walter has worked as a graphic designer and science illustrator for NASA’s Chandra X-ray Observatory and as a team member of the Harvard-Smithsonian Center for Astrophysics. Her experience has inspired her to visually articulate wonders of the Universe, such as black holes, supernovas, neutron stars, dark matter and more recently, dark energy. Walter’s use of sound, dramatic optics and lighting within her sculptural installations embed a transcendent quality to the experience of her work while infusing cosmic energy into ordinary materials such as ink and paper. She translates and materializes the intangible knowledge of the Universe into an aesthetic physical reality for a personal experience.

Camilla Reyman work within the fields of abstract painting, sculpture and installation art. She investigate the thought of consciousness being as a kind of matter and that matter might have agency of its own.  Camilla prefer working with materials made by non-humans: plants, silk, dirt, bees wax, organic pigment etc, and sees her works as collaborations where her artistic intentions and the materials themselves create the final outcome on equal terms.

I am interested in how materiality has been perceived through out human history: how it is surrounds us in everyday objects, how it has been and is used in shamanic practices and how it is researched in science and dissolved in quantum physics.

Alexander Holm GiVa1G is a wooden usb drive amulet holding a number of files documenting an exploration of hollow oak trees collected in the southern forests of Norway in summer 2017. The drive includes sound, images and video, aswell as 1 hour of music based on these files. The material were collected in company with biologist Ross Wetherbee, and are originally thought to serve the Norwegian University of Life Sciences's research on the fading numbers of hollow oaks in Norway and the impact they have on local biodiversity as well as our time's global mass extinction. The files on the amulet captures a specific process, which goes as follows: When an oak tree is 2-3 hundred years old a goat horned beetle eats halfway trough the tree into the core of the trunk to eat it’s marrow. The beetle carries a virus that infects the tree to let it die slowly over the following 4-9 hundred years as a hollow grows inside it. As time passes the hollow hosts an increasingly huge number of plant and insect species which only exist in the conditions of the tree. The files points towards a specific time and place: Scandinavia around 1st millennium. Covered in forest — “Trees Of Life”. Norns sitting at the foot of Yggdrasil spinning the fade of humanity. A dragon slowly eating the roots. A squirrel bringing messages from the dragon to an eagle. The eagle sits in the crown watching over middle earth. On it’s beak sits a hawk waving its wings, pushing the winds. Somewhere else four deers are resting, eating off the crowns leaves.

Nymphaea/Åkande by Daughters of the 12th house (Naja Ryde Ankarfeldt & Elena Lundqvist Ortíz) Growing from a society that sees the human as outside, beyond or above nature, we initiated an exploration of the nature that is closest to us: our own bodies and the space surrounding. By very concretely placing our bodies directly on paper as templates and tracing the outlines of our limbs in different postures. Through the union and crystallization of our two practices and bodies, a new body emerges, that appears as an inversion of the Vitruvian Man. Rather than reproducing the narrative of anthropocentrism, and the white male human form as the measure of all things, Nymphaea re-figures the human as always entangled with other species. Using this method we want to craft another story of the human. The work is influenced by spiritual practices in a secularized society, in an attempt to re-integrate spiritual and material worlds. The project is part of an ongoing research and collaboration, where we use tarot and astrology, and more concretely investigating the 12th house, which represents the mystical and unknown dimensions of life. Initiating our collaboration we drew the tarot card “Philosopher of Stones”, more commonly known as “Page of Pentacles”, as a guide for our composite energy. The card renders a human in a lotus position that is also used as template for Nymphaea.

Katya Usvitsky’s sculpture explores concepts of birth, growth and decay through the process of alchemy. Using women’s pantyhose as her primary material — a vestige from Victorian-era corsets and garter belts that constrict the female body — Usvitsky allows the materials to blossom, infusing her sculpture with energy that give the materials a new life, outwardly reminiscent of biological processes including cell division, mutation, and replication. The mysterious transmutation of the piece can be observed in the bell jar, as the piece is on the verge of becoming too large for its vessel.

Schedule of Events

Thursday, July 4, 5-8 pm: Opening reception Sunday, July 7, 4-8 pm: Performances by Morblod (‘Motherblood’); Alexander Holm /Sensorisk verden; and Family Underground Monday, July 8, 5-8 pm: Performance by Mycelium; Talk about the forgotten relation between science and mysticism, lead by curator and artist Sean Noyce (US); art-theorist Astrid Wang (DK); and participating artists Camilla Reyman (DK), Katya Usvitsky (US), and Melissa Walter (US). Thursday, July 11: Closing reception

  Location

KRÆ syndikatet: Halmtorvet 11B, 1700 Copenhagen V Walking directions from Central Station: Head northwest on Reventlowsgade toward Istedgade; turn left onto Istedgade; turn left onto Helgolandsgade; at the roundabout, take the 3rd exit onto Halmtorvet; Turn left; Turn right; Turn left at Onkel Dannys Pl. Copenhagen V

https://www.google.com/maps/dir/Hovedbaneg%C3%A5rden+(Reventlowsgade),+Gammel+Kongevej,+K%C3%B8benhavn+V/WAREHOUSE9,+Halmtorvet+11A,+1700+K%C3%B8benhavn/@55.6711786,12.5595428,16.86z/data=!4m14!4m13!1m5!1m1!1s0x4652530cdf75ad83:0x8cd0951af261077e!2m2!1d12.5633991!2d55.6727713!1m5!1m1!1s0x4652537317cadaf9:0x506feac8da5b78f1!2m2!1d12.5609999!2d55.6694788!3e2

[xavierdesousaofficial]

performingbordersLIVE20

Curated by Xavier de Sousa and Alessandra Cianetti for performingborders

March - November 2020

All commissions and documentation: https://bit.ly/PBNOV20

It is in collectivities that we find reservoirs of hope and optimism.

                                                                                 - Angela Davis

A year-long programme of digital live art, performingbordersLIVE20 commissions, develops and supports people whose artistic practice, research and lives have been shaped by experiences of migration and/or borders.

performingbordersLIVE20 was a real journey into the intimacy of lives and geographies changed by this turbulent 2020, as well as the look into communities that keep building care, trust and support into the creation of possible futures.

Contributors & Commissioned artists: 

Adelaide Bannerman, Anike Bello, Annie Jael Kwan, Arts Council England, Ashokkumar Mistry, Asia-Art-Activism, Burong (曾不容), Bojana Janković, Camille Barton, Carolyn Defrin, Critical Interruptions, Chandra Frank, Caitlin and Andrew Webb-Ellis, Contact, Counterpoints Arts, Diana Damian Martin, Daniella Valz Gen, East Street Arts, Elena Marchevska, Harriet Hawkins, HowlRound Theatre Commons, Istanbul Queer Art Collective, Jade Foster, June Lam, MAFWA Theatre, Jade Montserrat, Joon Lyn Goh, Kai Syng Tan, Lasse Lau, Live Art Development Agency, Mary Paterson, Mohamad Ali “Dali” Agrebi, Never Done, Ọ̀RỌ̀ ÀNÍKÉ, Pankaj Tiwari, Queer Art Projects, Something Human, Sebastian Aguirre, Syowia Kyambi, Tania El Khoury, The Albany/Deptford Lounge, The White Pube, Warehouse9, Whiskey Chow.

Presented by performingborders in partnership with Live Art Development Agency, Counterpoints Arts, East Street Arts, Contact Theatre, Waresehouse9 (DK), Never Done, Queer Art Projects and HowlRound Theatre Commons. Supported by Arts Council England.

Photo by Jemima Yong

[vonjako]

"Red 9" photo by @vonjako #luftgekühlt4 #racecars #warehouse9 #porsche #porsche911 #vintagecar #carshow #portoflosangeles #streetphotography #thephotosociety #neverstopexplore #deusexmachina #natgeo http://ift.tt/2r34Uis

[missfishnet]

Miss Fish as the Little Match Girl, backstage after the show Screwed Again! Queer Xmas Cabaret 2016, Warehouse9, Copenhagen

[s888anete]

「排灣女神」阿爆領銜演出 高流9月LIVE充滿原民創新風

高雄流行音樂中心LIVE WAREHOUSE9月安排10場演出，充滿濃厚原民創新曲風，由入圍8項金曲大獎的「排灣女神」阿爆領銜演出，以「嘟，會女聲」之姿，獻上時髦新穎的金曲獎等...… from 生活新聞 - 自由時報 https://ift.tt/3gM2SvD via IFTTT

[jackielynn-de]

another day of working on the archive. Thea, for The Portrait Project, Copenhagen 2009 #translives #black-and-white #theportraitproject #warehouse9 #diva #danish-arts-council (hier: Warehouse9)

[babettedesiree]

Pictures from the exhibition at Warehouse9. The wonderful flower piece is by Louise Drost Harton.

[aeroplaneovercopenhagen]

This Friday: Concerts in Copenhagen that will help you deal with the bland weather

It is spring time in Denmark. You open your curtains and windows with hearty anticipation, you take a look outside only to discover that the weather is as bland as ever. Why is this happening to me? You think to yourself. 

It is unfortunate that the weather is an uncontrollable force that cannot be reckoned with, but all hope is not lost! You can take matters into your own hands and let music and a cheerful atmosphere comfort you and give you a big (warm and sunny) hug. 

The New Investors (DK), Efter Festen (DK) and KLIPO (DK) at RåHuset 

This Friday Råhuset delivers triple concert extravaganza with acts The New Investors, Efter Festen and KLIPO. Prepare yourself for swirling synthesizers, surf guitars and catchy pop melodies from The New Investors. Flute solos, synthesizers and drum machines from Efter Festen, and dark poetic electropop from KLIPO.

Feel Freeze (DK) and O/Rioh (DK) at Warehouse9

Are you feeling restless? Has there been a lack of color and energy in your life lately? Well, look no further. It is Queer Pop Night and Feel Freeze and O/Rioh are performing at Warehouse9! 

Feel Freeze is a lively Danish Electro-pop duo consisting of Raymonde Gaunoux and Mathias Vinther Lilholt. Feel Freeze’s sound is described as "The xx, ANOHNI, MJ, Röyksopp, Nintendo’s Super Mario theme and Donna Summer meeting at a queer party and deciding to play a spontaneous concert together”. 

The next act for Queer Pop night is rapper O/Rioh. With a confrontational attitude and high energy, O/Rioh will definitely make you dance until you can’t feel your legs!

Vundabar (US) at Loppen 

The indie rock duo are coming to Denmark now for the first time ever with their new release titled “Smell Smoke”. The self proclaimed “Sludgy Jangly Pop“ band are known for playing a high energy and charismatic show. So, if you feel like having a chill evening with a even chiller crowd - this might be the concert for you!