Macho Sounds / Gender Noise explores how contemporary perceptions of gender are influenced by sounds designed and embedded in todayвЂ™s technologies. Photos by: Afroditi Festa, Matthias Fritsch, Staatsgallerie Stuttgart HANNSMANN-POETHEN LITERATURSTIPENDIUM 2020 STAATSGALERIE STUTTGART (21-26 July) / Die Irritierte Stadt Festival #gamekepers #balancingnature #stadtjaeger #cityhunter #infrastructure #hausgropius #artistinresidence #bauhausdessaufoundation Read More в†’ The works by Sofia Dona and Mara Genschel can be seen at Gropius House until September 12, 2021, the work by Andrea Acosta until November 14, 2021. In terms of content, they are devoted to the playful to brutal relationship between man and animal, the claimed mastery of the historical Bauhaus and the stones with which the master houses were once built. The result is new, impressive works that bring the often hidden foundations of everyday life to light. Over the past weeks and months, the artists Sofia Dona and Andrea Acosta as well as the writer Mara Genschel have dealt intensively with the UNESCO World Heritage Site of the MastersвЂ™ Houses in Dessau from the perspective of infrastructures, the annual theme of the Bauhaus Dessau. Under the title Gropius House || Fictional, the new exhibition of the Bauhaus Residence will be shown from July 8 to Novemin the directorsвЂ™ house of the Meisterhaussiedlung in Dessau. Sofia Dona, Mara Genschel and Andrea Acosta However the mountains that circumscribe the Mediterranean are the embodiment of the passages through, over time. The title of the work is borrowed from the chapter вЂMountains Come FirstвЂ™ from BraudelвЂ™s вЂњMediterraneanвЂќ where Braudel points out that less research has been carried out on mountains due to their lack of an agricultural economy. As he sculpts the mountain range, peaks, crevices and gorges, he effectively reconstructs the landscape and history of his passage. The narration becomes more fragmented as Kapaj tries to recall his journey through the mountains, mentioning cities, rivers and the geological topography of the landscape he passes. Towards the end of the narrative, an extract of the Greek song from the eponymous film вЂњEdge of NightвЂќ in which KapajвЂ™s voice was used as stand in for an Albanian immigrant intercepts the film. Meanwhile a lone rower passes by balancing on a surf board.

The mountain formed by the dug-up sand looms over him and slowly even surpasses the horizon line. As he digs, he creates a ditch that functions like a negative of the mountain topography which slowly subsumes him the deeper he goes. The rhythm of the spade digging alongside the sound of the waves on the beach creates a soft background noise covered only by JuxhinвЂ™s voice as he narrates his story: from Avlona (Albania), to the Ceraunian Mountains, onto Corfu and Athens. Juxhin Kapaj (Jorgo Prifti) uses a spade to dig, shoveling sand, arduously forming the shape of the mountain range that he passed in 1990 as he migrated from Albania to Greece. Supported by: Rosa Luxembourg Foundation.As part of the collective cinema project Unfortunately, it was paradise.Д¬omissioned by: Delphine Leccas (AIN) and Maria-Thalia Carras (Locus Athens)

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