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Natascha Süder Happelmann

Press release

Natascha Süder Happelmann

Curated by Franciska Zólyom

A few months before the opening of the 58th International Art Exhibition, Biennale di Venezia, the curator Franciska Zólyom presents an interim report on Natascha Süder Happelmann’s artistic project for the German Pavilion and will also introduce all the artistic contributors.

Some you already know: Helene Duldung, the spokesperson for the artist, is played by Susanne Sachsse, actress, singer, performer, who is equally at home in theatre, film and music and also Maziyar Pahlevan, who is developing the graphic identity of the project. His design framed the first press conference and is also present on the newly updated website. He is designing the project publication, which will be published by Archive Books.

The spatial concept for the pavilion is being developed by Natascha Süder Happelmann in collaboration with the Kooperative für Darstellungspolitik, who carry out research on the representation of political and cultural issues in the public sphere and understand their practice of spatial design as an ongoing contribution to social debate.

Sound will also play a notable role in the pavilion. In this, Natascha Süder Happelmann will be supported by six composers and musicians, who all come from very specific and also different musical traditions:

Jessica Ekomane combines elements of psychoacoustics, traditional music and Gestalt- principles in her work to explore the psychological and physical responses to sound as well as the recipients engagement with a given sound feature, aesthetic stimulus or spatial situation.
The music of Maurice Louca brings together elements of free improvisation, cosmic jazz, trancelike traditional music, Egyptian shaabi, and minimalism in his unique approach. The frenetic and club compatible music of the producer and DJ Marlon Silva aka DJ Marfox combines African-influenced dance music, such as kuduro, kizombo, funaná or tarraxinha with house and techno.

Jako Maron generates binary and ternary rhythms and uses modular synthesis, drum machine and crackle box to transform and reinvent maloya and séga – the two genres of folk music from La Réunion whose origins trace back to communities of African slaves.

An interest in silence as a conscious interval characterises the playing of the inside pianist Tisha Mukarji. Raw music blurs the boundaries between improvisation and composition. Influenced by her background in informatics, Elnaz Seyedi composes chamber music for selected ensembles, redefining New Music.

In the development of this project by Natascha Süder Happelmann, as in numerous solo and collective artistic projects previously, collaboration plays a central role. The collaborating participants introduced above contribute conceptual or artistic formulations, specialist knowledge or interdisciplinary dialogue to the realisation of the project for the pavilion. Sociality, as in the endeavour for reciprocal trust and mutual support, is thereby a central interest.