While eight radio stations in the program are existing structures, the German iteration is a new station started from scratch in Berlin—SAVVY Funk. For SAVVY Funk, artists are invited to take over a 24-hour radio program providing news, weather, and other programs, such as Unpacking Sonic Migration, Listen to the Other - disEmbodied Voices - Hybridized Techno, Saout Africa(s), and Piratensender. Participating artists collaborate with students from the Class for Experimental Radio at Bauhaus-Universität Weimar, led by Prof. Nathalie Singer and Martin Hirsch, to prepare and operate the radio program. Prof. Nathalie Singer and her team are also contributing a reading and listening room at SAVVY Contemporary, where visitors can experience and reflect on radio in the making.
Curators: Bonaventure Soh Bejeng Ndikung, Marcus Gammel, and Elena Agudio
SAVVY Funk Shows
Unpacking Sonic Migrations — From Slave Ship to Spaceship
In his show Satch Hoyt investigates the migration of the African beat, offering samples ranging from the earliest anthropological field recordings to current unreleased tracks from the transnational African diaspora and beyond. Joining Hoyt as he follows this eclectic trajectory, one can expect to hear mash-ups of Alice and John Coltrane, Fela Kuti, Mad Lib, southern Mbala Congolese beats dating from 1907, Pauline Oliveros, Flying Lotus, and Steve Reich. The show also hosts interviews with visual artists, poets, curators, musicians, writers, art historians, and others. In the live slot Hoyt performs with members of his crews Sonic Shadow and The Bakol. Other invited guest musicians join the show for improv sessions.
Weather Reports makes you all-weather-ready by providing world-class, weather-breaking news plus up-to-the-minute, accurate weather reports on the future condition of your environment, both local and international, wherever you want to be, and including imperative disaster coverage. Just listen to this radio and get a taste of walking windy shores barefoot in the burning sand, running through the fields at the top of a hill during a hot summer thunder storm, or sitting in the park getting dripping wet under a leafless tree. Get your daily Weather Reports now: undocumented, raw, but unpredictably vital!
Me & My Rhythm Box
Music instruments: old and new, quiet and loud, self-built and refashioned, acoustic and electronic, analog and digital, possible and impossible. How are they played? Who plays them? And why don’t they play on their own?
This broadcast focuses entirely on the instrument and its expanded artistic applications. The possibilities of resonance and vibrating bodies are taken to fantastical dimensions that include the chorus of the nerves, the rhythmic alignment of movement in traffic, and the tuning of cosmic background radiation!
In this context guests from the fields of music, art, science, and instrument-making are invited to explain (live) their relationships to their own instrument through sample sounds, brief concerts, and conversations.
Regular Measures is part of a series of pieces that draw from ongoing research on the potential of purely sonorous communities or hyper-polyphonies. These are explored along with the fantasy of the potential existence of a purely voice-made and body-less being. The contribution is inspired by an alternative theory of voice as an emerging and autonomous entity and explores utopian concepts and new possibilities for polyphony as a communal practice.
Embrace — A Nástio Mosquito recipe
Segment Collaborations: Aline Frazão and Kalaf Epalanga
Negro, Nigger, bottom feeder
Healer, killer, Lil’ Biller Bob Lee with the axe lover bleeder
White trash, fasc(ist), lash on
White king and queen unbreakable stumble
- Humble up Negro, Nigger. Humble up, and be Purple!!
- Shiiiiiiiiit … you got clock but not time. I will find Purple … and you will feel, your kids will know.
You we them with us within cake bake cookies and milk, honey
It will not always be funny; it will not always be consequent. This radio show is unruly behavior put to use, favoring the brutality of human limitations.
One. Two. Three. One Hundred.
Mobile Radio (Sarah Washington & Knut Aufermann)
Render is a contextualization and reworking of archive material from dozens of international radio stations. Mobile Radio performs an overview of the independent not-for-profit tier of community, free, campus, and pirate stations, which provide a wealth of material and perspectives not found within the prevailing media orthodoxy. This constitutes a major retrospective of the work of the radio art network Radia, whose collective mission is to make radio that transcends the borders and boundaries of land and language.
In addition, discussions are held with individuals who maintain unique archives, and a collection of new works for radio is being created as part of the contribution.
For the program Piratensender, which means “pirate station” in German, Ahmet Öğüt presents a series of interviews and dialogues with lawyers, immigration law experts, broadcasters, sociocultural workers, musicians, subcultural urban groups, and feminist and LGBTQI+ activists. Topics range from radical pedagogies to the concept of urban citizenship, self-proclaimed micronations, artists’ rights, alternative currencies, unconditional basic income, immaterial labor, precarious labor, and domestic labor. The program also explores the necessity of self-initiative, participation, and autonomy as a tool of resistance for marginalized communities, undocumented masses, and non-citizens.
Listen to the Other – disEmbodied Voices – Hybridized Techno
AGF (Antye Greie-Ripatti)
AGF (Antye Greie-Ripatti) presents a blend of audio related to the following topics: ancient voice practices, sonic wilderness, hybrid ecology, music and sound from war zones, voice and gender, voice and protest, the amplification of resistance, noise experiments, critical club, rap and underground pop music, nonhuman sound worlds, hidden voices off-the-west, animal voices, mycelium and the sound of matter, the sound of electricity, sound and privilege, and more. There will be talk, thoughts, poems, and guests—and perhaps even some collective screaming and chanting.
Saout Radio (Anna Raimondo & Younes Baba-Ali)
Saout Africa(s) plays with both the English word “south” and the literal sense of the Arabic “saout,” which means “voice” and “sound.” The title also evokes the plurality of possible interpretations coming from the word “Africa.”
Beyond a monolithic idea, stereotypes, and the geographic limitations related to the word “Africa,” Saout Africa(s) proposes a fluid immersion, in which the notion of boundary is lost while an aesthetic and political time-space of listening emerges.
Reactivating Saout Radio’s archives through different voices, new thematic cartes blanches, and new live performances, Raimondo and Baba-Ali activate an international network to generate personal and collective perspectives about possible Africa(s), while reflecting a panorama of today’s radio art.
Multiverse Crosstalk Radio
Alberto De Campo
The current flood of post-factualisms, from conspiracy theories to “alternative facts” and fake news (produced by individuals, institutions, and states), can be explained scientifically when we assume that a) Hugh Everett’s theory of multiple universes is not only mathematically but also literally true; and that b) these universes are not fully independent of each other, but forms of crosstalk between them are possible. In an attempt to illuminate the possible nature of the originating universe(s), Multiverse Crosstalk Radio captures, collects, and recasts such random transmissions from Elsewhere by scientific means, such as advanced data sonification techniques and context-reconstructions that draw on multiverse theory and radical constructivism.
Laugh of the Hyposubject
Brandon LaBelle & Anna Bromley
The radio program sets out to trace and document contemporary hyposubjects. Hyposubjects appear as multiphasic, nomadic not-yets, as manifold becomings and bricolages. As such, they figure communities of dissent, resistance, and resilience, which circumvent the directives of technocrats and paternalists. By unsettling the anthropocentric relations between bodies and things, they offer transhumanist views on togetherness. As squatters of our “post-factual” present, hyposubjects are imagined as beings intoxicated with sleeplessness and shameless desires, constructing new states of imaginaries from planetary commons.
What types of practices do hyposubjects perform? How might we transmit their entangled, shy, and self-empowering articulations? And might we hear the laughter of hyposubjects as they exit the dominant?
Islands Songs (Nicolas Perret & Silvia Ploner)
Islands Songs (Nicolas Perret & Silvia Ploner) will engineer the confluence of scientific acoustic monitoring from all five continents (and beyond) as well as live interventions captured through a “monitoring station” installed in SAVVY Contemporary’s surroundings. Extemporaneously orchestrated, the daily sonic capsules aim to open up nonanthropocentric perspectives.
Intermission Transmission Temporal
An eclectic series of broadcasts enthusiastic about the curatorial activity of documenta 14. Its content and form will be composed daily.
different time different place different pitch
Dani Gal & Achim Lengerer
Dani Gal and Achim Lengerer work with sound documents such as speeches, political and personal statements, and other soundtracks that document and constructed current history. They conceptualize the radio medium as a pure acoustic instrument. The listener is unable to verify the source of the sound, and therefore his or her experience is shaped both by a specific political view and the manipulation of the broadcasters.
For SAVVY Funk Gal and Lengerer produce a series of programs that focus on political/historical events shaped by acoustic aspects as well as sound documents of major political significance.
The lack of a visual component, which is inherent to the definition of acousmatics, attempts to challenge the construction of history through media in times of constant live video and photo feeds.
Project Director: Julia Tieke
The Wurfsendung presents radio art in ultra-short formats: radio plays, features, and sound art in a maximum of forty-five seconds. Since September 2004 Deutschlandradio Kultur has produced over 2,600 Wurfsendung segments in approximately 250 series. The Wurfsendung segments are scattered throughout the daily program of the radio station. Without a dedicated timeslot they can be heard during a music and literary magazine, in the noon report or a philosophy program, and in between interviews, music, reports, and news. The experimental format cultivates absurd thoughts, new perspectives, and intelligent humor. For SAVVY Funk, artists produced new Wurfsendung contributions, which randomly punctuate the program together with a specifically curated selection of older pieces.
The Wurfsendung is produced by the radio art department of Deutschlandradio Kultur. The Project Director is Julia Tieke.
With Aisha Orazbayeva and Uriel Barthélémi
Etchells and collaborators stage a durational intervention on the theme of emergency, which comprises prerecorded segments and extended live improvisation combining voice (Etchells), violin (Orazbayeva), and percussion (Barthélémi).
Initially based on a set of simple utterances taken from the theme of emergency (in numerous inflections and contexts), Etchells uses techniques of looping/repeating, varying and shifting emphasis and inflection, and crosscutting to fragment and explore language, while entering into dialogue with his collaborators Orazbayeva and Barthélémi, whose work both supports and at times cancels out Etchells’s language. Emergency explores the space between the semantic use of language and its more musical, textural, and sonic properties. It is based on a continuous process of shifting between registers—creating, disintegrating and reinventing meaning.
Singing yesterday’s news again
Natascha Sadr Haghighian & Nicholas Bussmann
Every day, a singer sings yesterday’s news in her own way. The first day, a singer sings just the news from the day before. The following day, another singer recounts the news sung the days before, recopying what yesterday’s singers sung while also adding yesterday’s news in his own way. Over the course of three weeks the voices slowly form a choir, an iso-polyphonic composition of old news—sung, recopied, and thereby intentionally and unintentionally reinterpreted. The oral reinterpretations excite social resonances and make a common space audible in a manner that goes beyond a simple echo chamber.
The news made available to the singers as lyrics is compiled from the news feed of a public radio station. The compilation of news from this pool of reports follows the official criteria of relevance and factuality. But because the geographic coordinates of the feed are altered daily, the perspective of what is considered topical changes. Day by day this shift inscribes itself into the composition and recalls geopolitical reverberations in the echo chamber of the newsroom. Forgetting and silencing are part of the chant as much as accords, dissonances, and resonances. Adding another resonant pollutant, the singers invited to sing the news come from different traditions of music and poetry. Repetition and reiteration is corrupted by these various factors.
Revolutionary Radio Remix: 20 +/- Years of Acoustic Space Travel
Sonic guides: Diana McCarty & Pit Schultz
In the early 1990s, pirate radio and DIY publishing shift to the internet and set the stage for a cyberculture that transformed streaming experiments in localized, terrestrial, and digital broadcasting. For SAVVY Funk, reboot.fm’s Revolutionary Radio Remix digs through its own archives for an acoustic journey through time, space, and technology, which will be live on air for twelve hours on July 8—the final day of broadcast.
Mining the archives has enabled an audible history of Berlin’s shifting cultural landscape and relationships with the world—generations of punks, poets, artists, and activists have taken to the airwaves with radio art, live discussions, plays, DJ sets, and wildly weird award-winning radio. This live narrated voyage though acoustic space focuses on highlights from the last 20 +/- years of reboot.fm radio.
Missy Listening or Sonic Women Looking for the Perfect Sound
The Radio Magazine for Pop, Politics, and Feminism
Missy Magazine (Gina D’Orio & Margarita Tsomou)
Using the style, politics, and opinion of Missy Magazine as a starting point, the final twelve-hour SAVVY Funk broadcast is presented by Missy staff on July 8. The focus is on female musicians, sound artists, radio dramas, radio features, and readings, traversing themes including pop and sexuality, resistance and herstory, and racial and sexual critique.
The broadcast format is that of a “radio magazine,” which combines various genres with each other: The program ranges from interviews with feminist icons and (pop)musicians, the transmission of historic feminist political speeches and readings of feminist literature to sound experiments and legendary female sonic art. We always return to the question of what the queer-feminist approach might sound like, and in doing so, highlight female and queer music from all eras. Two moderators guide the program: Margarita Tsomou, editor of Missy Magazine, and Berlin-based musician Gina D’Orio (Cobra Killer).
SAVVY Contemporary Team
Antonia Alampi, Jasmina Al-Qaisi, Aouefa Amoussouvi, Lynhan Balatbat, Juan Blanco, Federica Bueti, Pia Chakraverti-Wuerthwein, Johanna Gehring, Sol Izquierdo, Anna Jäger, Cornelia Knoll, Saskia Köbschall, Lisa Kolloge, Nathalie Mba Bikoro, Siyah Mgoduka, Abhishek Nilamber, Beya Othmani, Elena Quintarelli, Marleen Schröder, Jörg-Peter Schulze, Lema Sikod, Jorinde Splettstößer, Marlon Van Rooyen, Laura Voigt, Elsa Westreicher, Johanna Wild
Class for Experimental Radio at Bauhaus University Weimar
Prof. Nathalie Singer, Martin Hirsch, Konrad Behr, Rafael Brasil Sabino, Jennifer Fuchs, Jan Glöckner, Grit Lieder, Johann Mittmann, Janine Müller, Anna Rupp, Benjamin Serdani, Rosa Süß, Corinna Thamm, Josephine Tiede, Severin Schenkel, Andreas von Stosch, Markus Westphal