Coming from practices of sculpture, music and dance respectively, we – Kerstin Ergenzinger, Bnaya Halperin-Kaddari and Kiran Kumar -, are a collective for transdisciplinary art and research.
Invited by Aryan Kaganof, the curator and editor of the south africa based online journal herri, our contribution to herri#4 Playing Grounds: a polymodal essay published in June 2020, offers glimpses into our transdisciplinary and cross- cultural artistic research processes by reaching into our desktops and drawers, our lab, kitchen and garden spaces. This assemblage of text, sound, image and video is an expanding portrait of our still growing and spinning musical instruments.
We presented this family of musical spin-tops through a lecture concert at the KlingtGut Konferenz on spacial audio at the HAW Hamburg 15.5.2021. The conference was held in hybrid form. As many contributions as possible where performed in their studios and streamed live. At this time Kiran could only be present through his previously recorded voice.
Working through our multi-disciplinary studio practices, and also through interdisciplinary dialogues with other artistic and scientific interlocutors, as a collective we actively seek out interpersonal thought, collaboration and play in order to explore notions of subtlety, embodiment and consciousness through the arts.
At the core of our collaborative practice is play: We play intentionally to seek, affirm and share a life-ness, which we see as so important to the world today. We play our self-made research instruments, and also our human body-mind. We play attentively to create and sustain encounters for something subtle to emerge. We call these encounters ‚Sono-Choreographic Playgrounds‘, because on the playground we can be playful rather than precious about seeking out subtlety.
Our playgrounds are interspaces of installation, performance, instrumental music and story-telling. Our playgrounds are also collective spaces where personal encounters of subtlety might expand into shared experiences of e.g. our shared bond to gravity. And it is in this sharing of nuanced co-presences that we locate our urgent resistance to the excesses of modernity, to tendencies of higher, stronger and faster. Our resistance is micropolitical in that it proposes subtle modes of sensing. It is also playful in proposing poly-sensory spaces and places to tease out more than monistic ways of sensing, experiencing, knowing and therefore relating-with our worlds.