FRAMED #31

Date: 3/4/2020
Time: 21:00 (doors open 20:30)
Location: Simplonstraße 29, 10245 Berlin.

15,00

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we will be happy to help. Please contact us.

90 in stock

We kindly remind you to purchase tickets in advance since the number of tickets is limited.
There will be no option to enter without pre booking.
If you’re having any difficulties with the payment – please write us an email with the number of tickets + your full name – then we will find a solution for you.

90 in stock

We kindly remind you to purchase tickets in advance since the number of tickets is limited.
There will be no option to enter without pre booking.
If you’re having any difficulties with the payment – please write us an email with the number of tickets + your full name – then we will find a solution for you.

 

Music:

ALY KEÏTA & THE MAGIC BALAFON

 

The whirling balafon game by Aly Keïta is spectacular. Aly comes from a family of musicians and has built and played his own instruments since he was a little kid.  Today he plays together with renowned musicians such as Rhoda Scott, Omar Sosa, Joe Zawinhul, Pharoah Sanders, Paolo Fresu and many others.

Aly is worldwide renowned thanks to his mastery with the balafon-  a marimba-like instrument that traditionally is used by the Griot (a poetic storyteller) or by the historians or chansonniers from West Africa. Aly has managed to use this ancient instrument in a modern context and at the same time keeping its traditions.  With an afro-pop repertoire and a nice mix with funk rhythm and jazz, Aly’s arrangements make him stand out from other balafonists.

 

 Aly’s Spotify

Art

BATIA SHANI 

 

Batia Shani is an Israeli artist born in Haifa that incorporates needlework into her painting.  Two years of schooling at the London Royal School of Needlework provided the springboard for Shani to embrace this traditional craft. 

The repetitive, orderly labor of embroidery based on dexterity, the extreme attention to demanding traditional techniques, and the essence of needlepoint to weave details into a greater composition may not be noticed in Shani’s work at first glance, but a second look exposes embroidery as the infrastructure and the inspiration forming the foundation of her art.

Her colorful work is always intuitive; Shani works without any plans or sketches, and each painting contains several layers. Each layer is dominated by a single color, a single texture, and one repetitive image.

About the installation:

As a daughter of refugees who fled Europe after WWII, for Batia Shani, the current migrants and refugee crisis echoes an existential situation which is engraved in her body and soul.

The centerpiece of the installation is embroidered bundles made of scraps of used clothes which carry the memory of the body who used to wear them, stacked in a wooden structure that resembles a boat.

Parts of metal fence serve as the basis for a wall piece. The metal is covered by another layer in the shape of an archetypical house made of cardboard, like a mark of a house, on which the artist places unwoven children’s vests. These vests were originally knitted to wrap and protect children, to keep them warm. But something went wrong -unwoven and damaged, they can no longer serve their purpose. the mixture of materials that juxtaposes the cold, metallic material with the soft and warm wool, separated by the cardboard, creates a system of opposites.

The third main piece is a readymade fridge cardboard box that the artist found near her studio around the time that the bodies of 39 Vietnamese were found in the trailer of a refrigerator lorry in the UK. In addition to pasting newspapers clippings and embroidered envelopes, Shani perforates the cardboard around the caption  NO FROST and threads are coming out of the holes.

Batia’s Website

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