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BEGIN:VCALENDAR VERSION:2.0 PRODID:-//ical@brueckemuseum.de//NONSGML kigkonsult.se iCalcreator 2.41.92// CALSCALE:GREGORIAN METHOD:PUBLISH UID:37396532-3562-4632-b464-386239326430 X-WR-CALNAME:Brücke Museum X-WR-CALDESC: X-WR-RELCALID:c186e831-6ed4-4b8a-bd5f-531422c82034 X-WR-TIMEZONE:Europe/Berlin BEGIN:VTIMEZONE TZID:Europe/Berlin TZUNTIL:20231029T010000Z BEGIN:STANDARD TZNAME:CET DTSTART:20211031T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 RDATE:20221030T030000 END:STANDARD BEGIN:DAYLIGHT TZNAME:CEST DTSTART:20210328T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 RDATE:20220327T020000 RDATE:20230326T020000 END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:event_1839@www.bruecke-museum.de DTSTAMP:20260516T210720Z CLASS:PUBLIC DESCRIPTION:Der Künstler Satch Hoyt zeigt die Sound Performance Sonic Oblat ion Un-Muted\, als Teil der Ausstellung Transition Exhibition.\n\nDie küns tlerische Arbeit ist Gregory Ionman Tate gewidmet. Alle Instrumente werden gespielt von Satch Hoyt\, komponiert und arrangiert von Satch Hoyt\, Aufn ahmetechniker und Co - Produzent ist Dirk Leyers.\n\nIn seiner Arbeit Soni c Oblation Un-Muted eröffnet der bildende Künstler und Musiker Satch Hoyt den Dialog mit den Musikinstrumenten der Sammlung von Karl Schmidt-Rottluf f. Hoyt erweckt die Instrumente aus ihrem Zustand der Stille. Sein langjäh riges Engagement für die ‚Entstummung‘ von Klangsammlungen\, die während d er europäischen Kolonialzeit erbeutet wurden\, macht darauf aufmerksam\, d ass 'Instrumente wie Menschen einen Geist in sich tragen und dazu bestimmt sind\, gespielt zu werden\, sie sind nicht dazu geschaffen\, in Vitrinen und Kisten zu schlummern'.\n \n\nBiographie des Künstlers Satch Hoyt\, ges chrieben von Rujeko Hockley für den Katalog Prospect 4: The Lotus in Spite of the Swamp\, 2017:\n'Born London 1957\; resides Berlin. Satch Hoyt is a spiritualist\, a believer in ritual and retention. A visual artist and a musician\, his diverse and multifaceted body of work- whether sculpture\, sound installation\, painting\, musical performance\, or musical recording - is united in its investigation of the “Eternal Afro-Sonic Signifier” an d its movement across and amid the cultures\, peoples\, places\, and times of the African Diaspora. Those four evocative words (a term coined by Hoy t) refer to the “mnemonic network of sound” that was enslaved Africans’ “s ole companion during the forced migration of the Middle Passage.”1 lt was\ , and is\, a hard-won somatic tool kit for remembering where you come from and who you are - and maybe\, where you’re going - against all the many o dds. Of Jamaican-British descent\, Hoyt was born in London and currently l ives in Berlin. Having also spent time in New York\, Paris\, Mombasa\, and Australia’s Northern Territory - all points on the many-sided and ever-ex panding star that is the African Diaspora - he is an intimate observer of the sites of convergence where the Diaspora comes together to sing\, shout \, and be\, reflecting itself to itself. Employing the shared tool kit to connect\, express\, and commiserate across centuries and oceans\, Hoyt tap s into aural and oral echoes as well as into those retained in the histori cal and material record.' DTSTART;TZID=Europe/Berlin:20220219T163000 DTEND;TZID=Europe/Berlin:20220219T180000 SEQUENCE:1 SUMMARY:Brücke Museum: Sound Performance TRANSP:OPAQUE END:VEVENT END:VCALENDAR