Tan Bone - a single pot sounds nonetheless
Original pot from Sheing Naung Naung, killed by security forces in Myanmar in 2021.
Together with Li Li (KSA) and Sam Tsao.
Premiered at the exhibition "Protestations", Atelier des Artistes en Exile, Paris.
Honey Bunny - a hommage to Joseph Beuys
inter-media performance project with:
Christian Reiner - text
Mazen Kerbaj - projection, objects
Claudia Schmitz - Live Moving Image onto Sculpture
Matthias Muche - Trombone
Rieko Okuda - Piano, Viola
Nicola Hein - Guitar, Electronics
Joshua Weitzel - Guitar, Shamisen
Also featured radiophonic tape contribution by Stefan Fricke
Premiered on October 12, 2021 in Berlin. Further performances in Kassel, Cologne and Düsseldorf.
Project developed and administered by Matthias Muche, Nicola Hein and Joshua Weitzel. Kindly supported by Musikfonds with project funds of the Federal Delegate for Culture and Media, Kunststiftung NRW, Land Nordrhein-Westfalen, City of Cologne, City of Düsseldorf and City of Kassel.
Tan Bone (Sound Pot) ver.2
Objects, Chairs, 2-Channel-Sound Installation, Web-App
Collaborative Sound Art Project by Kam Seng Aung, Joshua Weitzel and Samuel Cho.
Opening Sound Art Festival Trier 2021
TUFA Trier, July 24 - August 15, 2021.
Tan Bone ver. 2 puts five original pots in the centre of attention. Those pots have been used for acoustic protest in Myanmar following the military plot in
February 2021. The owners of the pots have all been murdered by the military in the course of the violent crackdown of the social disobedience movement. The pots were graciously given to the
artists by the families of the martyrs. The installation is accompanied by a 2-channel sound installation of field recordings of the pots-and-pan protest in February, as well as an interactive
web-app made by Samuel Cho, which gives background information on the people behind the pots.
Photo: Martina Pipprich, Mainz.
Tan Bone (Sound Pot)
4-Channel Sound Installation / Sound Sculpture
Collaborative Sound Art project with Kam Seng Aung (Myanmar) and Samuel Cho (Saarbrücken).
Marburger Kunstverein, 2021.
Pieces that address the struggle of the people in Myanmar against the fascist coup, but also form a solidaric gesture in the tradition of Cacerolazo. Four generic Woks are turned into loudspeakers with transducers and play a four-channel sound piece comprised of four different days in the end of February and beginning of March 2021 in Yangon, Myanmar, recorded by Kam Seng Aung.
Solidarity Noise (2021)
Solidarity Noise is a social sound sculpture initiated and facilitated by Kam Seng Aung, Joshua Weitzel and Samuel Cho. Taking the idea of the pots-and-pans-protest against the military coup in Myanmar, musicians, sound artists and other solidaric people from over 40 countries sent some "noise".
Published on CD 20 of the german society of electroacoustic music (degem).
This noise from the international artist community is a gesture of solidarity towards the people of Myanmar and their struggle for democracy and justice.
Sound by Jan Klare, Mano Kinze, Guy Fixsen, NO Moore, Eva Macali, C-Drik Fermont, Bene Schuba, Roland Kuit, 8rnd, Mike W, Juan Bermúdez, Ove Volquartz, Sebastian Kuhn, Bettina Behage, Petra Kuhn, Wingel Mendoza, Luis Krummenacher, Sarah Wenzinger, Dounia Biedermann, Eric Petzoldt, Massimo Magee, Annette Walther, Uli Phillipp, Xianxi Chordia He, Rachel Chew, Felix Mayer, Lothar Reitz, Annabel Strange, Marty from Ireland, Blanche the Vidiot, Peter Kiefer, Stephan Glitsch, Alia Josephine, Jauk Armand, Elisabetta Senesi, Daniela Solis, Paul Devens, Nick Vander, Lucy Yao, Tim Green, Joseph Franz Lanceras, Sebastian Profundo, Chie Nagai, Kam Seng Aung, Samuel Cho, and other contributers who wish to remain anonymous. Shared credit. Project coordinated and collage assembled by Joshua Weitzel.
Picture by Hae Thaw Htet.
Sound Systems 2020
Concept and realisation: Joshua Weitzel, Samuel Nerl and Cat Woywod.
Sound by Joshua Weitzel, Nicola Hein, Wingel Mendoza, Cat Woywod and Nicol Parkinson.
Stellwerk Gallery, Museum Week Kassel 2020.
Skulpturale Komposition (2019)
A hybrid between installation, performance, and score.
Two amps, with compressor, and reverb. Two electric guitars, Six Pages of Score. Duration of Six hours, with performances of one page of the score every full hour.
Galerie Feiertag, 2019.