Sun in Cancer, 2016

6-Channel Audio Installation
Site-Specific

Applied materials:
Sound speakers, equalizers, audio cable.
Duration: 23'53'' (loop)
Percussion, synthetizer, pedals and electronic generators: Diana Policarpo
Theremin: Hannah Catherine Jones
Voice: Hannah Catherine Jones and Diana Policarpo
Composition for The Spheres: Diana Policarpo

Sound-Sculptures (bean bags), 2016

Applied materials:
Fabric, sound speakers, polysterene, mp3 players, pre-amplifiers and audio cable.
Dimensions:
102 x 88 x 117 cm (hxbxl)

Spoken word: Charlotte Puder (German version) and Diana Policarpo (English version)
Duration:
1- C. P - Johanna Beyer, Total Eclipse (1934) and Universal-Local (1934), 3' (loop)
2- C. P - Johanna Beyer, Status Quo/Music of the Spheres Prelude + Act I (1938), 2':34'' (loop)
3- C. P - Johanna Beyer, Letters to Henry Cowell (August, 1936), 1' (loop)
4- D. P - Johanna Beyer, Total Eclipse (1934), Universal-Local (1934), Status Quo/ Music of the Spheres Prelude + Act I (1938), Letters to Henry Cowell (August 1936), 7' 3'' (loop)

Visual Scores (Steel Sculptures), 2016

Applied materials:
Steel, acrylic and graphite.

Dimensions:
Screen 1- 200 x 135 x 60 cm (hxbxl)
Screen 2- 200 x 135 x 60 cm (hxbxl)
Screen 3- 200 x 135 x 60 cm (hxbxl)
Untitled I - 180 x 95 x 60 cm (hxbxl)
Untitled II - 200x 50.5 x 51 cm (hxbxl)

Site-Specific Light Environment
Applied materials:
Blue foil.
Dimensions variable.

Sun in Cancer, September 2016
Curated by Anna Jehle and Juliane Schickedanz
Photography by Lucie Marsmann

more info here - lAB - Artists Unlimited, Bielefeld (DE)

Sun in Cancer is a site-specific installation comprised of sound, light and mixed media sculptures. It is constituted by sex audio channels, sound-sculptures, tridimensional visual scores casted in steel and the total transformation of the glass surface of the space. This project is an evocation of the work of Johanna Magdalena Beyer (1888- 1944).  Reaching into the past and drawing connections to present-day existence, Sun in Cancer creates a counter-hegemonic genealogy of ways of being-in-the-world and is an homage to Beyer's revolutionary (and lost) political opera Status Quo (1938).

When the artist and the content of the work is lost for more than 70 years, things get hard to put together. Bringing herstories from the past also embrace the deviations that are structurally necessary to the development of modernity and future. We live in the "day of ghosts", forced to mime our emotions, now cheap commodities, while still digesting the lost identities through history we continue to fight the death by repeating the words of the dead. 
(...) The constellation of elements in the show are supporting the theoretical material surrounding their production- the research in Beyer's archive along with the attempt of reconstruct the original score which only few minutes were put together of music and text - in a way they are designed to frustrate the very attempt to prescribe revolutionary conditions. The question of representation and the way which stereotypes have inscribed themselves into the Western visual vocalbulary challenges the audience to reflect on their own perception an cultural identity (...) Ranciere's emancipated spectator certainly need foreign aid from those bodies that were culturally rejected, but this would takes in a different channel. D.P