Nida A-I-R in July 2017

Daphne Daniel Ulrike 2
From left to right Daphne de Sonneville (NL/UK), Daniel Falb (DE), Ulrike Gerhardt (DE). Photo by Skaistė Marčienė
Three new residents arrived to Nida Art Colony in July: Daphne de Sonneville (NL/UK), Daniel Falb (DE) and Ulrike Gerhardt (DE).
Daniel Falb 5
Daniel Falb. Photo by Tineke de Lange

Daniel Falb is a poet and philosopher based in Berlin. He acquired a PhD in philosophy with a thesis on the notion of collectivity at Freie Universität and has published three volumes of poetry with Berlin-based publisher kookbooks: die räumung dieser parks (2003), BANCOR (2009), and CEK (2015). His work besides poetry focuses mostly on geophilosophy, radical ecology, and poetics. 

Daniel is taking part in the exhibition WHEN THE SEA LOOKS BACK (A Serpent’s Tale). Daniel will be presenting the text and the context of his Anthropocene poem Chicxulub Paem. Exploring the science fictions of deep time, the poem deliniates the fossilizations and defossilizations of our present moment. It reanimates prehistoric hominids to investigate their sexuality while knowing they exist only on digital devices. It juxtaposes geographies of past and future climate migrations and looks into the geology of the top 1%. Chicxulub Paem is the opening speech of the Holocene Museum. 

Ulrike Laimos Kreivytes nuotr
Ulrike Gerhardt. Photo by Laima Kreivytė

Ulrike Gerhardt (DE) is a cultural studies scholar and writer living in Berlin and Lueneburg.

Ulrike will be participating in the project WHEN THE SEA LOOKS BACK (A Serpent’s Tale) by Suza Husse and Emma Haugh. She is preparing and presenting a paper entitled After the Aral Sea: Almagul Menlibayeva’s Diasporic Dreamscapes. In Arabic, “Transoxiana“ means “what is beyond the Oxus river” and is an ancient name for a particular region in Central Asia. Almagul Menlibayeva’s video Transoxiana Dreams (2011, 23 min.) is an exploration of female subjectivity in the post-totalitarian, ecologically devastated state of Kazakhstan that blurs the line between fiction and documentary. Menlibayeva’s video faces the environmental disaster of the rapidly receding Aral Sea and the decimation of a fishing village. For her piece of writing, the scholar will analyze how Menlibayeva unsettles Western narratives and aesthetics of the exotic and nomadic. Amalgamating “Eastern” and “Western”, the urban and the provincial, the private and the public as well as the postcolonial and the post-Soviet, Menlibayeva opens up a trans-historical, diasporic, and corporeal space in which indigenous and non-indigenous symbols become tools to mirror and invalidate the authenticity of prefabricated images of Central Asia.

Daphne
Photo from the artist's archive

Daphne de Sonneville (NL/UK) (born in Amsterdam, lives and works in London) writes texts and makes objects, videos and performances. She received her BFA from the Gerrit Rietveld Academy in Amsterdam and her MFA from Goldsmiths in London, where she was awarded the Book Works Award for Art Writing 2014. In 2016 she started working on her practice based PhD research The Descent of Significance: Slapstick and Abstraction at the Edinburgh College of Art. In this project, Daphne employs slapstick as a method to investigate the relationship between materiality and abstraction in language. While slapstick originates from physical theatre, she explores how it can be used to structure a text. Using repetition and other editorial methods, Daphne's writing focuses on the ‘how’ rather than the ‘what’. She questions whether language can be a character in itself, and if the materiality of language is tragic. 

During her residency at the Nida Art Colony, Daphne plans to develop a series of sculptures to serve as props in a spoken word performance. Through the use of sculptural materials, she will explore the methods she has employed in her writing. Daphne’s residency is supported by a PRE Grant from the Edinburgh College of Art.