Code. Noise-Performance mit Stimme
Code. Noise-Performance mit Stimme
Due to the Christmas market in Sophienstraße, the Sophiensaele cannot be approached by car on december 16, 2023.
The world as a system of coordinates linking people and voices, events and sounds. This forms the performance Code, in which objects, frequencies and figures meet in the space. Sound becomes an immersive bodily experience that expresses what spoken language cannot. In her paintings, video works and performances, Leyla Yenirce deals with resistant biographies, makes use of pop cultural, political and art historical references and processes sonic and visual aspects of military and media dominance structures. Under the name Rosaceae, she also works as a composer and sound artist with elements of noise and ambient music, drawing on speech samples and self-penned texts.
For Code. Noise-Performance mit Stimme, she collaborates with visual anthropologist Theresa George, music producer and sound engineer Kris Jakob and visual artist and performer Shira Lewis.
If any questions remain from the following information, please feel free to contact Hannah Aldinger at email@example.com or 030 27 89 00 35. Please note that details may change by the day of the event. Therefore, if you find out after you have purchased your ticket that the performance is no longer accessible to you, you can contact us for a ticket return at firstname.lastname@example.org or 030 27 89 00 45 until 5 business days after the event (Monday through Friday between 10am and 6pm).
- 50–60 minutes
- German spoken language
- In the performance, the language used is important primarily on the sound level. The language does not necessarily have to be understood in terms of content for the understanding of the performance.
- The lighting situation is rather dark.
- Abrupt light changes or stroboscopic effects may be used.
- The sound plays a central role for the performance and becomes very haunting, loud and physically perceptible.
- Some sounds may be reminiscent of war sounds.
- Growling may be used.
- Fog is used.
- There is no chairing. The audience can stand or sit on the floor.
- 2 beanbag seats bookable according to availability
- 2 wheelchair seats bookable according to availability
- Due to the Christmas market in Sophienstraße, the Sophiensaele cannot be approached by car on december 16. Further information on how to get there and parking can be found here.
If, for artistic reasons, the door to the auditorium does not open until very shortly before the performance begins, there is the option of early boarding.
- Reservations can be made via the ticket telephone at 030 283 52 66, Monday to Friday from 4pm–6pm
- Via the online ticket shop
- At the box office
You can also find more information about accessibility here.
Direction: Leyla Yenirce
Co-direction: Theresa George
Sound design: Kris Jakob
Performance: Shira Lewis and Noah-Jinu Moerbeck
The performance is part of the exhibition Ich krieg Geschwindigkeit, which is exhibited at Capitain Petzel between 04.11. and 20.12.2023.
A production by Leyla Yenirce in coproduction with Sophiensæle.
Leyla Yenirce is a multi-disciplinary artist who explores forms of resistance, sonic and visual aspects of military and media structures of dominance. Her first solo exhibition SO MUCH ENERGY took place at the Kunsthaus Hamburg in 2022. In addition to numerous scholarships and prizes, including the Federal Prize for Art Students, Bonn (2021), the Playground Art Prize, Nuremberg (2021) and the Hamburg Music Prize (2019), Yenirce has been part of various group exhibitions, including Kein Schlussstrich Festival, Kampnagel, Hamburg (2021), Paradise, Kurdish Film Festival, Berlin (2020) and Hi Ventilation, Kunstverein Harburger Bahnhof, Hamburg (2019). In 2022 Yenirce was awarded the ars viva Prize. Active as a composer and sound artist under the name Rosaceae, she works with elements of noise and ambient music; drawing on voice samples and self-penned texts. In 2020 and 2021 the two albums Efia and DNA were released on the label of the Hamburg music club Gold Pudel. This was followed by performances at the Berliner Festspiele, the Münchner Kammerspiele and a planned appearance at the Elbphilharmonie Hamburg, among others.