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The Museum of Trance, 2015

mixed media installation with Bastian Hagedorn

GermanEnglish

As our concept for the 4th Ghetto Biennale 2015 in Haiti we are setting up The Museum of Trance in Port-au-Prince, an unfinished part-fictional museum of the history of the electronic music genre Trance in Germany. The set-up of the exhibition is inspired by European ethnological exhibitions on Haitian vodou, like the 2010 exhibition ,Vodou - Kunst und Kult aus Haiti‘ in the Ethnological Museum of Berlin-Dahlem. The museum is unfinished, as if the investors lost their interest before finishing it. Due to that the museum will be open to be explored and taken-over by the local Port au Prince artists and musicians.

The conceptual starting point for the concept is the interest in vodou music and drumming and the stages of trance that people get in while practicing vodou. This form of trance is something that is lacking in the religions practiced in Western Europe. But in the early 90s Trance Music was evolved out of Rave Music and Acid Techno. This hard, fast and spherical new genre tried to capture an ecstatic spirituality that otherwise is very rare in Western Europe, especially in Germany. We want to see what happens when the Haitian practice of spiritual trance clashes with German Trance music culture.

We want to discuss the representation of Haitian culture in German museums by excoticizing German rave culture and by musealizing it as ,the other‘ in the middle of Haiti. The traditional institution ,ethnological museum‘ is appropriated, deconstructed and re-interpreted by the local artists and musicians. The museum transforms into a post-colonial experimental playground. Unlike classic museums, there will be no explanatory text. The objects will be open for personal interpretation.

After researching the history of Trance music in Germany and collecting objects, images, videos, clothing and music equipment we set up the Museum of Trance in Port-au-Prince. It will be created over the duration of the two preparation weeks before the Ghetto Biennale. There will be one ,museum‘ exhibition room with the objects on pedestals and images on the walls. The other ,club‘ room will be dark and equipped with clubbing materials such as stroboscope, fogger, lasers and sound equipment and have a church-like feel to it. The sound equipment is prepared with self-composed Trance music elements for people to use intuitively.

For the exhibition during the Ghetto Biennal the Museum of Trance will be open to everybody to start working with it. In the club room, music can be played and produced, and the light effects explored. In the museum room, the exhibited objects can be modified and developed further. The final outcome of the appropriation of the Museum of Trance is unpredictable. This is a core part of our concept and we are excited about that.

As our concept for the 4th Ghetto Biennale 2015 in Haiti we are setting up The Museum of Trance in Port-au-Prince, an unfinished part-fictional museum of the history of the electronic music genre Trance in Germany. The set-up of the exhibition is inspired by European ethnological exhibitions on Haitian vodou, like the 2010 exhibition ,Vodou - Kunst und Kult aus Haiti‘ in the Ethnological Museum of Berlin-Dahlem. The museum is unfinished, as if the investors lost their interest before finishing it. Due to that the museum will be open to be explored and taken-over by the local Port au Prince artists and musicians.

The conceptual starting point for the concept is the interest in vodou music and drumming and the stages of trance that people get in while practicing vodou. This form of trance is something that is lacking in the religions practiced in Western Europe. But in the early 90s Trance Music was evolved out of Rave Music and Acid Techno. This hard, fast and spherical new genre tried to capture an ecstatic spirituality that otherwise is very rare in Western Europe, especially in Germany. We want to see what happens when the Haitian practice of spiritual trance clashes with German Trance music culture.

We want to discuss the representation of Haitian culture in German museums by excoticizing German rave culture and by musealizing it as ,the other‘ in the middle of Haiti. The traditional institution ,ethnological museum‘ is appropriated, deconstructed and re-interpreted by the local artists and musicians. The museum transforms into a post-colonial experimental playground. Unlike classic museums, there will be no explanatory text. The objects will be open for personal interpretation.

After researching the history of Trance music in Germany and collecting objects, images, videos, clothing and music equipment we set up the Museum of Trance in Port-au-Prince. It will be created over the duration of the two preparation weeks before the Ghetto Biennale. There will be one ,museum‘ exhibition room with the objects on pedestals and images on the walls. The other ,club‘ room will be dark and equipped with clubbing materials such as stroboscope, fogger, lasers and sound equipment and have a church-like feel to it. The sound equipment is prepared with self-composed Trance music elements for people to use intuitively.

For the exhibition during the Ghetto Biennal the Museum of Trance will be open to everybody to start working with it. In the club room, music can be played and produced, and the light effects explored. In the museum room, the exhibited objects can be modified and developed further. The final outcome of the appropriation of the Museum of Trance is unpredictable. This is a core part of our concept and we are excited about that.

Henrike Naumann, The Museum of Trance, 2015, mixed media installation, corrugated metal, furniture, fog machine, strobe lights, instruments, clothing, objects, installation view
Henrike Naumann, The Museum of Trance, 2015, mixed media installation, corrugated metal, furniture, fog machine, strobe lights, instruments, clothing, objects, installation view
Henrike Naumann, The Museum of Trance, 2015, mixed media installation, corrugated metal, furniture, fog machine, strobe lights, instruments, clothing, objects, installation view
Henrike Naumann, The Museum of Trance, 2015, mixed media installation, corrugated metal, furniture, fog machine, strobe lights, instruments, clothing, objects, installation view
Henrike Naumann, The Museum of Trance, 2015, mixed media installation, corrugated metal, furniture, fog machine, strobe lights, instruments, clothing, objects, installation view
Henrike Naumann, The Museum of Trance, 2015, mixed media installation, corrugated metal, furniture, fog machine, strobe lights, instruments, clothing, objects, installation view
Henrike Naumann, The Museum of Trance, 2015, mixed media installation, corrugated metal, furniture, fog machine, strobe lights, instruments, clothing, objects, installation view
Henrike Naumann, The Museum of Trance, 2015, mixed media installation, corrugated metal, furniture, fog machine, strobe lights, instruments, clothing, objects, installation view
Henrike Naumann, The Museum of Trance, 2015, mixed media installation, corrugated metal, furniture, fog machine, strobe lights, instruments, clothing, objects, showcase
Henrike Naumann, The Museum of Trance, 2015, mixed media installation, corrugated metal, furniture, fog machine, strobe lights, instruments, clothing, objects, showcase
Henrike Naumann, The Museum of Trance, 2015, mixed media installation, corrugated metal, furniture, fog machine, strobe lights, instruments, clothing, objects, showcase
Henrike Naumann, The Museum of Trance, 2015, mixed media installation, corrugated metal, furniture, fog machine, strobe lights, instruments, clothing, objects, showcase

Henrike Naumann

Henrike Naumann was born 1984 in Zwickau (GDR). Growing up in Eastern Germany, Naumann experienced extreme-right ideology as a predominant youth culture in the 90s. Her work reflects on the history of the right-wing terrorism in Germany as well as on today‘s broad acceptance of racist ideas. She looks at the mechanisms of radicalization and how they are linked to personal experience and youth culture. Nauman explores the friction of contrary political opinion through the ambivalence of personal aesthetic taste. In her immersive installations she combines video and sound with scenographic spaces. In recent years she widened her focus to the global connectivity of youth cultures and the reversion of cultural othering. Notable exhibitions include solo shows at the Museum Abteiberg in Mönchengladbach and Galerie Wedding, Berlin, as well as participations at the Busan Biennale (2018), Riga Biennial (2018), Steirischer Herbst, Graz (2018), 4th Ghetto Biennale at Port-Au-Prince (2015), and the 3rd Herbsalon at Maxim Gorki Theatre Berlin (2017).

Henrike Naumann lives and works in Berlin.



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