YOYI! Care, Repair, Heal

visions: Listening Programme

The second part of SERAFINE1369’s visions programme is a series of seven audio works created by different artists and researchers that will play throughout the day. Challenging the idea that performance is a form that centers looking, the listening programme invites visitors to tune into various tones, textures and sonic forms and to allow these vibrations to enter and affect their bodies.

Daniella Valz Gen

Past Dates

visions is a programme of live performance that seeks to encourage an embodied approach to engaging with live work and choreography where all bodies present are implicated and senses beyond visual sight are activated. It is an invitation to be with what is conjured, stirred up and rising to the surface of each of our particular bodies, in relation and response to environment. As such, each offering is somehow immersive. All events are free to attend and happen during regular opening hours of the Gropius Bau.

The scenography, designed by Soft Tissue Studio, subtly morphs with each intervention and proposes a space for the visitors for spreading out and arranging for the listening in whatever ways make sense for each person.

B Xovington Xam-Xumana

B Xovington Xam-Xumana self-classifies as a sound artist and strategic designer. As a producer of music, Xovington relies heavily upon their two decades of experience as a string player: releasing musical projects independently, in collaboration with other musicians, and with independent labels, each to warm critical receptions. Through their practice, Xovington contends that sonic cultures are better articulated by their categorical condition as containers to mimetic and acoustic phenomena rather than by the confines of their status as a mother to music.

About the work
Observe and verify the efficacy of eight abstract dynamical expressions and graphical algorithms observed from a close reading of Marvel Comics writer David Hickman’s speculated 2019 attempt to present an external control surface for The Walt Disney Company’s Marvel Cinematic Universe following Disney’s twenty-year freeze of the American public domain. These expressions are rendered as possible modern phonemic primitives identifiable as what B Xovington Xam-Xumana calls sonic “para-symbols” dictated by selections from Xovington’s Novel Breath Vocabularies, a nearly 200-piece sound library recorded between 12:00–01:00 on 24.2.21.

Performance duration: 33 minutes

Computer animated persons who are wearing black masks and hold guns in their hands.

B Xovington Xam-Xumana

© B Xovington Xam-Xumana


bartira’s work responds to the Information Age. The artist investigates ways in which technology-facilitated projects and experiences can challenge our understanding of contemporary art formats. The ideas in her work draw on the implications of late capitalism such as the omnipresence of technology, environmental collapse and immigration. She aims to protect healthy narratives and reclaim political imagination from the west’s domination and colonial residue.

About Sublime in Obliteration
This work of fiction speculates on the ruins of our reality, re-signifying bark beetles’ inscriptions left in wood found in a forest in Germany. Wood becomes their ground to build their civilisation. They obliterate to thrive. Their steadfast offspring are born straight into digging, chewing away wood, connecting and linking complex networks and tunnels. They have become a creative resource for political imagination: a metaphor to the paramount urgency of bringing down structures in order to create safe futures, the most beautiful and intricate ones. They don’t know about us, but we, humans, see them as a threat; their knowledge and resilience provide us with a conundrum where destruction opens up to liberation.
All sound and voice recorded, produced and mastered by Bartira in 2022.
Transcript of the chapters’ names
1. In the beginning there was just sound
2. Dead trees turned into cities; chambers were dug. Dwellings were created.
3. Thousands of little mouths started chewing and bodies worming forward.
4. Spines, scales and bristles made tunnels in the shape of daisies.
5. The most sublime way of obliterating.

Performance duration: 25 minutes

bartira is standing in front of a window lattice and looks into the camera.


photo: Amanda Agyei


CAConrad have worked with the ancient technologies of poetry and ritual since 1975. They are the author of AMANDA PARADISE: Resurrect Extinct Vibration (Wave Books, 2021), as well as nine other books of poetry. They received a 2022 Ruth Lilly Poetry Prize, a Creative Capital grant, a Pew Fellowship, a Lambda Literary Award, a Believer Magazine Book Award, and the Gil Ott Book Award. Their play The Obituary Show was made into a film in 2022 by Augusto Cascales. They teach at Columbia University in New York City and Sandberg Art Institute in Amsterdam.

About Gone into the Green Body
The (Soma)tic Poetry ritual for these new poems works with creatures who have evolved to navigate the current state of the Anthropocene. Animals who not only survive under the imbalance of a human-centered world but have somehow found a way to thrive! I spent most of the covid-19 lockdown in Seattle, a city overflowing with crows. Soon after I started feeding them on my window ledge, they began bringing me gifts of twigs, plastic, seeds, and gold stickers. While they shared the fresh fruit and nuts, I wrote while stroking my shoulders to embody their graceful wings. When I encounter coyotes, I scratch the back of my ears before writing, but with lizards, I rub my ankles and caress my jawline for squirrels. Embodying creatures push-push-PUSHES my poems onward!

Performance duration: 14 minutes


CACondra is standing in front of a mirror object in a room that shines in purple light.


photo: Augosto Cascales

Daniella Valz Gen with Sammy Paloma

Daniella Valz Gen is a poet, artist and oracle. Their work explores the interstices between languages, cultures and value systems with an emphasis on embodiment and ritual. They practice divination in various forms and channel the ancient Andean role of quipucamayoc in the meeting of pattern, knotting and making meaning as a strategy to challenge linear thinking.

Sammy Paloma is an artist, poet and witch living between Bristol and Shetland, UK. She paints, hand pokes tattoos, sings an approximate falsetto, writes poems, and makes computer games. Her work is into listening to fairies, how divination disturbs linear time, grief rituals and necromancy. In 2021 she began to write a choose your own adventure book which she is still lost inside.

About You can call me horse
You can call me horse is a collage of spoken word and soundscapes. It speculates on the origin story of Chiron, an immortal god from Greek mythology that's part horse and part human. Chiron was a teacher of medicine in spite of his chronic wound, and had Achilles, Asclepius and Dionisus amongst his pupils. An asteroid in our solar system was discovered in 1977 and named after Chiron. Since then, astrologers have speculated about its symbolic significance in natal charts as a placement that indicates both woundedness and the capacity for healing. You can call me horse channels the voice of Chiron, the god, through the cultural artefacts of the time when Chiron, the asteroid, was discovered. The piece includes cover versions of songs by Curtis Mayfield, Q Lazzarus and Patti Smith, amongst others.

Performance duration: 35 minutes

Links:, Instagram:  @daniella_vg,, Instagram:  @sammypaloma_

A collage with a dark photo of a person sitting on the ground with arms covered with earth on the left. On the right is a watercolour with a green background, a red and purple heart and a map.

Daniella Valz Gen, (be)longing, 2019, photo: Rowan Powell | Sammy Paloma, Courtesy of Sammy Paloma

Gillian Walsh

Gillian Walsh is an artist from Brooklyn, NY where she has lived since birth. She makes long, formal choreographies that aim to find new ways to experience dance, time and ways of being together. In recent years, she has presented performances at The Kitchen, Performance Space New York, Performa, Danspace Project, The Watermill Center and others. Her work has been a New York Times Critics Pick. She has been in residence at The Watermill Center, MoMa PS1, Stiftung Insel Hombroich and ISSUE project room. She was an associate artist at Performance Space New York and was nominated for New York Dance and Performance Bessie awards in 2013 and 2018. She’s currently in residence at Danspace Project at St. Marks Church on the Bowery where she will premiere her next work in 2023. She has also worked as a performing collaborator for a range of NYC artists and is currently working with Richard Maxwell/New York City Players. Gillian Walsh works as a craniosacral therapist and is 1/2 of the band Gods Not Finished.

About May
May is a text-based work. Themes discussed include God, death, dance, and spiritual process.

Performance duration: 11 minutes

Link: Instagram:  @ishellreal

Two persons are standing in front of each other with streched out arms. A third person is sitting on the floor with their back against the wall.

Gillian Walsh, 2019

photo: Res


nwakke is an artist, dj and musician working with dance, video and writing. This performance identity is a means for discovery, world building and research into experience, histories, knowledge and nature. Thinking about care, thinking about relationship, thinking about freedom and safety

45-minute sound composition of voice note recordings and vocal / instrumental improvisations on creation, chronic pain and retrieval

‘I’m going into the cave to make a plan and then I will stick to it’

slow progress,
loosening need,
starting again

find a sweet spot,
stay there for a while

how interesting that i’m training calm,
negotiating with discipline and routine

the things I needed, I still need
when progress happens

And some things I don’t.

Performance duration: 46 minutes


A person's reflection with a mobile phone in their hand.


photo: nwakke

Veza Fernandez

Veza Fernandez is a dance, voice and performance artist based in Vienna. Her work deals with the realms of the poetics and politics of vocal expression as a place of relation, imagination and transformation. She entangles singing, writing, dancing and speaking practices as bodily forms of study, experimentation and performance. Her pieces are sensitive and intense, casting polyphonically a convocation of voices and presences that yearn to move and to be moved. Her background stretches between philology, pedagogy, theater, music and contemporary dance; fields that in one way or another influence her artistic research and modus operandi within art making and art presenting. Her work is strongly rooted locally, infiltrating from within the underground queer scene into bigger Dance, Theater and Visual Arts Institutions. She holds a Masters in Choreography from the DAS Graduate school (Amsterdam Academy for Theatre and Dance). Her work has been shown in brut, Vienna; Tanzquartier, Vienna; Sophiensaele, Berlin; Gesnerallee, Zürich; de Singel, Antwerp; Frascati, Amsterdam; La Casa Encendida, Madrid; Kunsthaus Graz; and ARTENA Art Foundation, Düsseldorf.

About the work
This audio work is an acoustic exercise between a recorded voice and its potential listeners. A voice uttering an amalgam of instructions and songs invites the listener to dive into their own listening experience by joining in and making sound. This creates a dialogue between a single voice and a collective of many individual voices. Visitors are invited to voice in listening, the experience of which is amplified by the oddness of sharing a space where we are usually not encouraged to voice connection, like the space of the museum. In the spaces we voice in order to move something, to give space to something, to bring something close. One can figure out ways of being with others in all the places that a listening experience unfolds.

Performance duration: 50 minutes

Links:, Instagram:  @vezamaria

A colourful photo collage with two persons talking into a microphone with their heads tilted down.

Concept, voice, edit: Veza Fernandez, music: Tony Renaissance, recording: Manuel Riegler

graphic and photo design/art: Ju Aichinger