Telepathic Concert inspired by John Heartfield.

A telepathic concert of PUTIF with Jennifer Walshe, Tomomi Adachi and Hardi Kurda. Concert at June 19th 2020. 8:00-8:03 pm (CET) Meditation, please find us and tune telepathically. 8:03-8:13 pm (CET) Improvisation
This is Central European Time. (3am Saturday in Japan, 9pm in Moscow, 7pm in London, 2pm in New York). This is not online event, no streaming, nor physical concert. It is metaphysical.

The People’s United Telepathic Improvisation Front (Tomomi Adachi & Jennifer Walshe) join forces with Hardi Kurda to give a telepathic performance inspired by John Heartfield’s work. Heartfield’s pioneering work in collage encourages the viewer to make connections between radically different visual materials, bringing disparate elements into unity. His collaborations with Bertolt Brecht place him at the forefront of performance in the 20th century. Indeed, Heartfield’s late arrival to a performance of one of Brecht’s plays resulted in Brecht stopping the performance and asking the audience to vote on whether Heartfield should be allowed to work on the set, leading to the development of Brecht’s Verfremdungseffekt, and changing completely the concept of the audience in theatre.

This performance works toward a similar goal, but with sound. The three musicians will perform in their homes, without being able to hear each other in the traditional sense – instead they will make telepathic contact during the performance, without any knowledge of what is happening other than the time and a score made by Hardi Kurda from a Kurdish carpet in which it happens. Each musician makes a recording of their performance. After the performance, the three recordings are collaged together to reveal what actually transpired, and the results are shared online.

The public are invited to tune in to the performance telepathically, to make notes about what they “hear” and share these with the performers.

concept: Julia Gerlach, secretary of the section music

Reflections by the audience welcome as facebook comments
Publication of the music collage online on 21 Jun 2020, 8 pm


Radiola Springs

The final performance in the framework of his residency at Radio Corax, Hardi Kurda the composer created a score for voice and radiola springs — a viola prepared with springs and radios that the artist plays himself. The vocal part is performed by the soprano and voice performer Nina Guo. For the interpretation of the score the performers met on air for a “telepathic” live performance on Radio Corax 95.9.


Listening’s Urgency


For the second performance in the course of his project “Listening’s Urgency”, Hardi Kurda asked musicians, artists and writers from different parts of the world to comment on the meaning of illegality and noise: Do we overstep the borders of legality by listening? What does illegality mean? Can illegality make noise? Is noise illegal?

The recorded voices and narrations were the basis for a one hour live radio performance with a six-member radio ensemble which came together on Radio Corax on April 26, 2020. For the radio art network Radia.fmKurda made an edited version of the live radio performance which will be aired this week in twenty stations throughout Europe and beyond.


In times of contact restrictions the radio is all the more an instrument to bridge the isolation. What role does listening play in times of crisis? In his project “Listening’s Urgency” the composer and sound artist Hardi Kurda, current stipendiary of the Radio Art Residency, explores this question.

In this, Kurda is searching for the in-between sounds of the medium and the gaps in the social order: Do we overstep the borders of legality by listening? What does illegality mean? Can illegality make noise? Is noise illegal?
A live radio ensemble of musicians, artists and writers from different parts of the world pursue these questions in Kurdas piece. The radio listeners are invited to follow them and to reflect their own listening.

In the course of the performance we invite you to share your listening impressions via chat.


with: André Damião, Maximilian Glass, I‑ID, Peshraw Mohammed, Kani Kamil, Kamil Korolczuk, Hardi Kurda, Soheil Soheili, Niga Salam, Ralf Wendt

SUNDAY, APRIL 26, 2020, 8PM (CET)

Graphic: Score for Radio (Hardi Kurda, 2020)

Hammams’ Maqam

Sound Place in Kurdistan Hammam.

The hammam as an architectural space of freedom. There is no other situation we can imagine where people are more unprotected, but free and protected at the same time like a hammam. Here people lay down all their symbols of hierarchy – people become equal. This creates a special place where people get to know each other, can discuss all topics (even political topics) – A hammam or a bath house offers the possibility of a free space. This is also linked to other middle eastern countries with autocratic systems. Bath houses or hammams are not political controlled, it is one of the only spaces where people are able to talk without thinking about restrictions or other conventions. 

Those hammams still exist today in the Kurdish region. After a long struggle and a grown economy hammams get to spaces of a die out species. In a free region they lost a little bit their political function of free spaces. Also, the economical situation leads to a new time where people have their own washing rooms and are not dependent on public hammams to wash. How do this development of hammams change the society? Are there new equivalents for the former hammams? And what will happen to those more than hundred years old spaces of freedom? How can a transformation of those hammams look like?

Text by Abel Korinsky

بیستووتە لەکاتی خۆشتندا خەڵک گۆرانی بڵێت، یان گۆرانییەکی باو هەبووە زیاتر ئەوە بڵێن؟

وه‌ڵام: بە دڵنیاییەوە گۆرانی دەوترا، چونکە هەرکەس دەنگیشی ناخۆش بوبێت لە حەمام دەنگی خۆی تاقیکردووەتەوە و گۆرانی وتووە و دەنگی خۆی پێخۆشبووە، بیرم نایەت جۆرێک گۆرانی باو هەبوبێت و ئەو شەوی جەژنان لە حەمامەکاندا دوو شت دەکرا؛ یەکەمیان شەڕەشەق، واتە بۆ خۆشی و گاڵتە شەقیان لە یەکتر هەڵدەدا، لەبەرئەوەی پەشتەماڵیان لەخۆیان بەستبوو، پەشتەماڵەکەش تەڕ بوو، ئەو کەسەی شەقەکەی بەردەکەوت، بەهۆی تەڕیی پەشتەماڵەکەوە شەقەی دەهات. زۆر کەسیش هەبوو لەو شەوانەدا ئاگاداری ئەوە نەبوو ئەم شەڕەشەقە هەیە، کاتێک دەهاتە ژوورەوە بێ ئەوەی بیناسن تێیان هەڵدەدا (بە پێکەنینەوە)، جگە لەوەش شەڕە پەشتەماڵ هەبوو، ئەو پەشتەماڵەی لە خۆیان بەستبوو، لوولیان دەکرد و دەیانکێشا بە یەکتردا. گۆرانییە وترابێت

حەمام هەبووە وتویانە جنۆکەی تیایە، شتێکی لەو بابەتەت بیستووە؟

وه‌ڵام: تا ساڵی ١٩٥٨ بۆ ١٩٦٠ دەیانوت زۆربەی حەمامەکان خێوی هەیە، خێو واتا خاوەن. واتە ئەو خێوە یان ئەو جنۆکەیە خاوەنی ئەو حەمامەیە و ئەگەر کەسێک زوو بڕوات پەلاماری دەدات، با شتێک بگێڕمەوە، جاران لە کوردستانی ئێمەدا گوێدرێژ زۆر بوو، چونکە بۆ هاتوچۆ و گواستنەوەی شتومەک بەکاردەهێنرا. ئەو گوێدرێژانە هەندێکیان هەبوو پێیان دەوت سەرمای بووە یان (ڕەقیتەی کردووە)، لەبەرئەوەی بەفر دەباری و سارد بوو، بە خاوەنەکەیان دەوت شەو بیبەنە حەمام لە هۆڵە گەرمەکە دایبنێن، بەیانی کاتێک گوێدرێژەکەیان دەهێنایە دەرەوە لە گەرمایا ئارەقی کردبوویەوە (بە پێکەنینەوە)، جارێک کە ئەم گوێدرێژەیان بردووە بۆ حەمەماکە، کابرایەک بەیانییەک زوو چووە بۆ حەمام، کە گوێدرێژەکەی بینیوە، لە ترسا هاواری کردووە و وتویەتی “بە خوا ئەوە خێوە”. واتە خێوەکە لەو جۆرە کارانەوە داهاتووە، بە تایبەت حەمامی سورەت زۆر بەناوبانگ بوو بەوەی کە خێوی هەیە. بە بۆچوونی من ڕەنگە ئەم قسانە زیاتر لە لایەن ئەو حەمامچییانەوە کرابێت کە بازاڕیان کز بووە و ئەو حەمامەی خەڵک زۆرسەردانیان کردووە وتویانە خێوی تیایە، بۆ ئەوەی خەڵک نەچێ بۆ ئەوێ و بێت بۆ حەمامەکەی ئەمان، هەڵبەت من نەمبیستووە هیچ حەمامچییەک ئەو قسەیە بکات و ئەوە بۆچوونی خۆمە

.چاوپێكه‌وتنێك له‌گه‌ڵ كه‌سێكی به‌ته‌مه‌نی شاری سلێمانیدا، ئاما‌ده‌كردنی، هه‌ردی كورده‌، سازدانی، بیار ره‌شید

Photo by Niga Salam

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