POSH
FlucT


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Oct 28 2021--:--:--

POSH
FlucT

Sigrid Lauren and Monica Mirabile of FlucT go somewhere they don’t want to go. “Posh” is a psychological thriller inspired by the internalized micro aggressions forced by the commodified necessity present in late- capitalism. In this portrayal of two women going to the mall, somatic affects on the duet dramatize the subliminal surfacing. Their camera is the psyche and the ghost as the performance duo walk through the shopping mall of Park Center Treptow—a commercial complex, in which its disused toy store acts as the temporary headquarters for this year’s 3hd festival.


Concept by FlucT
Sigrid Lauren and Monica Mirabile
Camera by Jannik Morton Schneider and Ink Agop
Lights by Jannik Morton Schneider
Commissioned by Creamcake and HAU Hebbel am Ufer

THE LYNCHING SONG
M. Lamar


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Oct 27 2021--:--:--

THE LYNCHING SONG
M. Lamar

“The Lynching Song” has become central to M. Lamar’s practice. Inspired by the work of black liberation theologist James H. Cone’s bringing together the Christian cross with the lynching tree as a modern form of crucifixion, Lamar endeavors to engage a scared practice of remembrance, praise and sacrifice. Like the ritual singing of hymns, the artist’s hope through the continued performance of these songs is for the deepest spiritual and moral transformation. 

“I have always seen these lynching songs I write as a continuation of the African American Spiritual. These songs are surely how we have maintained the profound connection to our own humanity, as well as to those who have enslaved and oppressed us,” Lamar calls this Berlin Session iteration of the pieces. “There is never, in these songs, a thirst for vengeance or even anger. There is only love and a longing to be free, even if freedom means death.” 


Concept by M. Lamar
Cinematography by Jannik Morton Schneider
Camera by Ink Agop
Editing by Jannik Morton Schneider
Sound recording by Frieder Naumann & Bart Huybrechts
Post sound engineering by Nicholas Djukic Cocks
Video by Fine Freiberg
Lights by Sebastian Zamponi & Lea Schneidermann

Commissioned by Creamcake and HAU Hebbel am Ufer

CAST-OFF
Alice Z Jones × Dis Fig


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Sep 15 2021--:--:--

CAST-OFF
Alice Z Jones × Dis Fig

Dropping as part of the 10th Berlin Network of Independent Project Spaces and Initiatives award ceremony and Berlin Art Week—opening September 15 —the interdisciplinary platform will present one of a four-part video series. Alice Z Jones x Dis Fig’s “CAST-OFF” premieres and screens at Mitte KUNSTPUNKT BERLIN until September 26. The audiovisual work will be accessible via Creamcake’s 3hdTV channel at the same time, which will act as an online stage, of sorts, becoming a celebratory space for support, community and pop appreciation, in all its diverse and exciting forms. “Pop Psychology” traces the unresolvable tensions between political activism and noise, empowerment and performativity, consumer culture and self-care, making these points of friction visible as therapeutic drives of sustainability and empowerment. Joy is an integral part to maintaining mental health, and now is the time to find it through music.


“CAST-OFF” is a collaborative audiovisual project exploring bodies in crisis, theories of dissent, and potential healing practices through art and music making. Taking Japanese choreographer Tatsumi Hijikata’s notion of a “casting-off” of society-approved notions of identity as a starting point, artist Alice Z Jones and producer Dis Fig (aka Felicia Chen) draw inspiration from butoh, shamanistic rituals, cyberpunk and the techno-poetics of Afrofuturism. They imagine possibilities for fracture—if only temporary—from a past, present and foreseeable future of the affliction of existing under oppressive systems. From social injustice, sickness, and technologically-enhanced violence to the physical and mental weight, an ever-increasing pressure put on those who exist on the margins, “CAST-OFF” converses with its audience through a combination of found footage, improvisational performance, and hypnotic and transitory sound. It moves through a myriad of histories, into the present day, while centering liminal and peripheral states of existence. Are we done yet?

Mixed and mastered by Theo Karon

BROOD X: A GUIDED MEDITATION
unseelie


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Sep 02 2021--:--:--

BROOD X: A GUIDED MEDITATION
unseelie

In summer 2021, a rare natural phenomenon is taking place. In many parts of the United States and the rest of the world, Cicadas swarm across forests, singing and buzzing with a chaotic energy. What makes this particular awakening of insects so powerful, however, is that this emergence only happens once every 17 years: Brood X. The insects emerge from the surface of the ground in hoards to announce their existential purpose of  ‘scream, fuck, die’  for several weeks before returning to the soil. This cycle of life feels akin to what many of us are facing coming out of a pandemic that has felt like eons. As we emerge from our homes, an intense energy of pressure to participate and revel in the possibilities of a “functional world” can be overwhelming. Accustomed to our burrow routines, now is the time -with the sun at full power-  to spring out, equipped with an almost uncontrollable energy.

How can we fortify our mental states while participating in this swarm of entropy?

<the answer lies within>  We chose to do a guided meditation accompanied by music and sound design; photos and illustrations will provide softly stimulating visuals. The listener will be guided out of their hole and into an intense new reality. This meditation will help them find their frequency in the midst of Brood X and ground into the present moment; emerge with a hum.  

Credits
Script by Kodi Fabricant
Voice Acting by Christina Haines
Music by sentinel & Dasychira
Sound design & field recordings by sentinel, QUALIATIK & Dasychira
Video editing by QUALIATIK
Video footage by Zach Wimberly, sentinel & Dasychira
Voice Recording by Sam Garrett
Audio mixing by sentinel

unseelie

鏡中闇夜 MIRROR/ERROR
Yikii


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Aug 03 2021--:--:--

鏡中闇夜 MIRROR/ERROR
Yikii

Shot, directed and edited by Yikii, “鏡中闇夜mirror/error” concerns the connection between personal loneliness and society via visual accompaniment to six of her own tracks. The film title directly translates to “dark night of the mirror” in Chinese, where the artist abandons the notion of solitude as relational, instead exploring an alienation completely detached from other people. In doing so, “鏡中闇夜mirror/error” is a vision of an ‘apocalyptic loneliness’ completely absent of another human being. 

The video is replete with metaphors and fast-switching shots, while the dissonant music of tracks like “Don't Forget the Butterfly” and “Poisonous Air 空气毒性” present a flashback of destructive and desolate images, while alluding to the reflective “gaze of others” avoided. At the same time, Yikii emphasizes that such aloneness is not a negative adjective. Clear withdrawal has its own naturally calming power, while still carrying with it a fear of the unknown. Both the sun and moon shine on earth at the same time, after all. In the summer, the sunlight pours gently in the garden where flowers are in full bloom, but the mirror reflects the sticky darkness of the night.

PLEXAURE'S TOUR DIARY
Fauness


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Jul 15 2021--:--:--

PLEXAURE'S TOUR DIARY
Fauness

Shortly before the first Lockdown was implemented in London, Fauness staged a performance at Hyperdub-run club night Ø in the guise of Plexaure, her alter-ego. An immortal sea nymph from ancient Greece who has survived through to the present day, she has been forced, due to climate change and ecocide, to abandon her original habitat. ‘Plexaure's Tour Diary’ is an experimental twist on the aesthetic of the pop music video, in an account of what happened to this sprite after COVID-19 forced public spaces to empty, shops to close, and human beings to go indoors.

Plexaure travels alone through the English countryside, the wild ponies she meets along the way her only companions. The original soundtrack is a poetic reflection on the objectification of natural scenery, particularly in relation to the pervasive rediscovery/reenchantment of "the outdoors" during the Pandemic.

WE ARE HERE BECAUSE OF THOSE THAT ARE NOT
Danielle Brathwaite-Shirley


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Nov 06 2020--:--:--

WE ARE HERE BECAUSE OF THOSE THAT ARE NOT
Danielle Brathwaite-Shirley

London and Berlin-based Black trans artist, activist, game developer and mother Danielle Brathwaite-Shirley shares their recent work “We Are Here Because of Those That Are Not”—a film and performance centered on remembering Black Trans ancestors who have been forgotten to time, as well as installing Black Trans existence in the present. Brathwaite-Shirley use electronic sound and animation to create a virtual archive for Black Trans bodies who were wrongly archived or never archived at all. By applying their own lived experience to imaginatively retelling Trans stories, the artist reclaim space for their forgotten forebears.

GENERAL INTELLECT
Joanna Pope & Steph Holl Trieu


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Nov 07 2020--:--:--

GENERAL INTELLECT
Joanna Pope & Steph Holl Trieu

Joanna Pope & Steph Holl-Trieu’s “General Intellect” is a collaborative sound piece, a political compass distorted by melodic worldbuilding and pixelated fictional ventures with an original score by Pope, short fictions by Holl-Trieu and visuals by artist and illustrator Sam Lubicz. Their audiovisual performance for 3hd is a cannibalization of both art and theory: Whirring drones drop weekly rations of solar-powered GMO berries; lithium rivers, more dead than alive, stream down the inside of your mind—try not to fall as you jog through this real world fantasy, stuffed with algo-steroids.

REQUIEM FOR LOST PLANTS
Alice Yuan Zhang & Alexander Kaye


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Oct 18 2020--:--:--

REQUIEM FOR LOST PLANTS
Alice Yuan Zhang & Alexander Kaye

As part of 3hd 2020’s “ECO-Centers” collaboration with NAVEL in Los Angeles, Alice Yuan Zhang and Alexander Kaye’s “Requiem for Lost Plants” site-specific augmented reality filters bring plant elders together through sound and spirit. 

The immersive online environment traces the living thread toward alternative ecological futures by digitally resurrecting diminishing plant elders to share their stories for a global public. In a call for reversing death, the project begins the deconstruction of the past by honoring voices of plant elders, to trace the living thread toward interspecies regeneration. Site-specific augmented reality filters were installed by Los Angeles-based photographer and NAVEL Community Program Intern Gbenga Komolafe.

Six ancestral species will be resurrected at urban culprit sites around Tongva, Chumash, and Kizh land (Los Angeles) as well as online. Each will come to life through AR filters and as data-based sound compositions, woven together as an immersive virtual vigil. 

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BSAD (BUY SHIT AND DIE)
Steph Kretowicz & Ben Babbitt


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Oct 19 2020--:--:--

BSAD (BUY SHIT AND DIE)
Steph Kretowicz & Ben Babbitt

Working again with London-based collective CURL, 3hd 2020 is proud to present the video premiere of writer Steph Kretowicz & producer Ben Babbitt’s “BSAD (buy shit and die)” collaboration. Taken from the forthcoming CURL Compilation #2 and presented as part of this year’s “ECO-centers” program, the narrative audio piece follows the fallout of dread and introspection after a gradual descent into global catastrophe.   

The work builds on Kretowicz’s literary non-fiction and cross-disciplinary practice in distributed storytelling, along with Babbitt’s work in scoring film and video games. This premiere of ‘BSAD’ signals CURL’s second compilation, consisting original music and sound pieces made by people who have either performed at the collective’s shows and parties, played with their live band or attended their events and shown support. Kretowicz took part in their “Mayonnaise, Corn on the Cob and My Car” live performance at 3hd 2019 last year. 

Compilation #2 will be released both digitally and physically on tape near the end of October, and feature artists, writers and producers such as Roxanne Tataei, Daisy Moon, Bunny Hoova, Wu-Lu, PK Brako and more.

THE METAVERSE WOMB
Keiken


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Nov 06 2020--:--:--

THE METAVERSE WOMB
Keiken

Keiken bridges technology, ecology and humanity through alternative ideas of bodies, using video game design and avatar-building aesthetics as artistic tools for generating political messages. “The Metaverse Womb” is a new media installation, a screening and a live motion-capture performance in collaboration with pregnant choreographer and dancer Naama Tomaszpolski Ityel who will be performing, both digitally and physically, wearing costume HYDRA uniform offsprings created by phygital researcher, practitioner and fashion designer Agf HYDRA. Keiken perform live with the characters and real people of their film produced with CGI artist Ryan Vautier and dancer, model and activist Sakeema Crook. The presentation utilizes Off World Live’s software tools for interactive and gamified live-streaming and builds on a symbology of creating life and being a vessel that encompasses all gender and age. 

Direction, concept and CGI by
Keiken

Performer, choreography, vocals and concept by
Naama Tomaszpolski Ityel

Phygital Fashion by
Agf HYDRA

Score and sound design by
Khidja

Software tools by
Off World Live

Film 'We are at the end of something" produced in collaboration with CGI artist Ryan Vautier and model and dancer Sakeema Crook. Additional sound design Rob Malone and assistant cinematography Sarah Blome

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AN INORGANIC NATURE
ℌ𝔘𝕹𝐓ℜ𝖊zZ


OPEN INFO 𝒾

Dec 11 2020--:--:--

AN INORGANIC NATURE
ℌ𝔘𝕹𝐓ℜ𝖊zZ

Commissioned by NAVEL & Creamcake, ℌ𝔘𝕹𝐓ℜ𝖊zZ’s “An Inorganic Nature” is an online, three-dimensional performance set inside a realistic virtual recreation of NAVEL. Once serving as a gathering space pre-pandemic, the open, Los Angeles loft environment is transformed in a variety of ecologically-experimental ways that make us think like water, air, and green, to bring us closer to Earth. 

ℌ𝔘𝕹𝐓ℜ𝖊zZ performs rhyming verse on the subject of environmental quintessence inside while the floor undulates like waves. Potted plants are spread across all surfaces, as the artist inhabits the virtual space via motion capture and facial tracking. They’re augmented with a biodesign synthesised face filter and a 3D animated body that embraces the boundlessness of humanity.  The NAVEL space itself travels across vast landscapes beyond the city, where mountains, forests, and the ocean can be viewed through the large windows that extend across its two walls. 

“An Inorganic Nature” blurs the line between the performer’s body and the performance environment by literally animating them together—informing one another in a united act. Gestures bend walls and footsteps splash on the floor. Pillars, chairs, and plants move with the body.

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DELUSIONAL CRIME AND PUNISHMENT
Lu Yang


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Oct 06 2021--:--:--

DELUSIONAL CRIME AND PUNISHMENT
Lu Yang

The protagonist of “Delusional Crime and Punishment” (2016) is Lu Yang himself: His scanned head has been mounted on a stock CGI body. First, the figure is 3D printed and packaged with the label “Made by God”, then it is tortured and drawn into hell. The Shang-hai-based multimedia artist’s jarring, even morbid fantasies are fed by notions of mortality, androgyny, hysteria, existentialism and spiritual neurology. In exploring his fantasies through the mediums of animation, immersive video game installation, holography, live performances, virtual reality and computer programming, Lu Yang invokes symbols and mythologies regarding miscellaneous religious notions of the underworld. In doing so, “Delusional Crime and Punishment” arrives at the inevitable conclusion that if humankind was created by God, our propensity to sin was preordained, and this arrival in hell unavoidable.

Music by GAMEFACE

SPIT
SPIT


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Oct 06 2021--:--:--

SPIT
SPIT

“Spit” (2020) explores the balance between play and consent. The video by the Berlin and Sweden-based collaboration, featuring Natasja Loutchko, Marta Orlando and Clémentine Roy, presents the act of ejecting saliva from one’s mouth as one of violence or humiliation. You can spit to show disrespect or disgust, but it can also be an exchange between lovers as a gesture of bonding and intimacy.

The film takes place visually suspended between earth and water. Its scenery is Gruenewald forest, the zone where mostly gay men explore the sexual act of cruising. Through an eroticised practice centered around spitting, this place is transformed into a new territory. The subjects claim and stretch the area with a wider meaning, their ambiguous ‘soft spitting’ between two strangers becomes a flirting game, longing for each other through this bodily fluid.

SHRINES
Jacolby Satterwhite


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Oct 06 2021--:--:--

SHRINES
Jacolby Satterwhite

In his interdisciplinary practice, New York-based artist Jacolby Satterwhite draws from queer theory, Afrofuturism, video games, pop culture and his personal family history. “Shrines”(2020) deconstructs hegemonic visual cultures from Christian iconography and Western art history, replacing them with a Black reigned world of pleasure.

In this world, a group of animated Black figures dressed in capes and monitors on their bellies supplant the figures in Caravaggio‘s baroque depiction of „Doubting Thomas”. Figures engaged in BDSM positions are flanked by pop icons like Madonna and Keith Flint, in a specific combination of analog film footage and computer-generated 3D animation. A continuously evolving play begins, accompanied by songs by the artist where he uses the recorded voice of his late mother Patricia Satterwhite chanting the words, “we are in hell, when we fail to exist”.

SEQUENCE 02 1
Cristine Brache


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Oct 06 2021--:--:--

SEQUENCE 02 1
Cristine Brache

New York-based artist and poet Cristine Brache shows marginal women’s bodies and their reproduction as objects in circulation. Her film „Sequence 02 1” (2017) is composed from found footage, as well as scenes from her personal archive. It focuses on representation in the digital realm with often small and sensitive insights.

Brache analyzes sayings on t-shirts echoing the language of obedience imposed on women, and especially women of colour. A video of insect fetish porn meets a conversation with the artist’s grandfather, stating his view of femininity. Consumerism and the patriarchal gaze haunt these images and ideologies, while Brache reflects on her own position within them. Giving intimate insight into her upbringing as the daughter of Cuban and Puerto Rican immigrants, communicating via video calls, “Sequence 02 1” complicates and questions economic, political and sexual power relations as being both oppressed and empowered. Brache’s at times discomfitingly captivating work expresses a tension between aspiring for access and visibility, and the means by which one achieves it.

IN THE REFLECTION OF ANCIENT TIDES
Keioui Keijaun Thomas


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Oct 06 2021--:--:--

IN THE REFLECTION OF ANCIENT TIDES
Keioui Keijaun Thomas

Keioui Keijaun Thomas addresses Blackness outside of a codependent, binary structure of existence. Through her performances, films and installations, she deconstructs, and reconstructs notions of visibility, hyper-visibility, passing, trespassing; eroticized and marginalized representations of Black bodies in relation to disposable labor, domestic service, and notions of ‘thing-ness’.

The “In the Reflection of Ancient Tides” (2018) visual poem takes the ocean as a metaphor for the ancestral history of the New York-based artist as a Black person in the United States. Coming from the tides of the water, the first scene is characterized by the bodily and psychological scars effected through forced enslavement. With this story of violence and trauma in the back, Thomas positions herself on top of two upside down shopping baskets—both showing an icon for women’s restrooms. Balancing her poses on these two poles, she finds her own voice of empowerment for the rights of Black, queer, trans and non-binary people living in thriving in the radicality of existing in our fullness and personhood.