Urbanscapes - Open Call © Mohammad Mteir /Goethe-Institut Jordanien

Urbanscapes - Audiovisual Competition

Wie klingt deine Stadt? Was hörst du, wenn du mit verbundenen Augen durch die Straßen gehst? Wie nimmst du den gleichen Ort wahr, wenn du ihn in Stille betrachtest?

Unsere urbane Umgebung besteht aus einer eindrucksvollen Kollage von Bewegungen, Geräuschen, Gerüchen und Lichtern, die beeinflussen, in welcher Beziehung wir zu unserem Umfeld stehen. Sie rufen verschiedene Emotionen und Erinnerungen hervor und tragen dazu bei, ob wir uns wohl oder ängstlich, zu Hause oder fremd an einem bestimmten Ort fühlen. Nicht selten sind wir uns der Auswirkungen der Eindrücke auf uns jedoch gar nicht bewusst.

Der Wettbewerb „Urbanscapes“ hat Künstler*Innen aus verschiedenen Bereichen ermutigt, mit der klanglichen und visuellen Urbanität in Jordanien zu experimentieren. Es war ein Aufruf, mit dem zu spielen, was das urbane Umfeld bietet wenn man genauer hinsieht oder zuhört was einen umgibt.

Die Teilnahme war offen für alle, die im Bereich Musikproduktion, Ton- und Videokunst, Film oder in einem anderen künstlerisch / relevanten Bereich tätig sind und Interesse hatten, eine eigene audiovisuelle Produktion von 2 bis 5 Minuten unter dem Thema „Urbanscapes“ zu kreieren.
Eine Jury bestehend aus fünf jordanischen und deutschen Künstler*Innen, Kuratoren und Musikproduzenten hat die sieben besten Einreichungen ausgewählt, welche dann auf dem Abschlussevent am 21.12.2019 im CLSTR gezeigt wurden.  Im Folgenden können Sie sich diese sieben besten Produktionen ansehen.

Artist Concepts & Links

In a culture that is private, what do public spaces look and sound like, most importantly, what do public spaces feel like. In a culture that is private, why do people gaze. In a culture that is private, how do personal news travel so fast.

One of the main components of any city is open space. Amman’s open space in specific is interesting, because –according to global standards- it is almost nonexistent. Open spaces are closed off to the public at certain times, to certain people, and against certain activities. Public spaces become places for private meetings; culturally frowned-upon. Public spaces become abandoned. Public spaces are facilities that lack accessibility. Public spaces do not serve their purpose. Walking into them feels like an invasion of privacy both on your part and on the part of the gazers. Gazing is an act of self-defense and a marking of territory; to hold or to break eye contact. In public spaces, people watching almost feels like voyeurism.

The act of filming is in itself an event worth of observation. The lens will see, the recorder will listen, but the recipient will feel the discomfort of the person behind the act of documenting. People in the city are too self-conscious to be seen or heard, let alone documented. That person must at all costs be inconspicuous. That person must be alert. That person must be on guard to catch people off-guard.

Adopting a guerrilla filmmaking approach, we intend to observe a chosen number of Amman’s -some iconic, but mostly overlooked- public spaces, in quick shots unstaged, and without warning; and in doing so, convey the city’s raw pulse and exhausting demand on its citizens to always keep their guard up.

Those are the city’s urban escapes, which have escaped from the city.

Artist page:

Shereen Amarin: FacebookDitwool
Amjad Shahrour: Soundcloud
The main concept of our project revolves around “Reflection”. Reflection of how youth portrays their art in Amman in various forms.

We captured various acts of creativity and art displayed by the individuals of this town, projecting this side of our community was always a main goal for us as a way of encouraging like-minded people and embracing unity.

We created a character with mirror box walking through Amman, capturing people’s reaction as part of a social experiment. Placing the mirror box human in public spaces was a way of delivering the message of accepting unusual sceneries for the people of Amman, the beauty of this concept is that it reflects the image of the viewer which contributes in the elimination of negative judgement \ commentary, and enhance the pathway of positive thinking and acceptance.

The audio part was made of the most 3 common sounds heard everywhere and everyday living in Amman. The sound of the gas truck passing by playing its melody, the sound of welding guns as we live in an industrial city, and the sounds of automobiles all around. These 3 sources which was our main building block for the track generating a variety of sounds.

The idea was to make the “Gas truck song” our main melody and feel in the track and this was done by deconstructing it and designing it in our own way. We choose the note scale of our track based on it and took off from there. The percussions was made from the sound of a welding gun and the sound of an old fashioned gas vendor hitting the metal gas containers as he walks through the streets of ‘Weibdeh”. Last but not least was the sounds of cars noise captured on a roundabout above a tunnel with a Zoom recorder that feeds into the digital audio workstation. These noises was designed live on public streets also as a part of a public social experiment.

All these sound sources was designed and arranged in different ways through the track adding the touch analogous synths progressing with kicks.

Artist page:

Amer Manaseer: Instagram
Abdallah Dabbas: Instagram
We are the youth of Amman, driven by dystopia and locations we belong to. Lost and found at the same time, we keep on rotating.

Artist page:

Idreesi: Facebook, Soundcloud, Instagram

Zaid Khaled: 
To explore the sound and visuals of the city in this project for us was very much tied to an exploration of the tension between inclusivity and exclusivity. Our aspiration was to address what a creative and holistic interpretation of the urbanscape of Amman means while realizing with every step that was an impossible endeavor, not only in the overwhelming complexity of sounds, experiences, structures, areas, communities and peoples but also noticing that our experience and interpretation of it was affected by the experience of the city in every moment as the traffic was moving and as we were entering spaces and seeing structures that we maybe ourselves have never entered nor seen before. As we went along we realized that our interpretation of the sound and visual urbanscape of the city will be exactly that a journey of the momentous looking for the structure, for the pattern and for the sound of the city which often encompasses contrast much more than an imagined harmony.

Artist page: 

AnDoni Hanna: Facebook,Youtube 

Abdullah Sharw: Instagram, Behance 
“K-Hall” was part of the 2019 Ephemeral Territories exhibition at Darat al-Funun, which explored the ways in which spatial and social identities can be constructed via sound. Through portraying abandoned spaces, those fully constructed and those deserted halfway through, as well as structures currently being built and a nighttime cityscape, the work invites the viewer to contemplate the relationships between architecture, power, and permanence. It plays with the contrasts of a city consistently in a state of flux while simultaneously containing spaces untouched for years, imagining the potentials of reclamation of abandoned space by those marginalized by the ever-growing and ever-changing urban landscape. The visuals are accompanied by music that could be heard in these peripheral spaces, and the glitched sounds and subtle melodies mirror the contrasts of these varying locations, and the potential community that could be found within them. Portraying sounds and spaces outside of the proposed urban and sonic hierarchical structure allow the viewer to envision a subversive vision of future cityscapes and experiences of shared listening and community, those untethered to traditional power dynamics, where sound and an in-between-ness of space can create a new architectural identity.

Artist page: 

Basel Hasan: Instagram 
Mostafæ Onsy: Facebook, Soundcloud 
Diana Al Zubi: Instagram 
In my audio-visual piece “Self-Centered”, I express and reinforce my leaning inward in my existence, my art, my expression, even my message. Not denying my obvious existence and functioning within a public sphere and urban space with continuous interaction with all the elements of the urban ecosystem from which certainly a significant portion of my art is consciously and unconsciously inspired or derived. Finding a sense of peace in my being self-centered in my art may well be a defense and coping mechanism that I may have decided to embrace as I struggle to find the genuine appreciation or understanding of my art and expression amongst my community and urban setting. I don’t believe all artistic or abstract expression can and should be fully understood by its creator or its audience, but we naturally aim to earn at least the appreciation of the observer, if not profound understanding. Here, I attempt to attain some higher understanding of my own self and sub-conscious mind, my unconscious influences through the art I create. And If I can achieve this clarity and understanding within my own self, that will be a big relief and achievement.

Artist page
Amman is a cosmopolitan city in which one identity cannot be specified. I understand cities through built environment, people, buildings, windows, doors, streets, vehicles, interactions, harmony, symmetry, pattern and shapes. In this production I take you into a small experience of how I perceive Amman; through photos, videos and voice recordings I've collected of Amman.

Artist page:

productions - Finalists