… originates from Ancient Greek and is synonymous to deification. It describes the act of elevating a mortal to the level of a god or a demigod, as well as the process of glorification or transfiguration.

Cults are formed around individuals who create musical and artistic elements through which they can reach a wider public. Outstanding achievements and skills gain special admiration, even reverence. We want to state this process as Apotheosis.

Is Apotheosis the result of many years of striving for recognition? Is it the outcome of unfulfilled others who project themselves onto the acts of musicians and artists?

Within the frame of an open conversation, the biographies and works of invited musicians and artists will serve as stimuli for a discussion and exploration around the title-giving Apotheosis and its internal paradoxes.

This exchange takes place once a month at HuMBase, a former church building from the 60s, followed by musical and artistic performances by the invited guests at additional changing venues in Stuttgart.

Initiated and moderated by Jan Nicola Angermann.

With many thanks to the invited musicians and artists, HuM-Collective, the support of Kulturamt Stuttgart, Meckatzer and all contributors.







With Michael Winter (US)

6:30 pm, Talk and Performance at HuMBASE, Eckartshaldenweg 7

10 pm, Playlist and Drinks at Korridor, Weberstraße 11 D


Michael Winter explores processes where dynamic systems, situations, and settings are defined through minimal graphic- and text-based scores that can be realized in a variety of ways.

To him, everything we experience is computable.

Given this digital philosophy, he acknowledges even his most open works as algorithmic; and, while not always apparent on the surface of any given piece, the considerations of computability and epistemology are integral to his practice.

He has performed across the Americas and Europe at venues ranging in size from small basements to large museums to outdoor public spaces, including REDCAT, Los Angeles; the Ostrava Festival of New Music; Tsonami Arte Sonoro Festival, Valparaiso; the Huddersfield New Music Festival; and Umbral Sesiones at the Museo de Arte Contemporáneo, Oaxaca.

In 2008, he co-founded the wulf, a Los Angeles-based organization dedicated to experimental performance and art.

For more info about Michael Winter please visit his website:


Documentation of the event in image, audio and video:




With ≅

6:30 pm, Talk and Performance at HuMBase, Eckartshaldenweg 7

9 pm, Lifeset and Drinks at Aktionsraum, Am Weißenhof 1


is a recently founded duo of interdisciplinary artists Dániel Kophelyi and Ádám Jeneses, who are based in Budapest. They both currently study at the Hungarian University of Fine Arts .

Their practice is the amalgamation of noise, danger music, performance and site-specific installations or interventions.

On the 4th of April, they will present Apporoximation_01, a live performance and sound installation specially conceived for Apotheose and created for the space of HuMBase.

For further information about Dániel Kophelyi visit his website:


For further information about Ádám Jeneses don´t dare to write an E-mail:


Documentation of the event in image, audio and video:





With Paul Kramer (CA/D)

6:30 pm, Talk and Performance at HuMBase, Eckartshaldenweg 7

10 pm, Playlist and Drinks + DJ-Set by / / / /, Westend, Bebelstraße 36


Two aspects are important in Paul Kramer’s work: improvisation and acoustic processes as a starting point, and the potential of sound recording as a compositional tool. Early works are mainly based on variations in the execution of a process (interpretations of existing works, „stream of consciousness“ singing, multi-track recordings, karaoke) often through the participation of other musicians and non-musicians.

„In Cync“ (2007-2009) consists of hundreds of individual improvisations recorded for Terry Riley’s In C (1964). Improvising exhibition visitors and friends played them in different places, partly with their own instruments.

„File No. 1“ (2006 – 2009) is a collection of information about a sound (a sneeze or cough) on the concert recording of Schostakowitsch’s 15th String Quartet recorded in New York City in 1985. I interviewed participating musicians, sound engineers, music critics and on-site researchers to find out about the origin of the sound. „File No. 1“ consists of video interviews, sound recordings, correspondence, photos and newspaper articles about the concert.

„Song Cycle“ (started in 2006, work in progress) is a series of songs that I record regularly for about 100 hours to document current earwigs and fragments.

Frying V“ (Installation, 2015) takes the lightning motif of the Flying V Guitar (Ted McCarty, Gibson, 1957) and heavy metal music (cf. Coverart Metallica – „Ride The Lightning“) as a starting point by connecting a lightning conductor device to the amplifier connector of the Flying V. The lightning is then transmitted to the Flying V by means of a lightning conductor.

Paul Kramer is also a service employee and active unionist, living in Berlin.




Documentation of the event in image, audio and video:




With Antoni Rayzhekov (BG)

6:30 pm, Talk and Performance at HuMBase, Eckartshaldenweg 7

9 pm, Lifeset and Drinks at Villa Nix, Mönchhaldenstraße 149


Antoni Rayzhekov is a Bulgarian theater director and sound and visual artist living in Vienna since 2008. He studied theater direction and performance at National Academy for Theater and Film Arts – Sofia, Jazz Music Improvisation at Vienna Konservatorium and informational technologies – as a vocational training at LearningTree, London. In 2008 he co-founded the Viennese new media label THIS.PLAY and is a guest lecturer in Experimental Media at the University for Applied Sciences in St.Pölten (Austria) and a lecturer in Digital Arts at the National Academy for Fine Arts – Sofia.

Antoni was artist in residence in S.T.E.I.M and DansMakers (2013, Amsterdam), Akademie Hallein (2014), a fellow in Performing Arts at Akademie Schloss Solitude (2016/2017) – Stuttgart, Artist in residence at SubnetAIR Salzburg (2017) in cooperation with HCI at University of Salzburg and in 2018 receives the Wimmelforshung Art&Science&Business fellowship at Robert Bosch GmbH, among others. He was awarded in 2016 the Content Award Vienna in category Sound&Vision for the audiovisual project 10VE.

In his compositions, Antoni designs reactive audio-visual scenographies using the body as a primal material of oscillation, entangling the performer/s with a cybernetic audiovisual instruments, using biofeedback sensors, motion tracking or other cutting edge technologies. Through designing and building performative instruments, Antoni situates the media as a creative partner and a protagonist, embedding the poetics and the artistic intent directly in a technological representation, uncovering and revealing hidden processes and entanglements.



Documentation of the event in image, audio and video:




with R-Less (F)

6:30 pm, Talk and Performance at HuMBase, Eckartshaldenweg 7

9 pm, Lifeset and Drinks at Neue Oper, Contain´t


R-less: his music is about excess. Society usually perceives excess as wrong or at least tasteless and everything that falls out of the norm is considered excessive. He tries to make sounds so rich and so full that they’re on the verge of abstraction while keeping some kind of distant and vague cheap sex appeal. He gets melodic inspiration both from K-pop and packs of free samples named “explosions”, “sword fight”, “gay man moaning” or “car crash”.

He approaches a vibrant and moving soundscape, built with non musical samples reworked until they are unidentifiable, somewhat chaotic rythms that are both danceable and challenging. He tries to let the sensuality of the sounds as free as possible as a way to authorize the audience’s sensualities to run free as well.

The Club scene / Nightlife and its sountrack has a unique hability to set temporary zones where daily societal rules and various intersectionnal forms of pressure don’t really apply or at least can be ignored. The queer scene especially has a long and vast history of experimentations and boundary crushing sound production and practices.

For queer folks, the nightlife has been and still is a rare occasion to freely express sexual and gender identity with limited risk. In his work he also pays hommage to this history by borrowing sounds, structures and rhythms of the history of queer club music. His goal is to use this existing mass of sound and history combined with a broken then repaired then dismantled then remixed then torn down then decorated soundscape as a base to create some kind of temporary utopia, a space that pushes the gender and sexual norms out.


Documentation of the event in image, audio and video:





With Daniela Maria Geraci (GB)

6:30 pm, Talk and Performance at HuMBase, Eckartshaldenweg 7

9 pm, Playlist and Drinks at Ins Blaue, Wartbergstraße 40


Daniela Maria Geraci’s work is informed by the study of gesture, and the ways that the gesture can or cannot be recorded, translated, remembered, re-enacted and reconstructed. Through various digital, analogue and performative mediums, her body of work addresses issues of Sicilian diaspora, touching on displacement, and nostalgia of traditions passed through generations, with a particular focus on the gesture of kneading dough.

Stemming from archival home video recordings of her illiterate grandmother and the reminiscent conversations of family life in Sicilian dialect, the work mimics her actions, sounds and perspectives, translating them into a comprehensible multi-sensory language. The practice plays with the idea of material languages and cultural histories in conversation with one another. When re-contextualised, made strange, censored and amplified, these realities create a space in which one feels in an uncanny simulation of a familiar domestic space.

When kneaded, the dough’s visceral material quality is a recording of each gestural pounding imprinted on its surface. The re-enacting of this monotonous gesture, and the sounds produced from doing so, is a nod to the equally monotonous nature and longstanding history of kneading bread now lost to the impatience of modern society.

The repetitive, rhythmic and cathartic process of kneading is inextricable not only from Sicilian culture, and the rituals of preparing and sharing food, but more generally from the trauma of subsistence. Both a tool for communication and survival, the gesture embodies memories of traditions that require transcription in order to be read.


Documentation of the event in image, audio and video:





with Jan Hofer (CH)

6:30 pm, Talk, Installation and Workshop at HuMBase, Eckartshaldenweg 7

9 pm, Playlist and Drinks at Korridor, Weberstraße 11 D


Jan Hofer’s body of work results from an interaction with circumstance. Choosing a reactionary approach rather than one based on initiating action, his work takes on multiple forms of artistic production. Through performances, interventions, installations and reconstructions, allowing for the examination of particular place or situation. In processes like these, he comments humorously and critically on what he encounters in everyday life.

For example, he carries bulky objects from a work integration workshop through the public space into his studio, giving them a short visibility (Gschwür Transport, 2016). Or he reacts to his studio stay in a London gated community with the video work Groundwork, a tutorial „for all those who want to break in, break out, undermine things or connect people and places.

Jan Hofer, *1988 in Zurich, was a visiting student in 2015/16 in Christian Jankowski’s class at the Akademie der Bildenden Künste Stuttgart and graduated with Bachelor of Arts and Visual Communication in 2013 at the Zürcher Hochschule der Künste. He currently lives and works in Zurich.


Documentation of the event in image, audio and video: