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Space21 Festival, Amnasoraka Museum, Suleymaniyah (Autonomous Region of Kurdistan in Iraq) 2018

Daf, dafchains, lightsource.

This installation was installed in a basement of a building belonging to the Amnasuraka Museum in Suleymaniyah (former war prison under Sadam Hussein). In front of its terrible history, my speechlessness materialized through the absence of sound. The Daf – kurdish Traditional frame drum with short chains attached to its inside – is seen here hanging with prolonged chains. The suspended instrument is in a unnatural state of inaction. The sounds and noises of the Daf are silenced, its movement interrupted, it´s freedom and essence of a sounding drum negated.














Space21 Festival, Citadel of Erbil (Autonomous Region of Kurdistan in Iraq) 2018

5 sound channels: wearable loudspeakers, performer. 20-30 min.

A soundbody emitting sounds moves inside another body, a container, which resounds and shapes the emitted sounds anew. This soundperformance explores the architectonic acoustic qualities inside the old hammam (traditional oriental public bath) of the historic citadel, which has been inscribed on the Unesco World Heritage List since 2014. The performance started from the outside space towards the inside of the hammam and was performed twice as part of the Space21 Festival 2018. Small wearable loudspeakers attached to the performers body emitted sounds related to water: recordings of a dam, a generator and a copper tube instrument. During the performance, shapes of architecture where explored sonically, such as corners and recesses, with an aim to demonstrate the acoustic qualities of architectonic forms and their influence on sound. The sound was also transformed and directed by hand gestures around the small loudspeakers and body movements.

IMG_1218b.jpgdd64d14b-d10a-44c5-85d4-35ef81cc067b.jpgInside of the old hammam in Erbil, photocredit: Cedrik FermontIMG_1129






བར་དོ་ (Bardo)

Crematory Südstern, Berlin 2016

3 channels: transducer, copper tubes, light source, gold foil. Transforming loop.

Bardo (from the Tibetan བར་དོ་ – intermediate state, in-between state, transitional state) relates to the constant evolving moment in between past and future: the Now. It is the change from one state into another, a flowing transformation of realities. This installation was located in the passageway of the underground area of a former crematory. Architectonically it is a zone in which bodies circulate from one space to another. Copper tubes were integrated into space and played by transducers. The metal of the tubes resonates by sine waves, the sound sources (invisible, hidden behind the copper tubes) become difficult to locate. The passageway points toward a golden shining door, rustling softly in occasional breezes. A sense of strangeness shapes the atmosphere.


> listen to an excerpt of a recording at the installation:



Crematory Südstern Berlin 2017

3 sound channels: 2 loudspeakers, 1 transducer and metalplate, neon lights. Repeating 20 min composition.

The invisible container of the elevator from the altar to the underground area of the crematory becomes a resonating body through the attached transducer, which also makes a metal plate facing upwards vibrate. 2 loudspeakers facing also up emitt the sounds of a full, vibrant stream, a loud constant current of noises, which fills the room. From the sonic differences in between the resonating metalplate and the loudspeakers different sonic effects emerge while walking through the room. The verticality of the very high built altar area is enhaced, by everything being orientated towars the ceiling window. Abstract and weather noises stream from down to up. Different areas over- and underground are connected through sound. The sound stream breaks at the end, leaving a sudden silence, leaving the stage to light and shadow contrasts and the continuing soundstream of our memory.








48 Stunden Neukölln Festival Berlin 2016

10 sound channels: 8 transducers + 2 loudspeakers, objects, neon lights, windows. Transforming loop.

Transorchestra is an orchestra of objects. Surfaces vibrate and become loudspeakers themselves, sound and noise throughpasses various materials. Things are being played by sonic impulses, reacting they color the sound. Moving balls, resonating tubes, coppersculptures, wooden balls and windowglasses habitate the stage, becoming the players themselves. In this atmospheric space, sound events emerge from different directions. The sound sources are spread spatially, inviting visitors to move around.

> listen to an excerpt of a recording at the installation:

















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Sala Mare Nostrum Málaga 2018

Performed installation, video projection, papersculpture, sound; Spain 2012 and 2013

MAYA is an audiovisual installation which can be performed in real time together with Jose Vertedor. A mapped video is projected on a net-like paper structure, creating a 3-Dimensional space behind the structure through projections of light on the walls of the room. The video responds to the sound, which can be performed in real time. In Indian philosophy, Maya is that what exists but constantly changes, an illusion of the senses. Maya relates here to the illusory net of perception and phenomena in the world through our senses. It draws a tension between real and unreal space. The body becomes an important instrument in the exploration of visual and physical space, which are on the limits of reality, creating a virtual illusory space through light.