Erbil citadel, 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.
Inside of the old hammam in Erbil, photocredit: Cedrik Fermont
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 negated.
Projection device, color negative for a projection on the ceiling or ground in a dark room – object trouvé, visual city noise music, city as performer, time score; Petersburg Art Space Berlin 2018
A found negative becomes a canvas of time in which the urban environment is physically imprinted on its surface. The negative shows a musical scene where musicians improvise on instruments in a public urban space. The surface is full of scars, glitches, noises, scratches. The negative was found on the streets of down town São Paulo in Brazil in 2013. The scratches over the image become a score of the image, visual music. The city acts as a body of action, a performer, inscribing itself on the negative. A city body is made of events, happenings, movements, surfaces – the tension between human bodies and the city structure, its surfaces, its asphalt, paving stones and tiles of its streets. Signs and marks are traces of events. The city imprints its score and its rhythm, its breath. Time and movement become fixed on the surface of this negative through the scars on its surface. Events are imprinted materially on the film and as memory in the image. The city, the movement of its people, weather, machines and the pavement of the streets form the body of writers of this score, which the musicians of the image seem to play. This negative enables a synaesthetic perception, creating music for the eyes, inviting us to hear with our eyes. Friction is sound, sound is friction, is action. Traces in material are rhythm, are sound, sound is trace. The material destruction becomes the construction of a score. Time is imprinted in an abstract and rhythmic way. Who knows about the history of this negative, how long it circulated the city streets under feet, heels and wheels?
Soundperformance for variable setup and time frame. Here around 30 min, stereo setup and subwoofer.
Performance collaboration with burgund t brandt. This work in progress enphasizes in the sounds gained through friction and actions on textured surfaces and objects, as well as their hollow bodies. Amplified contact microphones convert things into instruments. Glas- and metal vases as well as other objects were our materials of choice. Over textured layers of abstract noises that sometimes become dronelike, single sound events emerge.
4 sound channels: speakers, bird cages, small lights. 20 min composed loop.
Polyphonic birds weaves abstract sounds into the dense urban public space. The area is known as a multicultural neighbourhood, which shapes its local soundscape into a vivid sonic mesh. This work is inspired by a squeaking fan found on a travel in a restaurant in Thessaloniki sounding like birds. The memory of a sound is contained in a cage which resembles our perception. Others can access through the reproduction of recorded sounds these memories, but never have the same experience as we had. The old birdcages are all different and full of traces and stories, becoming symbolic containers of memories. The captured sounds are re-played into a different space and time, exposed to new perceiving subjects, blending into new surroundings. Sounds are like birds dettached from their original environment. In the complex and busy acoustic urban space, the sounds of this intervention fade into the thick atmospheric whole of the city scape. There is a flower shop, there is a tree, there is a kurdish restaurant. Unlike birds, sounds are capable of escaping cages.
–> listen to an excerpt of a recording at the installation:
Sound composition inspired and made for Wolf Vostell’s videowork “Sun in your head” (1963) which used his principles of “Décollage” and was initially part of a series of happenings. The work of this artist is a silent black and white video piece.
–> listen to an excerpt (total duration 7.12 min):
Bushes full of ice sound in the movements of the cold winter winds. These recordings where made at the Aral Sea, Kasakhstan. Just the sound of the climpering ice brings an atmosphere of coldness to me. A refreshing and somehow dreamlike cold of ice dancing and singing in a nowhere area, a nomansland. To Peter Cusack´s fieldrecordings I perform on the Tanbur (kurdish lute).
4 sound channels: loudspeakers, metaltubes (3m, 5m, 6m, and 8m long). 30 min composed loop.
This site-specific soundinstallation explores the acoustics of the former water reservoir in Berlin Prenzlauer Berg, which has long been the host of the Singuhr Hörgalerie. Architecture becomes an active organic element to the installation, shaping the sound and its distribution, almost seeimng a being on its own. Objects, bodies and the building act as filters in an simbiotic interrelated interaction, which shapes the sonic event. Space becomes an instrument through which the soundbody flows. Drones and whistling emerge from different directions at different times. The human voice is abstracted through reverberations and resonances of the body of the singer, the tubes, the space. The visitor becomes an active cell in this body of sound and walls, where movement shapes his own particular experience. The labirynthic structure of the building resembles a human troath. Visitor, architecture and sound form a new body, a new organism of events and relations. The space is activated in various sonic ways, this net of inter-fluences creates the title resonor, I am being sounded.
–> listen to an excerpt of a recording at the installation:
During the Exhibition of the installation Resonor Berlin 2018
Once during the exhibition a performer was invited to perform inside and with the installation Resonor. The improviser Hardi Kurda used a specially prepared violin. During the performance he moved through the different hallways of the water reservoir exploring the possibilities of location and movement in relation to the overall soundscape and interacting with the installation itself. The installation becomes the score and inspiration for this improvisation. The soundbody of the piece is remodulated, poblated by new actors, who interfer shaping it anew.