publications

catalogs

  • RAUSCH Festival, Begehungen e.V., 2019.
  • Function.Anomy Exhibition in Berlin, Bezirksamt Reinickendorf, 2019.
  • Traces-Architectures-Projections, catalog of the 2 years exhibition program at Bärenzwinger, Kommunale Galerien Berlin, Kerber Verlag, 2019.
  • Madou Sugar Industry Art Triennial, Taiwan 2019.
  • Dystopia Sound Art Festival, Errant Sound e.V., 2018. Dystopia catalog
  • Space21 Sound Art Festival, Space21, 2018. Space21 catalog

PRESS

https://www.freiepresse.de/chemnitz/ehemalige-brauerei-wird-zur-galerie-auf-zeit-artikel10582503

https://www.mdr.de/sachsen/chemnitz/chemnitz-stollberg/begehungen-kunstfestival-chemnitz-112.html

https://news.ltn.com.tw/news/lifeweekly/paper/1265687

dystopic mirage

Ani

Dystopic Mirage

Meinblau, Dystopia Sound Art Festival, Berlin 2018

Collaboration with Peter Cusack. 6 sound channels: 5 loudspeakers + Subwoofer, 20 min loop.

Ani—the ancient city of 1001 churches—is located in Eastern Turkey on a plateau above the Akhurian river, the closed border between Turkey and Armenia. It is a site that looks back to the past and also refers to the impasse of Turkish and Armenian views of their shared history. Ani’s dramatic and violent history of success, decline and then destruction by bloody invasion and catastrophic earthquake seems to exemplify ideas of Dystopia. After its depopulation around 1600, neglected ruins remain in the empty mountain landscape. Today’s national flags flutter on opposite sides of the river ravine.

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Such places invite reflections on the administration of space and the creation of territory. Do ideas of Dystopia help to understand real places or are they a distraction from other, more necessary insights? Perhaps they should only be applied generally. Ruins offer both a utopic and a dystopic vision of a past culture. Societies oscillate between utopic and dystopic states: remembering and imagining, progress and regress, construction and destruction. Our reflections were exposed in 2 texts which were exposed at the installation. My reflection concerned borders, territories and some abstract concepts which seemed related to dystopian realities for me. Thinking about Dystopia and relating it to our current world, I came to the conclusion that in real life we find no pure forms of Utopias or Dystopias, but mixed forms or Dysutopias. The installation was a composition of the sounds of the Turkish flag waving at the hilltop of the Ani citadel. Sounds from within its metal tube and atmospheric sounds outside, mixed with wind, were the most present sounds. The composition had more abstract and more realistic parts of sound, fading from one into the other using the spatial setup of sound sources in the room. At one point the sound arrives from a dislocated point above our heads. 

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photocredit @ Dystopie Festival Berlin

At the installation were placed two texts as handouts, one written by me and one by Peter Cusack, this is my version of the text in Pdf  dystopia_handout

 

Audio excerpt of the installation:

 

 

metamorphosaic

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Metamorphosaic

Performing Arts Festival at Schiller Bibliothek Berlin 2018

Lightsources, Soundsystem with Subwoofer, Dancer

Metamorphoasic is an experiential sound and movement performance that blurs the line between performance and installation. It focuses on the re-imagining of a space as an abstracted version of reality. An audience enter a dark space as sounds begin to create vibrations throughout the room. Gradually they notice a body that moves in slow-motion, coming into and out of the light. Slowly things develop; movement begins to abstract, and light and sound fuse in a changing environment. An atmospheric environment is created, in which illusions of shifting time and form emerge in a symbiotic dialogue.

As an investigation into perception, into time and non-time, and into material and imagined memory, Metamorphosaic aims toward a re-evaluation of our mechanisms of experiencing and understanding the world on a physical, social and philosophical level. In a fast-paced world becoming increasingly overstimulated with a multitude of different inputs, questions of time (or non-time) seem ever more present.

What happens therefore when we enter a space in which everything appears to have momentarily stopped or slowed down, or in which the body present does not appear to follow the same laws of linear time, or in which darkness, light and sound engulf us into a feeling of unfamiliarity?

Metamorphosaic creates an atmosphere that invites the possibility of experiencing a body, a space, and an environment, other than how we might experience them in normal life; and an opportunity therein to question how we experience or perceive a body, or a space, or even reality itself. A mutual interest in the relationship between movement, sound, and space or architecture, as well as related philosophical discourses including theories of deceleration (“Entschleunigung”, see Byung Chul Han), and work by Cat Hope, Holge Schulze, and Jefta van Dinther, were the beginning of this movement and sound collaboration in progress.

Video documenting the piece: metamorphosaic2018

 

grid

Grid

Foto by Trevor Lloyd

Grid

Grabenblicke, Bärenzwinger Berlin 2018

4 sound channels: 3 loudspeakers + 1 subwoofer, 3 lightsources. 30 min composed loop.

Grid is a site-specific sound-light installation at Bärenzwinger Berlin as part of the exhibition Grabenblicke, 2018. The grid is a central element in this site-specific piece, both visually and for the sound distribution in space. This installation uses architecture in various ways: as instrument, as sounding material, as a resonant body, as interface; as an abstract expressionist canvas or sculpture. Light comes through cracks, half open doors and metal bars, drawing a grid of light and shadows on the existing walls. For the first time the off-spaces of this building are integrated in an art installation with this piece. Sound and light cross architectonic barriers, hidden rooms are made hearable through sound, penetrating, and passing through architectural cracks, rooms and grids. Invisible rooms are made perceivable through sonic enlivenment. The location of the sound sources is sometimes hard to draw, as they are positioned invisible to the eye. A deep frequent room exciting drone intermixes with recordings while interacting with objects of the location, the place becomes the instrument.

sonic convexities

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photos by Kathrin Scheidt

Sonic Convexities

The Room of Eyes, Sudhaus of the former Kindl Brewery Berlin 2018

15 sound channels: wearable loudspeakers, 3 performers. 25-35 min.

This performance explores the acoustics of a space in relation to movement. Performance for 3 performers with wearable loudspeakers systems. Expansion of the performance “soundbody” for another space. In this performance the dancers Britt Davis and Fergus Johnson took part. Sonic convexities was performed as part of the “Room of Eyes” event in the Sudhaus of the KINDL-Zentrum für zeitgenössische Kunst Berlin. 2018.

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soundbody

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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.

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suspension

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Suspension

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.

 

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São paulo Street Score

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São paulo Street Score

Petersburg Art Space, Berlin 2018

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?

raster textures I

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Raster Textures I

Petersburg Art Space, Berlin 2018

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. 

 

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