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):
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.
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.
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:
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.
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:
Performance-installation, collaboration with Fabiano Marques and Fabricio Poltronieri, 5 Performers, various setups.
“Neighbours, neighbours, neighbours Have I got neighbours? Have I got neighbours? All day and all night” – M. Jagger/K. Richards
Participants of the performance were distributed in different rooms of the building, and communicated through a virtual system, in which each performer could choose a channel of sounds of another performer and respond to it. This performers sound was also sent to all other performers. A mesh of interconnected improvisations was built up. Visitors were able to walk into the different rooms. Every participant used their own media of sound production, like acoustic instruments, objects, electronic devices and programs.
Members of the performance Neighbours interact without bodily or visual presence, creating a new body of sound that wanders through the architecture and virtual net, creating another way of communication. Performers could choose to which of the neighbours sound to listen to, and to react or interact. The performance was as long as the Openhaus opening hours, performers were free to perform at any time, attending or not the call of their neighbours.
“The public may enter the sound loop at any point with an active presence, which may influence the musician and, potentially, change the sound message transmitted. We all feel an instinctive call to keep communication in flow. The idea is that even without knowing how it will be heard, each participant understands the importance in receiving the message, making the sound their own, and passing it on to their neighbours.” – Fabiano Marques.
I was located in the kitchen and my materials where diverse metallic objects and tools, little stones and wood objects for making sounds that were recorded and transmitted in real time.
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.