May 18th and 25th Tier-Bild-Ton. New soundtracks for silent nature movies

TIER – BILD – TON
new installative and performative sound tracks for silent nature movies of the twenties

May 18th and 25th 2018
bar 7.30 pm / begin 8 pm

We are used to a fairly conventional aesthetic in nature movies’ sound tracks. Their focus is mainly the realistic representation of the depicted scenes with added generic music to  support the drama. For our series seven sound artists aim to create a new relation between image and sound in the representation of birds and plants.

May 25th
Part 2: The Cuckoo – The Pea

  • Steffi Weismann: multiresistent
    interactive performance for objects, voice, electronic and video projection. 2018
  • Thom Kubli: Peas, Cues and Sequences 
    electronics and percussion. 2018

short break

  • Antje Vowinckel: Wieviele Fehler sehen Sie in diesem Bild?
    film-performance for silent fragments, voice and speakers. 2018
  • Ines Lechleitner: Cuckoo’s Cooking
    sound food performance. 2018

followed by public discussion with the artists and Mareike Maage, author and producer at RBB.
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May 18th
Part 1: The barn owl / The strangler

  • Kirsten Reese: Tyoto Alba Archive Soundtrack
    sound and text. 2018
  • Alessandra Eramo:  Her voice becomes cheerful again
    for voice, theremin and electronics. 2018

short break

  • Laura Mello: The Strangler´s Show Episode #1 Shifting Time with the Strangler or ´Cause I´m a Strangler Here Myself  lecture-performance for visual projection, movement, voice, sound, based on the six viewpoints method. 2018

Followed by public discussion with the artists and Mareike Maage, author and producer at RBB.

artistic directors: Ines Lechleitner and Antje Vowinckel

idea: Antje Vowinckel

Supported by Bezirksamt Pankow and inm-Berlin

Tier-Bild-Ton podcast presentation

May 12th, doors/bar: 4.30 pm, start: 5pm

Join us Saturday afternoon for a public listening session of all the podcast compositions of our series Tier-Bild-Ton. Each bird song was the starting point for three composers to work with. Afterwards we will discuss future visions for sound art podcasts with the public.

Compositions (3 minutes each) by: Mario Asef, Boris Baltschun, Peter Cusack, Golo Föllmer, Georg Klein, Ines Lechleitner, Kaffe Matthews, Laura Mello, Kirsten Reese, Antje Vowinckel, Georg Werner

supported by inm-Berlin und Kulturamt Pankow

Workshop: Readymade series #1 – Metal book

 

Readymade series #1 – Metal book
Friday, March 30th, 2018
2pm – 6pm – workshop
7.30 pm – talk and performances
ES, Kollwitzstrasse 97. Berlin

Workshop realized by Enrico Malatesta and curated by Gaia Martino for Errant Sound.
Artist talk and performances will follow at 7.30 pm.

>> Workshop is limited to max 7 participants, 10€ contribution.
Please write for reservation to gaia@frequente.org <<

Walking in a warehouse, seeking among piles of metal waste, I was looking for objects with a direct and intense potential to create unpredictable conditions of movements and sounds. Very soon, I ventured into how hazy is their current position in human history, from the perspective of use as working tools. Through the lens of human beings – and human language – all of them are not clearly located, they are too much eroded to let us recognize their original role within the productive system of persons and objects, nevertheless they are not broken enough to be considered junk or fragments. They hold unexpressed chances to outline different paths in progress. They can be agents able to disclose a way of being, far away from that one of instruments I’m personally used to. They are strangers to me and I’m stranger to them, and so we will remain.
::
“Readymade series” is an ongoing practice-based research project, developed by Enrico Malatesta through workshops and dialogues. It is an attempt to accord regard to the quality of a world placed outside: things, with their inner corruptive and generative processes. Sound plays here a specific role, it results as consequence of actions and responses in context. It is always under construction, out of a negotiation between person and object in their intra-relation. Sound therefore is the very space to share for actants, it is their autonomous zone of connection. The workshop doesn’t aim at producing sound works, but it’s a mise en place to investigate the vitality of a readymade object – that we call “metal book” – in relation to the person, and their reciprocal potential to move and create sounds events. In order to maintain the differences, we focus on the encounter, the reality experienced from the point of view of two rather than one – within the space created by this estrangement, a practice of dwelling can start to take shape. Here is not the ontology but the duration and the process to be in count. It’s the intimate, the movement and the phenomena, the reality regenerated by reciprocal vitality, position by position, word by word.

Writing and recording are further media involved to investigate and inform the performativity of dwelling in the autonomous zone of connection, while mantaining the subtile fragility of estrangement. According to anthropologist Tim Ingold, the perspective of dwelling is basic to understand any actions, while this is not a mere capacity of accomplish a sequence but a feature belonging to the entire set of relations among the actants in place: as individuals, we are not rappresentations but knots, resulting from the kaleidoscope of place-specific relations.

enricomalatesta.com
frequente.org

With the support of the Prize ON BOARD 2017 promoted by MiBACT Ministry of Cultural Heritage, General Directorate for Contemporary Art and Architecture and Urban Suburbs and by GAI – Association for the Circuit of the Young Italian Artists.

A special thanks to Alessandra Eramo and Brandon LaBelle

 

Galapagos-Kreuzblende/Galapagos-Crossfade

Dienstag, 13. März,  19.30 h /Tuesday March 13th, 7.30 pm

Radiokunst: Präsentation und Diskussion/ radio art: presentation and discussion

in Kooperation mit der Hans-Flesch-Gesellschaft für akustische Kunst.

Galapagos-Kreuzblende. Ein Klanghybrid / Galapagos-Crossfade. A sound hybrid

Von Antje Vowinckel
Komposition und Realisation: die Autorin
Produktion: SWR Ars Acustica 2017

Länge: 36 Minuten

Mit: Frank D. Steinheimer, Ornithologe und Leiter der naturwissenschaftlichen Sammlung an der Universität Halle an der Saale

Als Charles Darwin die Galapagos-Inseln bereiste, entdeckte er Tierarten, die nur dort existierten und perfekt an ihre Umgebung angepasst waren. Sie inspirierten ihn später zu seiner Evolutionstheorie. Andere Wissenschaftler reisten ihm nach und sammelten Beweise: Sämtliche Vögel einer Insel wurden beringt und jahrelang beobachtet. Dabei stellte sich heraus, dass auch Gesänge bei der Artenbildung eine Rolle spielen. Antje Vowinckel simuliert in ihrer Klangmutation eines ornithologischen  Gesprächs, wie sich das in langen Zeiträumen auswirken könnte.

On his journey to the Galapagos Islands Charles Darwin discovered species that only existed there and were perfectly adapted to their environment. The inspired him for his theory of evolution. Other scientists followed and supplied evidence: all birds of an island have been ringed and observed over years. It turned out, that also the bird songs matter in the process of speciation. In her sound metamorphosis of an ornithological conversation Antje Vowinckel simulates how this could affect the birds songs in a very long period.

(The piece employs German language. A written translation is provided. discussion German/English)

Vorspiel 2018 – Fernblick

Fernblick_Show_Alessandra

27.01.18 18:00 – 22:00 @ Errant Sound Kollwitzstrasse 97

transmediale Vorspiel 2018 / Errant Sound

Exhibition with works by Laura Mello et al., Alessandra Eramo, Brandon LaBelle, Georg Klein

How is human behavior shifting in an age of telematic possibilities? More than ever, the internet offers us ways to know about distant countries and places without the necessity of being there. This new type of access should extend one’s personal experience and sharpen the view onto foreign cultures. Instead, the political trend these days shows that the medial irruption of the unknown into our lives can also create incomprehension and fear of the “stranger”.
In contrast to what google shows under the term “Fernblick” – holiday places with view to beautiful landscapes – the exhibition offers a view into the distance by bringing into focus gestures and actions that form their own environments. Sound and listening are utilised as the means by which to define an artistic position between yearning, memory, homeland.

 

 

Topos: Concert & Talk: Sebastian Edin & Jens Settergren

Satuday 20th January, 9pm

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A die raum special event kindly hosted by Errant Sound featuring Sebastian Edin and Jens Settergren

Programme
Vestiges (Edin, 2017)
Effacement Cycles (Edin, 2017)
Topos (Edin & Settergren, 2018) world premiere

Artist talk / open discussion

This event marks the first international presentation of a collaborative work by Sebastian Edin and Jens Settergren. Working with a tropics-themed found sound library compiled solely from Hollywood feature films, the artists have composed the six-channel piece ‘Topos’. Drawing on notions of the post-acousmatic, the composers deploy a wide range of techniques and formal strategies assembled from the acousmatic and classical western music traditions. With this set of tools, they proceed to sculpt and structure the aforementioned material —thus juxtaposing and reading these divergent auditory fields through one another.

In addition to the premiere of ‘Topos’ the concert will include two pieces by Sebastian Edin, as well as a talk by the artists.

Over the last five years, Edin and Settergren have collaborated intensely on a wide variety of projects including performances, video works and sound installations. Their work draws connections between art, technology, culture and the collective imaginary—debating matters of experience and recollection, memory and writing, and technics and time.

‘Topos’ is a special event in connection with Jens Settergren’s upcoming exhibition in die raum – opening 27.01.2018

Social Acoustics

Social Acoustics

María Andueza
Barbara Lázara

Opening: Thursday, December 7 / 18:00 – 21:00
Gallery hours: December 9, 10, 16, 17 / 14:00 – 17:00

Errant Sound / FASE 7
https://fasefest.org/

R-L_01Sounds pass between and around, through and against, to condition the interactions and conversations of daily life. As an energetic matter, sounds give animation to the material realities surrounding while also traveling distances, relating us to horizons of spectral imagining and social becoming. Sounds are dynamically relational, affording escape routes with others as well as gestures of compassion and sharing. As Les Back states in his book, The Art of Listening, a “sociological listening” is needed to create a space for the excluded and the marginal, for those that do not always have a voice. This may be extended to recognize how listening is an everyday practice shaping the ways in which friends and strangers may meet, and acts of hospitality as well as disagreement can occur.

The exhibition Social Acoustics focuses on the experiences and potentialities embedded in sound’s relational and sociological qualities. In particular, the participating artists María Andueza and Barbara Lázara bring into focus the conditions and experiences of work and speech, through the matters of stress and saliva, delving into processes by which ideas and desires emerge into the social field. Through audio, video and text works, the exhibition amplifies and retunes often overlooked details of embodied life.

Curated by Brandon LaBelle for FASE: Festival of Spanish Sound Art

A2_FASE_2017_poster_V6

María Andueza is an artist and researcher from Madrid. Her artistic and research work deals with Public Sound Art. She works at the radio podcast of the Reina Sofía Museum and as lecturer at the International University of La Rioja (Spain). Currently, she is the initiator of the public art project “Augmented Spatiality”, which has been presented in Stockholm (2013), Valparaíso (Tsonami festival, 2015), Málaga (La Ciudad Demudada, 2016) and Madrid (Arrecife, 2017).

Barbara Lázara is a performer / vocal artist based in Mexico, Lázara focuses on the relation between body, voice and space using tools like choreography and natural corporeal resonances. Since 2009 Lázara creates performative pieces to activate the dichotomy between divine/animal she finds naturally expressed in the human voice. She has given solo performances and workshops in México and often performs in Europe in collaboration with stage and sound artists, such as Zbigniew Szumski, Simon Fujiwara, Naomi Rincon Gallardo amongst others. Her works have been released by Staaltape (GER), Volta (MEX), and Antenas Intervenciones (ECUADOR).

FASE (acronym of Festival of Spanish Sound Art) is an international artistic research platform. In its origins it was developed as an annual Spanish-German festival dedicated to sound art and developed annually in Berlin since 2011. In 2012 FASE collaborates in the II Conference of Hispano-German Music organized by the Goethe Institute of Madrid. FASE has been sponsored since 2014 by the Subdirectorate for the Promotion of Fine Arts (Ministry of Education, Culture and Sports of the Government of Spain), an entity that carries out in Madrid two important milestones of FASE 6 in Tabacalera-Promotion del Arte: emerging environments. Tabacalera (December 2015-Janueary 2016) and Aurality and environment (November 2017-February 2018). The starting point of the festival is a Spanish-German transnational cooperation to promote artistic research and sound art. The main objective of FASE is the creative exchange between Spanish and German artists, and of these with their international colleagues, with the aim of establishing a stable framework for reflection and aesthetic debate. In each edition, FASE takes various themes as the central axis of the selected and presented works.

Freeroam A Rebours, Mod#I.1

StefanPanhans_Freeroam8StefanPanhans_Freeroam1

Freeroam A Rebours, Mod#I.1 by Stefan Panhans with music by Kirsten Reese

Mi, 22/11/2017,19-20 Uhr
Errant sound, Kollwitzstr. 97

world premiere 16.2.2017 VIDEONALE.16 Kunstmuseum Bonn

»Freeroam À Rebours, Mod#I.1« takes as its point of departure various shortcomings in the behavior of videogame avatars controlled by human players. These ›failurescenarios‹ are transposed onto the bodies of real performers, and recreated in the medium of film. Such ›failed behaviors‹ by game avatars – including displacement activities, idling behaviors, repeated failures to perform an action, the imperfect approximations of human movements and gestures – are generally considered to be the result of inadequacies and inability, especially in a society shaped by the pressures of functionality, economic imperatives and (self-)optimization. At the interface between experimental film, videoclip, performance and contemporary dance, Panhans’ film reworks these ›mistakes‹. It shows dancers and actors who have analyzed and rehearsed the flaws in the algorithmic patterns of avatar movements, caused by the moments of uncertainty or lack of concentration in the people controlling them. The performers ›reenact‹ these mistakes against backdrops and scenery borrowed from videogames, interspersed with sequences from the games. The camerawork closely echoes the ›camera‹ movements typical of videogames, and the performers interact with both their environment and the camera operators, whose movements form part of the choreography. The digital electronic music, composed especially for the film, resembles videogame music; together with the special montage editing techniques, it gives this engaging choreography of failure an underlying rhythm. As such, Panhans’ film gives expression to an artistic form of performative resistance ›à rebours‹ for our contemporary social situation, against the goal of functionalism. (Anne Greb, Videonale.16)

https://www.inm-berlin.de/…/…/12894/freeroam_rebours_mod_i_1
was just shown at Kassel Dokumentafilmvideofestival
https://www.kasselerdokfest.de/de/programm-2017/view/Screening/maschinen-visionen?lang=de_DE

Acousmatic Lectures Files

Acous-panoramatic-k.jpg

The Acousmatic Lecture Series 2017 came to an end. We say thank you to all participants, lecturers and promoters!

We are very happy with the results and we look forward to see this series printed!

If you couln’t make it to the lectures, you can still listening to the documentation online here: Acousmatic Lectures

Wish you all the best!

Mario Asef

This project was made possible by:

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Outlines / Tao G. Vrhovec Sambolec

Outlines
CD launch and site-specific sound performance
by Tao G. Vrhovec Sambolec

Sunday, October 22, 2017 / 20:00h

CD Outlines is a version of an ongoing performative sound project Outline by Tao G. Vrhovec Sambolec, started in 2010, and one of its variations, a sound installation Caressing the Studio (2012). Both projects are based on the underlying principle of using a recording device as a sound producing source in order to investigate how touch, presence, nearness, movement, tactility and materiality manifest in and through sound and conversely, how through the activity of listening to recorded or mediated sound these same sensations can be evoked and experienced. By exploring sonic horizons that appear as a consequence of tactile contact between the performer and the interior of a place, an immeasurable and transient spatiality comes into being consisting of trajectories, volumes, speeds and densities. As such, this sonic manifestation outlines the material edges of a place as well as its negative double – the empty volume it contains.

For the occasion of the CD launch at Errant Sound Project Space, Tao G. Vrhovec Sambolec will perform site-specific sound performance Outline.

“Only the partition makes noise. As it moves forward and creates two inverted silences, it taps out a rhythm, it whistles or moans. (…) [A] sort of rubbing together of spaces at the vanishing points of their frontier. These junctions have no place. They indicate themselves by passing cries and momentary noises. These frontiers are illegible; they can only be heard as a single stream of sounds, so continuous is the tearing off that annihilates the points through which it passes.” Michel de Certeau, The Practice of Everyday Life

The CD is published by Errant Bodies Records, and available at Les presses du réel.

TAO G. VRHOVEC SAMBOLEC is working with the invisible ephemeral phenomena and the notion of space. His artistic practice is a poetic exploration of relationships between transitory and temporal flows like sound and weather phenomena and architectural and social spaces they inhabit. In his installations, he makes architecture sensitive to its immediate ephemeral surroundings and enhances the temporal dimension of architecture by creating situations where the outside and inside, the unpredictable and constructed, the permanent and temporal, time and space converse. His works encompass interdisciplinary and mixed media installations, sound interventions and electro acoustic music.
He has shown and performed in various museums, project spaces and festivals, amongst others in Kapelica Gallery – Ljubljana, Ars Electronica Festival – Linz, AV Festival – Newcastle, Museum of Modern Art – Ljubljana, MSUM – Ljubljana,ŠKUC Gallery – Ljubljana, Madrid Abierto – Madrid, Errant Bodies Project Space – Berlin, Gwangju Museum of Art – South Korea, Sonic Acts Festival – Amsterdam, Research Pavilion at 57th Venice Biennale, among others.
www.taogvs.org
http://www.errantbodies.org/sambolec.html

http://www.lespressesdureel.com/EN/ouvrage.php?menu=&id=5877