As we entwine

Andrei Cucu, Daniela Fromberg & Stefan Roigk

opening 18.01. 2020, 7 – 11 pm
with sound performance Blindflug II, start 8 pm
by Roberta Busechian & Sandra Hauser

opening hours 19.01. – 02.02. 2020, Thu – Sun, 3 – 7 pm
In the course of the festival Vorspiel / transmediale & CTM

Errant Sound presents new musical graphics, sound installations and nature interventions by Daniela Fromberg, Stefan Roigk and Andrei Cucu. The works explore different human-nature interactions, such as liberation, collaboration or reinterpretation thus forming a coherent biotope.

Andrei Cucu
Stefan Roigk
Daniela Fromberg
Roberta Busechian


Sound installation by Matthew Ostrowski (New York)

upcoming exhibition at Errant Sound: installation with 24 antique telegraph sounders

Opening: Saturday 4. Jan. 2020 18 – 21 h

Exhibition: 5. & 9. – 12. Jan. 2020 15 – 18 h (Sunday & Thursday-Sunday) or by request:

Finissage & Artist Talk: Wednesday 15. Jan. 2020 open from 15h Talk with Matthew Ostrowski & Anne Wellmer 19 – 20 h

“Summerland” is an installation for an array of 24 antique telegraph sounders by the New York based sound artist Matthew Ostrowski. After the work has been presented for the first time in Europe at Zebrastraat in Ghent, we are happy to bring it now to Berlin! The exhibition will be accompaigned with a talk of Matthew Ostrowski and Anne Wellmer at the finissage.
The installation consists of old Morse code receivers, which mechanically produce tapping sounds. They were the dominant form of long-distance communication for most of a century. These devices are arguably the first digital-to-analog converters, turning binary information into an audio stream of rhythmically modulated clicks. It is also, by its use of fluctuating voltages to create sound, the ancestor of the audio speaker, the
telephone, and most modern sound reproduction technology.

This work recuperates this most ancient of electric sound producers, using modern, computer-controlled forms of digital transmission to reanimate this prototypical apparatus, so it can speak once again. This work uses speech and text from two major figures in 19th-century communications as source material which drives the choir of sounders.
One of those voices is that of Samuel Morse himself, the inventor of the electromagnetic telegraph, and excerpts from his writings and letters are translated into the dot-dash code that bears his name – a cipher once understood by many but now on the verge of extinction. The other is that of the medium Kate Fox, whose experiences of ghostly ‘rappings’ in her house a few years after the invention of the telegraph led to the founding of Modern Spiritualism, and the craze for communicating with the dead that lasted well into the 20th century. The generative algorithms of Summerland use transcripts of Fox’s séances in an attempt to synthesize her voice, an obviously impossible task with 19th-century technology.

Summerland is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Custom hardware by James Lo.

Can’t you see them?

Clarissa Thieme

Opening: November 28, 7– 10pm

Exhibition: EXTENDED UNTIL December 14, 2019
Opening Times: Thurs–Sat, 3–7pm and by appointment

Artist Talk / Touching the void: December 7, 7pm
with Jan Verwoert (art critic & cultural theorist)

Can’t you see them? presents the ongoing serial work CYST by Berlin-based artist Clarissa Thieme that highlight her intense engagement with the Library Hamdija Kreševljaković Video Arhiv in Sarajevo. Errant Sound will feature her newly produced works and the installation Can’t you see them? – Repeat. in site specific set up.

The serial CYST investigates the implications of subjective testimony in the context of collective traumatic events and their reconstruction through technical & juridical means. It attempts to trace the fissures that open up between the languages of individual memory and their translation into those of procedures of historical objectification. At the core of the CYST serials there is a single 45′ video clip that Thieme found in the Library Hamdija Kreševljaković Video Arhiv which was shot by Nedim Alikadic in Sarajevo at the beginning of the siege in 1992.
Using motion tracking, the artist performs a metadata analysis of the shaky handheld camera which is facing an unforeseeable threat, and calculates the camera’s position and movement. She then feeds this data into a light projecting motion control system: the light moves, changes direction, and trembles.
A resonance corpus is created – a sounding body full of fear and anxiety appears behind the moving images.

In referring to the historical destabilizing effect of the work Jan Verwoert asks ”Time and space are the very stuff that the writing of history – and reporting of events – whips into coherent shape. What if this was but a poor construct, and life’s changes left time knotted and space dented in peculiar ways? Then the search for lost time and deep listening to the reverberation of tangled spaces would pose a key challenge to historically critical thought: How to recalibrate the senses and learn from modes of heightened attentiveness to perceive the tangled temporalities and spatialities of transformative processes?(…) Exactitude and ephemerality: extremes meet. The closer ones gets to the traumatic real, it seems, the more strongly it will fracture and disperse over different planes of representation. Thieme enters the gap between them, widening it, while simultaneously pulling the fragments of reality together into one unsettling force-field.”

In collaboration with Library Hamdija Kresevljakovic Video Arhiv, Sarajevo Video 8 footage by Nedim Alikadic, Sarajevo, Grbavica, May 2, 1992.

Clarissa Thieme is an artist and filmmaker. Working across film, photography, performance, installation and text, she combines documentary and fictional forms focussing on processes of memory, politics of identity and strategies of translation. Her practice is research-based and often takes a collaborative approach.

Her work includes Was bleibt/Sta Ostaje/What Remains (Film, 30′, 2010), The Place We Left (Film, 60′, 2012), Resort (Film, 15′, 2013), Die DDR hat es nie gegeben/Appell (Video, 4′, 2016), Izmedzu Nas/Between Us (Open archive project, ongoing), Weiter war nichts, ist nichts (Installation series, ongoing), Vremeplov/Time Machine (Installation & performance, 2017), Today is 11th June 1993 (Film, 13′, 2018), Can’t You See Them/POV (Installation 2018), Can’t You See Them? – Repeat. (Film, 8′ as well as Installation, 2019).

Thieme studied Media Art at the University of the Arts Berlin (UdK) and holds a MA in Cultural Studies And Aesthetic Practice, University Hildesheim. Furthermore she is research alumni of the Berlin Center for Advanced Studies in Arts and Sciences (BAS). Thieme lives and works in berlin.

This exhibition is the second in a series of exhibitions presented under the heading Visual Approach to Sound, which aims to reflect on sound from the perspective of visual art. For this series, visual artists are invited to present works that are based on the forms and methods of visual art but which are also defined by a central acoustic aspect.

Visual Approach to Sound is conceived and organized by Mario Asef for Errant Sound Berlin.

Facebook event:

Bill Fontana

19.11. at 6:30 pm 
Bill Fontana 
talk and screening curated and moderated by Roberta Busechian

The event aims to open a dialogue between the artist and the audience, focusing on his recent works, reveling his practice between different decades and definitions of time and space through site specific sound installations.
ABOUT Bill Fontana
Following and capturing sonic shadows that reside in the structures of our environment is one of the fundamental issues in the work of Bill Fontana. Fontana pursues these shadows with attention to our acoustic perception of those structures and how we place ourselves inside those sensory tensions between what we see and what we hear about the structural world. Fontana, born in Cleveland in 1947 and based in San Francisco, has used sound for as a sculptural medium to interact with and transform our perceptions of visual and architectural settings. For over fifty years, he has relocated sounds and created an expanded idea of music through sonic resonances.


Presentation 18 October 2019 – 19:00h

Errant Sound – Sound Art Project Space
Rungestraße 20, 10179 Berlin
(U8 Heinrich-Heine-Str. / S Jannowitzbrücke)

Errant Sound presents for the first time in Germany works by Vicens Vacca. For this occasion, we will show two works conceived for mobil phones by the catalan sound artist, which involve the audience participation by transforming each phone into an active element of the sound pieces.

One of the pieces is called GRAND HALL LAMENT (1997-2018) and it is an application for mobile phone of non-interactive sound-art that reproduces a series of tracks in a continuous and randomized sequence that is different on each device. Downloading the app will install it permanently on the smartphone with no further requirements. It can be downloaded from the Apple Store searching “GRAND HALL by VACCA”. Or click here

GRAND HALL LAMENT is designed to be listened to on a minimum of two phones simultaneously but there is no limit to the number of terminals used.

The second piece is ZEN (2016-2018) is a generator of electronic music that composes and emits music using existent sounds from radio broadcasts. It is an atmosphere that builds climates of unbroken sound not to be listened to with attention. ZEN generates music using the energy of others. The app is available on the AppStore. To download the app. please search “ZEN by VACCA”. Or click here

Since Vicens Vacca is unable to travel due health issues, the presentation will be done by his assistant Victor Pérez Ballestero and moderated by Mario Asef.

Vicens Vacca (Granollers, 1954) is a catalan artist with more than 30 years of experience in the conceptual art field, who has experienced the use of sound as an artistic medium. Descendant of a family of jazz musicians, he chose contemporary art breaking with tradition. Since its earliest works of sound art, dating back to 1990, sound is never an additional complement, but a corporeal element with plastic qualities, materializing in the space of action as a sculptural object.

He has exhibited in art institutions such as Museu Picasso, La Virreina Image Center (Barcelona), Museo Patio Herreriano (Valladolid) or Iklectik (London).

The evening is kindly supported by Instituto Ramon Llull and the ICEC.


Klang und Erinnerung – Sound and Memory

Klangkunstausstellung mit Vorträgen, Diskussionen und Performances
Sound art exhibition, lectures, discussions and performances

Errant Sound – Sound Art Project Space
Rungestraße 20, 10179 Berlin
(U8 Heinrich-Heine-Str. / S Jannowitzbrücke)
sowie im öffentlichen Raum – and in public space

Eröffnung – opening: 12. September 2019, 19:00h
Ausstellungsdauer – show: 13. – 29. September 2019
Öffnungszeiten – opening hours: Do-So / Thu – Sun, 16:00-20:00h,
Sonderveranstaltung am – special event on 16.9. 17:00h

Akustisches Erinnern ist heute nicht mehr unabhängig von Medien zu denken. In verschiedenen Perspektiven und medialen Formen wird in der Klangkunstausstellung sonomemo Erinnerung auditiv aktiviert: in therapeutischen Verfahren, in historischen Aufarbeitungen, in klangpraktischen Handlungen sowie in rekonstruktiven und klangarchäologischen Verfahren.

Acoustic remembering is no longer independent of media. Remembrance will be auditorily activated in the sound art exhibition sonomemo from different perspectives and media-based forms: in therapeutic procedures, in dealing with history, in sound-practical actions as well as in reconstructive and sound-archaeological procedures.

Ausstellungsprogramm – Program

Ausstellung mit Arbeiten von
With works by

Mario Asef / Roberta Busechian / Janine Eisenächer / Alexandre Fenerich / Golo Föllmer / Georg Klein / Laura Mello / Jutta Ravenna / Kirsten Reese / Antje Vowinckel / Steffi Weismann – sowie Gästen zu den Vorträgen und Diskussionsveranstaltungen, s. Events – as well as special guests for events and lectures.

Öffentlicher Raum
Public space

ab – from 07.09. – Tracks in the Box / CLB Pop up Moritzplatz
Georg Klein / toposonie :: engelbecken (2019) / Sound Walk mit GPS-App
jederzeit unabhängig begehbar mit eigenem Smartphone – available any time with your smart-phone.

20. 09. 15:00 – 18:00 / 21.09. – 16:00 – 19:00h / Infos and Route Here
Laura Mello – Alexandre Fenerich / Rádio Pamonha, die Soundrikscha / Performance im öffentlichen Raum – performance in public space

Events im Ausstellungsraum
Exhibition space events

12.09. – 17:30h
Wer ist Klangkunst – Field Notes
Eine Veranstaltung der inm zum
An inm event for: „Monat der zeitgenössischen Musik 2019“

12.09. – 19:00h

15.09. – 19:30h
Roberta Busechian – Dorothea
Muthesius / Über Erinnerung, Musiktherapie und Klangkunst / Vortrag und Screening – screening and talk

16.09. – 17:00h
Curatorial guide

16.09. – 19-22h
Radiokunst – radio art: Poröse Archive
19 h Goethe to go. Eine Sprechlandschaft (DLF 2018) – Antje Vowinckel

20. 45 Meerschallschwamm und Schweigefang (DLF 2018) – Ulrike Janssen/Marc Matter/(Karl-Sczuka-Preis 2019),
Anschließend Diskussion und Gespräch mit / closing talk and discussion with: Ulrike Janssen, Marc Matter, Antje Vowinckel, Ralf Homann (BR), Marcus Gammel (Deutschlandfunk Klangkunst)

29.09. – 19:00h
Prof. Dr. Elena Ungeheuer / Klangpraktisches Erinnern als Resonanzanalyse 2. Ordnung / Vortrag – lecture

29.09. – 20:00h
Janine Eisenächer / Doing sounds with things #2 / Soundperformance

Detailliertes Programm für den 16.09. – ab 17.00h

Poröse Archive

Präsentationen aktueller Radioklangkunst und öffentliche Diskussion

– Eintritt frei-

Gäste: Ulrike Janssen, Marc Matter, Antje Vowinckel, Marcus Gammel (Dramaturgie DLF)  und Ralf Homann (BR, Moderation)

Neben der individuellen Bedrohung durch Demenz müssen wir uns den technischen Bedingungen eines kollektiven Gedächtnisses stellen (CD, mp3, Wikipedia,  Youtube), die sich permanent verändern und deren Haltbarkeit oft nicht einzuschätzen ist. Immer mehr verlassen wir uns auf stets gegenwärtige Information in Online-Archiven. Doch mit zeitlichem Abstand zeigt sich, dass die Erinnerung zwischen den Links hindurchflutscht, die die Verzeichnisse vorsehen.             

17 h

Einlass (kuratierte Führung durch die Ausstellung sonomemo und Getränke an der Bar)

19 h

Goethe to go  von Antje Vowinckel, Produktion DLF 2018, Länge: 50’ – anschließend: Diskussion

– Pause –

20.45 h  

Meerschallschwamm und Schweigefang von Ulrike Janssen und Marc Matter, ausgezeichnet mit dem Karl-Sczuka-Preis für Radiokunst des SWR, 2019. Produktion: DLF 2018, Länge: 45’ – anschließend: Diskussion

Goethe to go. Eine Sprechlandschaft. Von Antje Vowinckel

Seit einigen Jahren entwickelt Antje Vowinckel die Methode des  automatischen Sprechens. Im letzten Jahr schickte sie zehn  „Automaten“ auf den Goethewanderweg in Ilmenau. Auf ihrem Weg sprechen die Performer ununterbrochen und schleusen alle Beobachtungen in ihren Sprechfluss ein. Im Goethehäuschen entdecken sie „Wanderers Nachtlied“, das weltberühmte Gedicht, das Goethe einst an die Wand kritzelte, in fünfzehn Übersetzungen. Aus  zehn fremdsprachigen Übersetzungen dolmetschen sie das Gedicht, an das sich fast jeder erinnern kann,  zurück ins Deutsche.

Meerschallschwamm und Schweigefang. Von Ulrike Janssen und Marc Matter

„Es handelt um: Aufzeichnungen aus Vergangenzeit: terrestrisch Wissen, haltet fest Schall. Und Ton und Kling und Sprech …“ So beginnt ein Audio-Guide, der aus den Trümmern eines zerstörten Museums gerettet werden konnte. Dort wurden Apparate zur Tonaufzeichnung ausgestellt, die bisher unbekannt waren oder nur in der Literatur oder der Mythologie vorkamen: Ein Meerschallschwamm, ein Schweigefang. Nun ist es gelungen, Teile dieses Audio-Guides zu restaurieren und wieder hörbar zu machen.

Meet & Greet Sam Trubridge – The Performance Arcade Festival NZ

Talk wednesday June 19th from 19:00 on

APA-B e.V. – The Association for Performance Art in Berlin e.V. invites to a Meet & Greet with Sam Trubridge, the director of The Performance Arcade in Wellington, New Zealand.

Sam Trubridge will introduce the festival and be available for Q&A. Moderation will be done by Teena Lange.
The next festival will be held from Feb 20 – March 1, 2020. The Call for Proposals is open and ongoing, the deadline is August 2, 2019.

This Meet & Greet event is free and no registration is required.
There will be drinks on donation and snacks.
English will be the main language.
All are welcome.

The Performance Arcade is a unique event. It puts experimental performance disciplines (from theatre, dance, performance art, live art, installation, design, sonic art, media art, public intervention, social sculpture, etc) into a highly visible public space on Wellington Waterfront. We use shipping containers, scaffolding, and street graphics to create a multi-layered spatial framework for works selected from around the world. Sometimes works use the shipping container as a gallery/stage space, whilst other works travel through/into the city and waterfront environment. Between 60-90,000 people encounter the event every year.

As a research project the focus is on breaking the usual frames of reference for performance (gallery, theatre, screen) and investigating a more volatile relationship with the city and the passing public that is not guided by the disciplinary routines of familiar spaces. Its location on Wellington Waterfront also explores interests in the sea / coast / ocean as a space of performance, using the shipping container as a symbol for global commerce, migration, and crisis.

The website includes archives of all works presented over the past 9 years:

Berlin-based artists such as Samin Son, Janine Eisenächer, Steffi Weismann, and Hans Kellet (Princessin Hans) have already participated.

Sam Trubridge is a solo performance artist, performance designer, curator, and theatre director based in Aotearoa NZ. He has shown work across Europe, Asia, Oceania, and the Americas, and has been published and exhibited in various international contexts, including the Prague Quadrennial and World Stage Design. Between 2005-2009 Sam coordinated Massey University’s cutting edge Performance Design Degree with Toi Whakaari, NZ Drama School.

This year he graduated with a PhD in creative practice from Massey University. Sam conceived, directed, and curated The Performance Arcade: a new performance festival on Wellington’s waterfront that has run annually since 2011. The success of this concept continues to support the growth of experimental performance practises in NZ and abroad and has received various awards, citations and commissions.

Supported by Goethe-Institut, Wellington.

Facebook event:

to put on paper

A group show as part of the Open Studio Day at Runge20

For the ocasion of the Open Studio Day at Runge20, Katja Pudor invited more than 50 artists to present works on paper at Errant Sound.
The exhibition will stay for two weeks and will be combined with a finissage concert by four artists from the Errant Sound group.
We’ll be glad to see you there!

Group exhibition as part of the Open Studio Day at Runge20 
1. of June 2019 I 3 – 10 pm
Errant Sound Rungestr. 20, 10179 Berlin

with works by Mario Asef I Michael Bause I Matthias Beckmann I Anke Becker I Betty Böhm I Ursula Boehmer I Theo Boettger I Antje Blumenstein I Claudia Busching I DAG I Dana Engfer I Heike :Gallmeier I Kathrin Ganser I Anne Gathmann I Jürgen Grewe I Inken Hilgenfeld I Ruth Hommelsheim I Birgit Hölmer I Franziska Hünig I Kanako Ishii I Gabriella Klein I Pauline Kraneis I Aliki Krikidi I Chus Lopez Vidal I Katharina Lüdicke I Teresa Mazuela I Frank Maier I Oliver Möst I Ulrike Mohr I Maria & Natalia Petschatnikov I Inken Reinert I Cornelia Renz I Andrea van Reimersdahl I Elisabeth Sonneck I Sophia Schama I Fiene Scharp I Ursula Scherrer I Susanne Schirdewahn I Claudia Schoemig I Richard Schütz I Michael Schultze I Anton Schwarzbach I Nada Sebestyen I Sarah Straßmann I Betty Stürmer I Max Sudhues I Attilio Tono I Dorit Trebeljahr I Andrea Übelacker I Ute Vauk-Ogawa I Véronique Verdet I Anke Völk I Maria Volokhova I Nicole Wendel I Markus Willeke I Gloria Zein I Majla Zeneli I Oliver Zwink I Sandra Zuanovic

Live Programm Saturday 1. of June 2019

3 – 7 pm Screening of video works by Oliver Möst, Maria & Natalia Petschatnikov, a.o.
7 pm  Roberta Busechian: Gate Golden recordings (The Gold of San Francisco) I sound peformance8 pm Steffi Weismann: Recall Service  I video performance 
8:30 pm  Betty Stürmer: Postkartenkleid I intervention 
9 pm Bob Rutman, Hilla Steinert: Gähnen und Stöhnen (yawn and moan) I performance  the Screening will be continued between and after the performances

Exhibition:  June 2. – 14.  2019 opening hours: tuesday – friday 3 – 7pm
Finissage Event: Friday 14. June 2019 – 8 pm
audiovisual session & paper music by Roberta Busechian, Janine Eisenächer, Laura Mello, Steffi Weismann


Video art_audiovisual performances_sonifications a program curated by Roberta Busechian

18.05 / ////////////////////////////////////////////////
Doors 7:00 pm, sonification start 7:30
9:00 pm: live field recordings performance by Nicola Zolin
Daniele Costa, Simone Rossi, Nicola Zolin (live sonification)

„The weaning of goods; a mechanical affair“

A film that captures the mechanisms and timing regulating rhythms within port terminals. To find out and become aware of these places dedicated to the primordial transfer of good, and to reflect on the permeability of its ontological status, in relation to man,society and retail trade.

What does it mean to explore sound art as an audiovisual practice? Today there are too many facades of the audio-visual phenomenon, it’s aesthetic, theoretical and epistemological reception to speak about audiovisual works as relation between sound and image. That’s why the AUDIOVISUAL SCREENINGS SERIES at Errant Sounds wants to look at audiovisuality as a medium of sound art, seeking to work out the possibilieties of video screening as a sonic experience, focusing on how an audio-visual input could influence our reception of the content and how our habitual multi-sensory perception could be trained to focus on the acoustic facade of a (video) storytelling. To ground this research both on a theoretical and practical level, emphasizing it through works by international sound artists working in different ways within sound for video, there will be not a fixed
presenation format. The AUDIOVISUAL SCREENINGS PROGRAM will interact with screening possibilities in the space, developing different settings and listening modalities depending on the presenting artist and the
presented work distinguishing between i.e documentary work, video art or interactive installation. Being aware of the interdisciplinary field of sound and visual streaming, it will be necessary to ground the presentation methods on fields connotative for sound art as acoustics and sound studies, musicology, media studies, interactive media, sound design, geography, urban planning ad studies, anthropology. The screening will be installed and/or performed with different streaming technologies and technical equipment, putting the focus on the presentation and fruition during the single events by the invited public. For this reason the program includes talks by the presenting artists and Errant Sound artists, external contributors, as audience itself as active partecipant of every event of the program.

The program will be divided in five parts
Stream II: Performed AUDIOVISUAL
Stream III: Installed AUDIOVISUAL
Stream IV: Mediated AUDIOVISUAL
Stream V: Interactive AUDIOVISUAL
A program curated by Roberta Busechian aka (T)Raum