research about contemporary artists and musicians, vocal
concepts and methods of music therapy and poetics of contemporary
Mirian Steinberg will
present her concept of
“Listening to the sounding body” as an
with Anton Zacharkow, we will relate some
workshop topics with his approach on Policies
(Políticas de Potências Afetivas).
of the senses and the hearing? What
the body to hear its internal contents and its
externalities? How to
cartograph the desire
to explore hybrid
relations among artistical
TELL ME A SECRET!
the talk, we will do a body warm-up, activate our body on space,
explore our senses in relation to the hearing, give different forms
to the expressions of these experiences, create collectively with our
will experience the voice
that says unknown words, create
words free of meaning, invent a language that does not depend on
a new language acoustically,
Mirian Steinberg currently works at the Federal Institute of São Paulo Campus Campos do Jordão (BR) as an artist and master teacher in arts. She focusses her artistic research on sound cartography, daily performance and soundwalks. Develops Art and Environment actions. She created a collective called KaosTrupe with propositions in performance and monitoring of different individual and collective artistic projects in São Paulo
Performing Arts and
at the MPUMALANGA Institute and at the IEE – INSTITUTO ESPORTE
partnerships with UNICEF, DISNEY and ESPN channel. He
is a researcher
São Sebastião (São
Paulo – BR).
has attended the School
of Dramatic Art (EAD-ECA USP) from
Radio and Television at
Bertolt Brecht (München) from1990-95.
2005 he is focussing in
Contemporary Philosophy Studies.
Reading Reading is about how the reader moves through the written text as the text moves through them, capturing and stretching the temporality just before the text is activated into meaning, and before the reader’s subjectivity is shaped by the encounter with the text. The time before the view, the time before making sense, the time before speech-voice.
Opening: 8.2.2020, 18:00h Exhibition: 9.–29.2.2020 Opening hours: Thu–Sat, 15:00–19:00h and by appointment: firstname.lastname@example.org
Event: 21.2.2020, 19:00h
Brandon LaBelle: The Inner Acoustic – performative talk +TBA
Reading (2017–) is an artistic research
project on reading as interface between interior mental state and exterior
world that asks if what separates them is a temporal, flexible and virtual gap
rather than a fixed corporeal border. Within several installations, the
project manifests ways to capture, embody and unsettle the temporal relations
that unfold between written text, eye movement and (inner) voice while reading. The
experiential works alter ocular desire and stretch the time between sensing and
making sense. In so doing, the indescribable zone between word as an event in
time and word as an object in space is affected, providing an acoustic and
poetic opening that anarchically disrupts reading as a sub-cognitive activity.
The exhibition includes installation Reading Voice (2018–19), video Reading Vito Acconci (2019) and publication Reading Reading (2020).
N.B: Since the work Reading Voice is accessible for one person at a time we offer individual appointments during the exhibition times or by appointment. Please feel free to make an appointment by email email@example.com, or by talking to the assistant at Errant Sound.
Text [READ THIS WORD THEN READ THIS WORD] (1969) by Vito Acconci, software, video and sound Duration: 18:20 min
How can one unlearn something one has forgotten learning?
Reading Vito Acconci is based on the artist’s encounter with Acconci’s text [READ THIS WORD THEN READ THIS WORD]. In the video, the text is projected and gradually drawn over by an animated trace of the captured artist’s gaze. The artist counts the letters aloud in his native tongue. The animation and the sound are the record of the cognitive activity, bringing to the fore spatial, temporal and kinetic relations between the moving eyes and the graphic territories of the letters. Simultaneously, the video interferes with the field of operations taking place between the projected text and the visitor’s gaze and inner voice. The text is broken into a string of consecutive letters and the temporalities of looking, seeing, perceiving and saying are differentiated. Through these strategies, the video becomes an instrument to unlearn underlying yet forgotten rules of the internalized and sub-cognitive activity of reading that are semantically laid bare in Acconci’s text.
Installation Text, sound, construction, software and hardware
Reading Voice is an installation that explores the zone between, on the one hand, a spoken word as an event in time, and, on the other, a written word as an object in space. The cognitive activity of reading is disrupted and various spaces of encounter are staged between the reading body and the written text. Central to the installation is a booth for a single viewer with a digital screen displaying text, an eye tracker and custom software that sonifies the reader’s gaze by instantly sounding phonemes they look at. This process unsettles the established relations between the voice, looking, written words and meaning. The disruption activates and stretches a pre-view of a view as an open temporal interval emerging between sensing and making sense. In addition a wall text and a printed booklet stage variants of the relations between text and reading body, their dispositions highlighting how each specifically define and affect the encounter and intra-action between the body and the text.
Publication, 24 pages, first edition of 300 Design: Dongyoung Lee with Tao G. Vrhovec Sambolec
publication is a companion to the installation Reading Voice – a poetic contemplation on the first encounter between
reader’s gaze and written text.
Tao G. Vrhovec Sambolec (SI/NL) is an artist and
researcher with a particular focus on sound, new media, real-time interaction
and questions of contemporary mediation in relation to the sense of (bodily)
presence. His recent work consists of spatial and sound installations, events
and interventions, where (un)mediated sonic events act as central elements that
affectively evoke human bodily presence, while signalling its physical absence.
The experiential works address visitors
through sound, tactility, kinetic movement and vibration to question how human
bodily presence can be felt and sensed
beyond direct visuality and vicinity. Further, the works inquire after what
kind of new poetics these re-articulations can form.
His works have been presented internationally at various museums,
galleries, project spaces and contemporary art biennales and festivals, amongst
others in Kapelica Gallery – Ljubljana, Public Space With a Roof Gallery
(PSWAR) – Amsterdam, Errant Sound – Berlin, Aksioma Project Space – Ljubljana,
Sonic Acts Festival – Amsterdam, Sound Disobedience Festival – Ljubljana, Ars
Electronica Festival – Linz – Austria, Museum of Contemporary Art Metelkova,
+MSUM – Ljubljana, AV Festival – Newcastle Upon Tyne, ŠKUC Gallery – Ljubljana,
State Museum of Contemporary Art – Thessaloniki – Greece, Gwangju Museum of Art
– Gwangju – South Korea, Reseach Pavilion – Venice – Italy, Madrid Abierto –
Madrid, Gaudeamus Music Week – Amsterdam, Forum neuer Musik – Köln, CMMAS
– Morelia, Mexico, Moon Life Concept Store, Shanghai, MuseumsQuartier – Vienna,
Sound Gallery – Bergen.
He earned his PhD in Artistic Research from
Faculty of Fine Art at University in Bergen, Norway, where he was the recipient
of Norwegian Artistic Research Fellowship (2013 – 2016). He is currently the
recipient of Mondriaan Fund Stipendium for Established Artists, The Netherlands
(2018 – 2022). In 2017 he took part in Research Pavilion at the 57th Venice
Biennale. In 2010 his work was awarded at Ars Electronica Festival in Linz
In 2018 he became a member of artistic committee of puntWG
Project Space in Amsterdam and a member of artistic committee ofDNK
– Amsterdam, a series of experimental contemporary music and sound art
concerts, events, lectures and exhibitions.
In 2018 he co-initiated and is co-organizing together with artist
Sascha Pohle Home Sequence – a yearly
exhibition taking place in the private
homes of Amsterdam-based artists.
The exhibition is organized by Mario Asef for Errant Sound e.V. Software designed by Darien Brito and Giuliano Anzani Construction by Scenart Produced by Zavod Projekt Atol – Ljubljana and Zavod Sploh – Ljubljana
Supported by Creative Industries Fund NL, Mondriaan Fund, Ministry of Culture of Republic Slovenia and Municipality of Ljubljana
Special thanks to Brandon LaBelle
––––––––––––––––––– This exhibition is the third 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.
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.
Sound installation by Matthew Ostrowski (New York)
Opening:Saturday 4. Jan. 2020 18 – 21 h
Exhibition: 5. & 9. – 12. Jan. 2020 15 – 18 h (Sunday & Thursday-Sunday) or by request: firstname.lastname@example.org
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.
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? 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.
Artist Talk / Touching the void: December 7, 7pm with Clarissa Thieme, Jan Verwoert (art critic & cultural theorist) and Mario Asef
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.
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 https://apps.apple.com/de/app/grand-hall/id603100262
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 https://apps.apple.com/de/app/zen-by-vacca/id1080318128
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.
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 www.errantsound.net
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. www.b-tour.org
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 Podiumdiskussion Discussion Wer ist Klangkunst – Field Notes Eine Veranstaltung der inm zum An inm event for: „Monat der zeitgenössischen Musik 2019“
12.09. – 19:00h Ausstellungseröffnung Opening
15.09. – 19:30h Roberta Busechian – Dorothea Muthesius / Über Erinnerung, Musiktherapie und Klangkunst / Vortrag und Screening – screening and talk
16.09. – 17:00h
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
Präsentationen aktueller Radioklangkunst und öffentliche
– 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
Einlass (kuratierte Führung durch die Ausstellung sonomemo
und Getränke an der Bar)
Goethe to go
von Antje Vowinckel, Produktion DLF 2018, Länge: 50’ – anschließend: Diskussion
– Pause –
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
„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.
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.
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.