is the first exhibition by LODE collective hosted by Errant Sound.
Exhibition: Feb. 08-12 // 16-20h daily
Opening: Wednesday, Feb. 08th @ 16h
Performances: Friday, Feb. 10th @ 19h
Free Entry / Suggested Donation for the artists (5-15€)
Rungestraße 20, 10179 Berlin
The exhibition displays performances and installations that fuse different embodied sonic practices. Every artwork delves into diverse aspects of the body in relation to technology: Genesis Victoria’s (they/them) installation presents a wearable that explores the relationship between movement, water, technology and sound. Mariana Carvalho (she/her) explores inner listening perspectives during the act of eating voices. The multichannel composition of Kirstine Elisa Kjeldsen (she/they) investigates the relation between written language, sound and physicality. Kayla Elrod (she/they) activates space and surfaces through scratching and tapping using amplified sonic fingernails.
LODE is a FLINTA* collective formed in 2022 which emerged from a necessity to expand embodied practices of sound art. LODE thinks of sound art practices and bodies as infinite sources of exploration and abundant means for collective learning.
Mariana Carvalho (São Paulo/Berlin) is a performer, sound artist, improviser and musician, working with body, voices, listening, relation, inner sounds and prepared piano. She is part of Sonora – músicas e feminismos and GEXLAT. She is currently doing her masters at Sound Studies and Sonic Arts, UdK Berlin and is a tutor at the Soundscape Project at TU Berlin. She has a piano bachelor ‘s degree at the University of São Paulo, where she was part of NuSom – Research Center on Sonology of USP and Orquestra Errante.
Kayla Elrod, MA is an artist who uses performance as an investigatory tool into objects, site, and relationships. Their approach combines tactile investigations with listening and role-play to question contextual frameworks and object/subject positioning without drawing conclusions. Their work is a manifestation of their research and experience, resulting in videos, audio collages, and sonic installations.
Kirstine Elisa Kjeldsen is a Berlin-based sound artist who uses sound to investigate the sensory realm and listening as knowledge production. Through experimentation in field recording, psycho acoustics and improvisation, she researches notions of vulnerability and interdependency as ways to understand social mechanisms, technology and cohabitation. She is currently pursuing a Master’s degree in Sound Studies and Sonic Arts at Universität der Künste Berlin, and her work includes performance, recording, sound installation and composition.
Genesis Victoria. Non-binary Sound and performance artist (they/them). Chile, 1989. Pursuing a Master’s degree in Sound Studies and Sonic Arts at UdK Berlin. Their work consists of creating experimental sound systems and performances for specific sites, creating haptic-sexual ritual experiences with speakers, microphones and sounds through bodywork, from a post-acousmatic queer feminist decolonial approach. Their sound systems are considered ecologies where all participants, human and non-human, create a temporary sonic community, where sounds and gestures create an aesthetic field of diverse sonic zones and/or textures and relations. Their performances respond to the specificity of the sites: their memories, stories/History, material qualities, acoustic, placement and so on.