Phyto-Semiotics – Plants talking to us and also through us

Sunday 12 August 2018
Kollwitzstrasse 97
10435 Berlin

Our plant think­ing becomes plant speak­ing. From ven­er­a­ble ancient trees to exper­i­men­tal com­post and cloned bananas, this pro­gram voices plants in whose pos­si­ble pasts and futures we, as humans, are both cen­tral and oddly dis­placed.

This pro­gram fea­tures two new per­for­mances com­mis­sioned by Liquid Archi­tec­ture, plus a spe­cial per­for­mance by Plants and Ani­malia (CES and Felic­ity Mangan).

Makiko Yamamoto presents Banana, Tree, Stool, a new suite of lan­guage poems about the pos­si­ble mes­sages fruits and veg­eta­bles from our past, present and future may have to convey.

CES vs Plants and Ani­mals will gen­er­ate a finely tuned quasi-bioa­coustic envi­ron­ment in which bio­chem­i­cal soni­fi­ca­tion of actual plant chem­istry, animal and syn­the­sised sounds oscil­late and sync in bio­phonic arrays.

Nathan Gray presents The Sta­tion, a sci­ence-fic­tional lec­ture-per­for­mance regard­ing humanity’s vio­lence towards the nat­ural world and in which one of the three nar­ra­tors is a tree.

Presented in partnership with Errant Sound



“A viva voce: vocal expression at the time of speaking machines”


Sunday, 15th July – 7pm
Errant Sound, Kollwitzstrasse 97 Berlin

Artist Talk & Performance event with
Domenico Napolitano (aka SEC_)
Steffi Weismann
Tomomi Adachi
Alessandra Eramo


Voice has traditionally been considered peculiar of humans and the principle of individuation of each one’s uniqueness. Whatever I say, when I speak I’m always voicing myself.  But what happens when “non-humans” start to speak? Machines, robots, virtual assistants are now speaking ever more fluently and naturally. Is voice donating them human attributes, social consideration, subjectivity? Or are we assisting to the phenomena of a disembodied voice that belongs to no one, a voice “in general”? Not being an object nor an attribute, but an event, voice can happen in many ways, overpassing bodies and boundaries, vivifying objects, machines and natural forces, always on the border between inside and outside. The expression “A viva voce” synthesizes very well this paradoxical power of voice: when pronounced aloud, the dead letters of scriptures become alive, reacquire their spirit. Do nowadays talking machines, radios, computers, speak “a viva voce”? Are synthetic voices preparing us to a post-anthropocentric expressivity?

We will explore all these topics through a talk with musician/philosopher Domenico Napolitano (SEC_) , vocalist/sound artist Alessandra Eramo and intermedia artist/performer Steffi Weismann, who will explain her work with digital voices, and through the performance of vocal artist and sound poet Tomomi Adachi.

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

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.

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

Sound art Podcast

Please follow us on our podcast page and leave a reply if you like….

Four sundays in April: 8th/15th/22nd/29th

with sound art pieces by: Mario Asef, Boris Baltschun, Peter Cusack, Golo Föllmer, Georg Klein, Ines Lechleitner, Kaffe Matthews Laura Mello, Kirsten Reese, Antje Vowinckel, Georg Werner, Jeremy Woodruff.

supported by inm-Berlin and Bezirksamt 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 <<

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.

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



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


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.

Alessandra Eramo

LONG DISTANCE IMAGINATION (2018; 40 drawings: ink and pencil on paper 17X24 cm, voice composition: 4’50” loop)

The ongoing project Long Distance Imagination is a drawing and voice composition exploring the identity and expectation of places in an era with shortening distances and with the possibility to travel the world through the internet. As in a game or a dare I incorporate images and sounds of unknown places which I never visited before or have seen only in the media. Those places, real or imaginary, become familiar and take part to a new personal aural and visual narration emerging through automatic drawing, through word and singing, reproducing and repeating themselves, thus becoming symbol of the journey.

Artist website:

Brandon LaBelle

THE PIRATE IMAGINARY” (2017; video, 60min)

It is like a ship / Like a shipwreck / This abandoned place / Abandoned / Empty / It is like a ship / Abandoned / Capsized / Turned over / Lost / On the island of the urban center / It is like a ship / The island of resistance / This ship and the island / The territory and the horizon around / What can we find here / To hide in the ship / To occupy / It is like an empty fortress / This abandoned ship / Around which the population and the political territories exist / This ship becomes an autonomous figure / It takes over / It introduces something else / The pirate / The pirate / And the ship / The abandonment and the possibility / The take over / It is a minor figure / This pirate

Artist website:

Georg Klein

TRASA(2004; documentation of the interactive installation)

TRASA was installed first time in 2004 between Berlin and Warsaw. The interactive installation plays with a visual live contact in public space, with succeeding or failing communication, with nearness and strangeness. The alienated visual contact was embedded in a sound atmosphere playing interactively with two audible poems by Heiner Müller and Wislawa Szymborska. The documentation shows in 4 chapters different behavior on both sides of this doubled mirrored situation: 1 – Self Perception, 2 – Awareness of Others, 3 – Communication, 4 – Meetings

Artist website:


WINDOWS FAR AWAY, INNER SOUND“ (2018; telematic video-text-performance by Camila Zerbinatti (BR), Sérgio Abdalla (BR), Karen Werner (US), Renata Roman (BR), Mariana Carvalho (BR), Bella (BR), Mirian Steinberg (BR), Anna Tskhovrebov (US), Alejandro Jaramillo (CO), Daniel de la Vega (MX))

During WINDOWS FAR AWAY, INNER SOUND, 10 artists from the American continent share their window views through skype and type in realtime a description of the corresponding soundscape. For that, each artist has a 25 mins slot of time, from 18:00 to 22:00 pm, Berlin time. The work opens a space for individual ways of expressing the perception of sound using the means of language (words, syllables, phonemes) and the possibilities of the medium (skype video-chat), as well as invites the audience to “listen with the eyes”, stimulating the so-called inner ear.

Artist website:

Topos: Concert & Talk: Sebastian Edin & Jens Settergren

Satuday 20th January, 9pm


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

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

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


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.