2015 / 2016
Since the beginning of 2015 'ohrenhoch, the Noise Shop' has been activating the theme 'Soundactivism'.
The manifesto WORDS 2016 - SOUNDACTIVISM by Knut Remond (Artistic director ohrenhoch) and Isabella Zamboni (art historian) is pinned on the wall at ohrenhoch from Sunday the 14th of February 2016.
- 4 and 11 January 2015: "Salt-Sculpting" sound installation by Martyna Poznanska (Germany, Poland)
- 18 and 25 January 2015: "Meine-Welt-Musik – 2. Symphonie" Op.148/2013 by Dieter Kaufmann (Austria)
- 1 and 8 February 2015: "Syria..as my mother speaks" by Christine Gedeon with sound artist Bent Bøgedal Christoffersen (USA, Denmark)
- 15 and 22 February 2015: "outcry" for Bassbox loudspeaker installation, by Knut Remond (Germany)
- 1 and 8 March 2015: "MOSCOW - (M)y Swo(O)ning (S)ends out (C)old (W)armth", by Elisabeth Schimana (Austria)
- 15 and 22 March 2015: "Black Ice" by Maggi Payne (USA)
- 29 March and 5 April: "Labor in the Territory of Hawaii, 1939" Installation for a single visitor, by Ludwig Abraham (Germany)
- 12 and 19 April: "Breathe Between the Lines / Atmen Zwischen Linien" - for Eric Garner, by Christopher DeLaurenti (USA)
- 26. April and 3 May: "Island" by Dean Rosenthal (USA)
- 10 and 17 May: "La rosa incarnata del suono" by Giuseppe Iacono (Italy)
- 24 May: "defeat" - audiodrama or psychosonic? - by Knut Remond (Germany)
- 14 and 21 June: "pájaro suelto" sound installation by Rubén D'Hers (Germany, Venezuela)
- 26, 27, 28 June and 5 July: "unerhört" by the ohrenhoch-Kids (Germnay)
- 12 and 19 July: "AGNES, TINA, LION & MATHIS" by Alois Späth (Germany)
- 26 July and 2 August: Extension "AGNES, TINA, LION & MATHIS" by Alois Späth (Germany)
- 9 and 16 August: "This Is For You (ohrenhoch, Berlin)" Tina M Pearson (Canada)
- 23 and 30 August: "Submerged: Silent Service" by Louise K Wilson (UK)
- 6 and 13 September: "Why is why of no stranger" by Stelios Manousakis (Greece)
- 20 and 27 September: "Democracy isn't just a Tweet away" by Shelly Knotts (UK)
- 4 and 11 October, on the 25th anniversary of German Unity: "Bring on the Magic of Coca Cola" for tape, by Knut Remond (Germany)
- 18 and 25 October: "Melbourne Calls" by Viv Corringham (UK)
- 1 and 8 November: "aus den Papierwerken 1" by Volkmar Klien (Austria)
- 15 November: "unlimited" by Knut Remond (Germany)
- 22 and 29 November: "Cynical Fragments" by Prune Bécheau (France)
- 6 and 13 December: "Preparations for an Imaginary Conflict" by Cathy Lane (UK)
- 20 and 27 December: "Sprachgerüste, Sprachgelüste" by Laura Mello (Germany, Austria)
- 3 and 10 January: "Ornaments II" by Ricardo Arias (Colombia)
- 17 and 24 January: "practice" by Yan Jun (China)
- 31 January and 7 February: piece without title by Patrik Lechner (Austria)
- 14 and 21 February: "thinking of you (fragments)" by Gaël Segalen (France)
- 28 February and 6 March: "smash cars, and LOVE" by Knut Remond (Germany)
- 13 and 20 March: "Tinnitus Studies" by Hui Ye (China, Austria)
- 27 March and 3 April: "El Pozo" by Cecilia Castro (Argentina)
- 10 and 17 April: "The Kitchen sessions: 4AM" by Sol Andersson (Sweden)
- 24 April and 1 May: "MÜNCHEN GOLLIERPLATZ" by Sylvia Necker (Germany)
- 8 and 15 May: "RHO" by Anna Stereopoulou (Greece)
- 22 and 29 May: "pars stridens" & "sublocation" by Daniel Lercher (Austria)
- 5, 12 and 19 June: "Scorched Earth" (ohrenhoch remix 2016) by Lauren Sarah Hayes
- At the Art Festival 48 Stunden Neukölln and on the ohrenhoch Sundays 3 and 10 July: "ACTIVE COLORIZE" by the ohrenhoch-Kids and Knut Remond
- 17 and 24 July: "cozy new gastfeindlichkeit" by Julia Mihály (Germany)
- 31 July and 7 August: "Kindernacht", or "The Night of the Children" by Gisela Frick Hassenberg (Chile)
- 14 and 21 August: "You Will Understand It, When You Come Alone" by Eric Dickson (USA, Berlin)
ALSO VISIT OHRENHOCH ON THE NEW 'COMPACT' WEBSITE ohrenhoch.berlin
To hear on Sunday 28 August and 4 September 2016, 2pm - 9pm:
by Tina M Pearson
With 'This Is For You (ohrenhoch, Berlin)' by Tina M Pearson ohrenhoch tries for the first time to repeat a presentation. It's a mini work in progress for ohrenhoch, Tina M Pearson and the visitors.
'This Is For You (ohrenhoch, Berlin)' was created by Tina M Pearson for the Sound Gallery ohrenhoch in August 2015, and was presented here. Those who missed 'This Is For You' now have the opportunity to hear the sound installation. For those who already heard it, 'This Is For You' can be an interesting repeating new discovery: it can mean for each individual that the present and the past, or the hearing and the heard in their complexity get related with the future.
In this context I quote Tina M Pearson for 'This Is For You': "...The perception of these audio sounds will vary depending on other sounds you hear, sounds you imagine and remember, sounds you make and how you are positioned and move through the galleries."
I am convinced that we need to percieve sounds more consciously to become more rebellious. Hearing is part of this movement because with its fineness and complexity it is a crucial factor for a new kind of enlightenment. In this spirit:
This is for you
Tina M Pearson on 'This Is For You (ohrenhoch, Berlin)':
This Is for You is a location-specific installation that reimagines the ohrenhoch gallery space as a multi-dimensional score for personal listening within a sonically activated environment.
A set of texts is presented along the walls of each of the three exhibition spaces, inviting visitors to consider many different ways to perceive and listen.
This Is For You engages with the subjective territory that conjoins passive and active listening with sonic imagination, enhanced by audio signals and subtle sounds that weave in and out of the threshold of audibility. These sounds are perceived uniquely by each listener, depending on the individual’s location, height, movement, auditory ability and state of mind. This effect leaves a rich “plus one” space for the listener’s own inner realization of the score.
This Is For You dismantles the idea of a homogenous listening or performance presentation for a passive audience, placing the installation experience within the control of the listener’s intentions and perceptions, into the stark realm of alone-ness – in birth, death, sensation, – as experienced individually, solo, from a singular perspective.
Here, perhaps each listener’s unique intimate inner sounds, sonic memories and imagination can form the basis for a wildly individual and deep sonic relationship with reality; including the present and past resonance of the ohrenhoch building location; with the rock, tree roots and earth it is built on; with the flora, fauna, waters, lands and sky of its biosphere.
This Is for You is informed by Tina Pearson’s preoccupation with listening and perception, including her work with attention states, breath cycles and verbal, graphic, and text scores in music composition; her 2012-2013 project A Year of 4’33” (weekly outdoor performances of John Cage’s iconic work), and by the Sonic Meditations of the American composer Pauline Oliveros.
Audio Field Reports nos. 1-51 / Soundactivism 1-30:
Interviews since January 2014 with the artists, concept, questions, design by Knut Remond.
Limited editions audio cassettes, each 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive).
Audio Field Report no. 34 / Sound activism 13: Interview with Tina M Pearson by Knut Remond. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop' (and can be heard there on headphone no.1).
Tina M Pearson (Canada) is a composer and performer whose projects engage spaces between places, cultures, genres and species, and between creators, performers and audiences. Pearson works in acoustic, electronic and telematic settings with conventional, found and invented instruments, and frequently develops works in community-based and site-specific contexts. Her works in new media, new music, dance and spoken word have been presented and broadcast in North America and Europe. Pearson was editor of the journal Musicworks and an instructor in Sound Art at OCAD University (Toronto). Currently, she creates and performs (flute, voice, accordion, glass, virtual instruments) with the global collective Avatar Orchestra Metaverse and with the Victoria, Canada group LaSaM.
To hear on Sunday 14 and 21 August 2016, 2pm - 9pm:
Interactive audio installation
by Eric Dickson
Eric Dickson on 'You Will Understand It, When You Come Alone':
You Will Understand It, When You Come Alone is an interactive audio installation, engaging the Ohrenhoch 2016 Soundactivism theme: “to what extent can we consider all of us as foreigners – as ‘others’?” As visitors move around the gallery’s basement space, they trigger motion detectors, thus unleashing a soundscape that ranges from birdsong to political speeches. The nature of this soundscape, however, is intentionally elusive. The basement space at Ohrenhoch is divided into two main chambers; a person exploring a given room within the space will only ever hear sounds emanating from the other room. If more than one person is detected in the space at any given time, the audio cuts out completely. Thus, a visitor who wishes to engage the installation must enter alone, and will never reach the source of any sound while it is being broadcast. As such, the visitor must remain an outsider throughout the course of the gallery visit, physically apart from the source of joyful sounds or straining to decipher marginally audible voices spoken at a distance. The installation thus invokes the alienating effects of some modern technologies, and also compels the experience of permanent exclusion as enforced by unknown, arbitrary rules. The relationship between visitors’ movements and the resulting soundscape is governed by a variety of computer algorithms; control of the installation passes back and forth among these algorithms, producing a shifting, unpredictable audio environment.
Audio Field Report no. 51 / Soundactivism 30:
Interview with Eric Dickson by Knut Remond.
Limited Edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and can be heard in the ohrenhoch archive on headphone).
Eric Dickson (*1975) is an installation artist and politics professor at New York University. Originally trained as a theoretical physicist, his academic work studies political societies from strategic and psychological perspectives: why are some authorities seen as legitimate, while others are not? Why do citizens believe what they believe about power structures and the world around them? His artistic practice probes related questions and explores the frontier between storytelling and installation art through interactive audio installations that embrace literary, technical, and site-specific challenges. He lives and works in New York and Washington.
Website Eric Dickson
To hear on Sunday 31 Juli and 7 August 2016, 2pm - 9pm:
by Gisela Frick Hassenberg
Gisela Frick Hassenberg on 'Kindernacht':
Kindernacht, or The Night of the Children is a 12’ composition inspired by the resilience of children who have faced and survived abuse from dictatorial states and warfare.
Kindernacht is arranged in three parts.
The first part is a processed bass-drone entitled The Invention of the Electric Barbed Wire (2’47”) and it is sourced from the initial magnetic silence of cassette tape. It was firstly processed as waveform in the shape of electric barbed wire and then pitch shifted in order to reach magnetic woofer sound.
The second part is entitled False March (3’03”) being a false march -or start- both in terms of general composition of the piece and also being a reversed sound archive.
The third part, Kindernacht: Guten Abend, Gute Nacht (9’25”) is a base organ and metronome improvisation with further arrangements of children’s choir voice samples of Chilean - German historical archives. It ends in otherworldly field recordings of whale songs -found in internet archive- as the voice of Nature overcoming the voices of violence.
This piece has been especially composed for Ohrenhoch, der Gerausladen Gallery located in Neukoln, Berlin and its sound design has considered the use of the cellar for playing The Invention of the Electric Barbed Wire and the main space for both False March and Kindernacht.
Audio Field Report no. 50 / soundactivism 29:
Interview with Gisela Frick Hassenberg by Knut Remond. Limited Edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and can be heard in the ohrenhoch archive on headphone).
Gisela Frick - Hassenberg (b. Santiago, Chile 1981) is a sound artist and poet temporarily based in London. She has participated in live improvisation concerts in Santiago and Valparaiso between 2012 and 2014, both in solo and group formats, and played live in the Apiary Studios in London. Her work is part of compilations of Michita Rex Netlabel, Ratordog Netlabel and found in the internet archive as Creative Commons material for free use. Her compositions have been broadcasted in Resonancias Radio in Spain and FSK Radio Hamburg. With a continous development in sound collage, graphic composition and improvisation, she is currently investigating the paradoxes and harmonies between the abstract and the narrative in sound through processed and raw sources.
Website Gisela Frick Hassenberg
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