2015, ohrenhoch der Geräuschladen
We are pleased to inform you that in 2015 'ohrenhoch der Geräuschladen' will deal with the question "Sound activism" in the most diverse facets, and thereto will make signals like:
What can sound activate?
Does ist have to be political?
Is language unavoidable?
Fathom the agency of the acoustic.
A hearing enlightenment.
(Excerpt from the text "Sound activism" by Knut Remond and Isabella Zamboni)
Martyna Poznanska will be starting on Sunday 4 and 11 January 2015 with her sound installation "Salt-Sculpting", which is special also in the sense that it will be present at ohrenhoch throughout the year 2015.
18 and 25 January 2015: "Meine-Welt-Musik – 2. Symphonie" Op.148/2013 by Dieter Kaufmann
1 and 8 February 2015: "Syria..as my mother speaks" by Christine Gedeon with sound artist Bent Bøgedal Christoffersen.
15 and 22 February 2015: "outcry" for Bassbox loudspeaker installation, by Knut Remond
1 and 8 March 2015: "MOSCOW - (M)y Swo(O)ning (S)ends out (C)old (W)armth", by Elisabeth Schimana
15 and 22 March 2015: "Black Ice" by Maggi Payne
29 March and 5 April: "Labor in the Territory of Hawaii, 1939" Installation for a single visitor, by Ludwig Abraham
12 and 19 April: "Breathe Between the Lines / Atmen Zwischen Linien" - for Eric Garner, by Christopher DeLaurenti
26. April and 3 May: "Island" by Dean Rosenthal
10 and 17 May: "La rosa incarnata del suono" by Giuseppe Iacono
24 May: "defeat" - audiodrama or psychosonic? - by Knut Remond
ohrenhoch presents on the theme 'Sound Activism'
on Sunday 24 May 2015, 2pm - 9pm:
audiodrama or psychosonic?
by Knut Remond
With exhibition of the score
Knut Remond on 'defeat':
The so-called compositional technique originates in a spiderweb or a conjunction of digital new media and music composition software. Working as an artist today with a laptop as a tool one is quasi immediately or simultaneously in a digital flood of news, moving in a cluster of (mass) information. I find it interesting that today as a composer or artist, with digital technique one consciously, unconsciously or automatically is in a journalistic, researching context. The question is: are we informed better, more extensively, and in a more enlightened way in this digital era?
I describe "defeat" as "doc. sound" (documentary sound).
From a mixture of rage and experiment the digital (copy and paste) piece "defeat" resulted in 2011. It was a research on the Iraq War instigated by the USA and the coalition of the willing, and on the procedure of American soldiers in Iraq with children in particular. The embargo imposed on Iraq particularly struck children. Also the napalm derivative M-77 was used.
In hindsight, different scientists in the USA investigated the behavior of the US media during the Iraq War. Sobering result: While critics of the US war practically couldn't get a word in edgewise, the US media uncritically for the most part took on the contents given by the Pentagon.
The documentary material for "defeat" are mobile phone video recordings by US soldiers educating Iraqi children with, for instance, footballs, chocolate and soft toys. I TOOK OFF THE SOUNDTRACK FROM THE PICTURES AND CUT IT UP.
'Audio Field Reports' nos.1-30 (since Januar 2014): Interviews with the composers by Knut Remond. Ltd. Ed. audio cassette, each 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard there on headphones).
Booklets 2012 - 2013: Interviews with the composers and illustrations by Knut Remond, program notes, biographies, Ltd. Ed. each about 10 copies, accessible at the ohrenhoch archive 'potato'. Single booklets still available.
Composer, performer, multimedia artist. Founder, artistic director and curator of the soundgallery 'ohrenhoch, der Geräuschladen' in Berlin-Neukölln – a presentation form of electronic and electroacoustic music, in combination with a sound-architectural space concept. Founder, director and mentor of the 'ohrenhoch-Kids' – school or research center for electroacoustic music and sound installation for children from 5 to 14 years.
Knut Remond has been active internationally in contemporary, experimental and improvised music, as composer, performer, and sound installer. He created numerous musical and multimedia works, electroacoustic, instrumental and for voices, including:' Menschenhauttrommel' (1985); "Siegfried" by Richard Wagner (1989) Installation/Performance; the trilogy COSMICS Vol.1-3 (1992-2000); "Physische Körper" for Tanzensemble Cathy Sharp (2000); compositions commissioned by X-Quartett and Ensemble Phoenix Basel (2006, 2009); "Erhebe Deine Stimme", oratorio to the German Unity (2010), developed and performed with young students from Berlin schools, premiered at Philharmonie Berlin; 'defeat' (2011), audiodrama or psychosonic?; "deil's apartment" (2012), Soundroom design; "Hören+Kunst=Revolution" (2013), spoken presentations with an electroacoustic mix of quotations from Eric Satie to Allan Kaprow; "killAmor" (2014); "Holy Bunny" (2014).
He is inventor, designer and director of the workshop-app-soundinstallation project "Social Sound Organism" commissioned by Theater St. Gallen (2015).
To hear on Sunday 10 and 17 May 2015, 2pm - 9pm:
(2014, German Premiere)
by Giuseppe Iacono
Loudspeaker installation, curator: Knut Remond
Giuseppe Iacono on 'La rosa incarnata del suono':
A purplish and sinuous resounding nebula, dreamlike and fragile, and a collection of distorsions with violent and sharp signs, an alphabet composed of silver and bronze characters, clinking coal splinters, at times a smutty, dense, fine dust.
On the backdrop are barely visible the real sound sources of these two opposing substances: a ship’s metal gate scratching the dock of a pier and the string of a violin, played with deep pressure at ten vulnerable points.
The unfolding of the reaction coming out of this heterogeneous matter and its microscopic exploration goes along with three images (ropes in tension, pulleys, bees and street scenes) without the purpose of telling a story. Rather, the pleasure induced by their mutual contact is an end in itself.
'Audio Field Report no. 30 / sound activism 9':Interview with Giuseppe Iacono by Knut Remond, based on the questions to 'Sound Activism' by Knut Remond and Isabella Zamboni. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop' (and can be heard there on headphone no.1).
Special: Interview leaflet with further questions to Giuseppe Iacono by Knut Remond.
Giuseppe Iacono graduated in 2001 in Violin at the Conservatory of Naples, Italy, with Gabriela Drasarova and Aldo Matassa.
In 2003 he graduated in Composition at the Conservatory of Naples, Italy, with Paolo Rimoldi.
He also attended several Masterclasses in Composition with composers such as Ivan Fedele, Alessandro Solbiati, Claudio Ambrosini, and a Violin Masterclass at the “Scuola Civica” in Milan with Carlo Feige.
From 2002 to 2005 he studied Electronic Music at the Conservatory of Como, with Giovanni Cospito.
In 2006 he attended the Sonology Course at the Royal Conservatory in Den Haag, The Netherlands.
Giuseppe Iacono has collaborated with the filmmakers Reynold Reynolds, Silvia Schedelbauer, Vanessa Woods, Samantha Clark.
The video Way fare (directed by Sylvia Schedelbauer with music of Giuseppe Iacono) received the award for “Best Sound Design” at the Ann Arbor Film Festival, USA.
In 2011 he participated in the “48 Stunden Neukoelln” Festival, Berlin and in the “TransMediale – Art&Digital Culture Festival”, Berlin.
In the same year he followed a Violin masterclass at the UDK, Berlin, with the violinist Mo Yi, assistant of Nora Chastain.
In 2014 he partecipated with an audio installation and a violin performance to the exhibition by Italian sculptor Giovanni De Angelis at the Aragonese Castle, Ischia (Italy).
Giuseppe Iacono regularly performs in duo with piano and organ, or in several kinds of ensembles.
To hear on Sunday 26 April and 3 May 2015, 2pm - 9pm:
(2015, World Premiere)
by Dean Rosenthal
Loudspeaker installation, curator: Knut Remond
Dean Rosenthal on 'Island':
What you are hearing in 'Island' is an excerpt, a study really, in preparation for a much longer piece, also named Island, the composition of which is now underway. Island explores the history and community of the island I live on, Martha’s Vineyard. In America and around the world, Martha’s Vineyard is famous for hosting presidents and celebrities in their vacation time, and also provides a spot for the well-off and wealthy of the world to hang their hat when they want to escape everyday life.
The year-round community who call Martha’s Vineyard home has an often separate existence and contains a richness that visitors rarely see and that richness and lore is the subject of Island. I interviewed a number of year-round residents, asking each the same three questions: What brought you here? Why do you stay? Do you have a story to tell? I also went around the island recording sounds from wherever I could. In the end, Island is a narrative of the island community and of island sounds that forms the lasting and unique connection that we as year-rounders experience as we live here on the island and the aural and spiritual landscape that is Martha’s Vineyard.
Relating to the question "sound activism" with which ohrenhoch deals in 2015, Dean Rosenthal writes:
Sound Activism is for me something that all sound is striving for – whether or not it is social or political, sound reaches out to others to bring us together, push us apart, pull us into solitude, or lead us to an intellectual and emotional space for us to contemplate or weep or jump for joy or reinvigorate us; things like that, both experiential and a-priori.
As a composer, when I activate music, it's almost as if I'm merely translating something that has already existed and forever will exist. My work often is driven by musical ideas that I find outside of myself. Finding these musical ideas usually appears to me without provocation and so the element of sound activism is less influential as an intellectual or aesthetic modality than the sound activism I find in my personal experience of community, but also acts of inspiration tempered by logic.
Dean Rosenthal works with found objects and mathematical formulas in his work as composer. His pieces have instrumental works, often focussed on natural observations of properties in mathematics such as perfect tilings, combinations, and permutations, field recordings, text scores, and digital pastiche. Dean Rosenthal serves as a co-editor of The Open Space Web Magazine and contributing editor to other Open Space publications. His works are performed, broadcast, choreographed and installed internationally, primarily in North America and Europe.
['Island' is supported in part by a grant from the Martha's Vineyard Cultural Council, a local agency which is supported by the Massachusetts Cultural Council, a state agency.
The ohrenhoch Sundays 2015 are supported by Initiative Neue Musik Berlin e.V. and Konzert des Deutschen Musikrates]
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