To hear on Sunday 21 and 28 September 2014, 2pm - 9pm:
by Cathy Lane
Cathy Lane on 'Sweet Airs':
The wind is responsible for so many things in the Hebrides (remote islands off the west coast of Scotland). It hardly ever stops blowing. It has many characters and is accompanied by all kinds of other weather conditions. For a sound artist and composer making recordings in the islands the wind can be a curse, but it is more often a delightful carrier of the voices of people, animals, birds and things. These airborne sounds often come from far away, their source hidden from view, mysterious like the ‘sweet airs’ of Shakespeare’s play The Tempest - the sounds of a birthday party far across the island; sheep roaming the cliffs; people singing hymns together in a house; cows waiting to board the ferry to be sold on the mainland; snippets of a church service and the cries of different birds. The wind also has its own voices and activates the songs of other objects - gates, plants, leaves, fences. The wind is an accompaniment to all aspects of life on these unique islands.
Cathy Lane is a composer, sound artist and researcher. Her current interests include how sound relates to the past, our histories, our environment and our collective and individual memories; composing with the spoken word; field recording; listening; and how feminism and gender are manifested within sound art. Aspects of her creative practice have developed out of these interests and include composition and installation-based work with spoken word, field recordings and archive material. Books include Playing with Words: The Spoken Word in Artistic Practice (RGAP, 2008) and, with Angus Carlyle, In the Field (Uniformbooks, 2013), a collection of interviews with eighteen contemporary sound artists who use field recording in their work and On Listening (2013) a collection of commissioned essays about some of the ways in which listening is used in different disciplines. Her CD The Hebrides Suite was released by Gruenrekorder in 2013. Cathy Lane is Professor of Sound Arts at University of the Arts London and co-directs Creative Research in Sound Arts Practice (CRiSAP).
Curator: Knut Remond
Sundays 24 and 3 August
Sundays 7 and 14 September 2014
Live Stream on ohrenhoch.tv
2pm - 9pm every Sunday
The Soundgallery 'ohrenhoch - the Noise Shop' presents on 2 x 2 Sundays two different sound installations with the theme Ship: "Backbord ein Kolibri" by Martin Daske and "Tentacles" by Kg Augenstern (Christiane Prehn and Wolfgang Meyer).
24 and 31 August:
"Backbord ein Kolibri"
by Martin Daske
The sound installation was made in 1996, a sound-space-installation in all cardinal directions. "Backbord ein Kolibri" is a virtual ship voyage from Paris to Namur (Belgium) compressed to 50 minutes. Martin Daske mas made recordings of inland waterway vessels and watergates. The fixed loudspeaker installation by Knut Remond in the ohrenhoch shopwindow space is like tailor-made for this "circular" sound installation: The soundscapes wander in a circle according to the cardinal direction of the voyage.In the middle of the space a model ship is floating. Out of it fragments of a (fictional?) logbook are sounding.
Composition studies in the USA at Dartmouth College with Christian Wolff, in Krakow and at the Salzburg Mozarteum with Prof. Boguslaw Schaeffer. Alongside his more traditional compositions Daske developed a form of three-dimensional notation (“foliants“). In 2001 he founded the duo “Soundscrapers“ with the Berlin Philharmonic bassist Janne Saksala and in 2002, the duo “Die Klangschürfer“ (“The Sound Diggers”) with the vocal artist, Rainer Rudloff. Daske has created countless Hörspiele and other works for radio, sound installations, childrens’ Hörspiele, music for theater and film. Since 1989, together with Rainer Rubbert, he has been artistic director of the concert series "Unerhörte Musik" in Berlin. Daske has been running his own production studio since 1993: tribord studio.
7 and 14 September:
by Kg Augenstern (Christiane Prehn and Wolfgang Meyer)
The artist group Augenstern lives and works on the ship Anuschka since years.
In July 2014 the MS Anuschka left Berlin direction Paris and south of France to examine all the bridges it passes on the way, using tentacles installed on board turning the ship into a sensitive percepting and sounding laboratory.
There will be an audiovisual livestream from the ship Anuschka to the gallery space of ohrenhoch, where it is projected in an installative way, continuously from 2pm till 9pm. Quasi an adventure in which technical capsizing may certainly be expected...
Live stream from the ship on ohrenhoch.tv
Christiane Prehn, Wolfgang Meyer (Berlin)
The artist group Augenstern lives and works on the ship Anuschka.
Christiane Prehn: Dipl. bildende Künstlerin, Akademie der Künste Stuttgart. Bildhauerin, Filmregie. Zahlreiche Einzel- und Gruppenausstellungen und Preise im In- und Ausland
Wolfgang Meyer: Experimenteller Musiker, Klangkünstler, Videos, Filmmusik.
"Schiff 014 als Heterotopie" - a simultaneous text by Isabella Zamboni and Knut Remond, available at 'ohrenhoch, der Geräuschladen'.
To hear on Sunday 10 and 17 August 2014, 2pm - 9pm:
Sound Art by Margaret Noble
Created for ohrenhoch - The Noise Shop
Margaret Noble on 'Touch':
Touch is a composition of sensory disorientation. Sonic artifacts and accidentals are juxtaposed in audio collage from the recordings of hands touching objects and structures. Fingers drag down staircases, over floors, across walls and around crystal glassware in search of unexpected moments. Moving overlooked sensory moments to the foreground, the touching of objects isn’t neutral.
Born in Texas and raised in San Diego, Margaret Noble’s artwork has been exhibited across the United States, Canada and abroad in Europe. She holds a BA in Philosophy from the University of California, San Diego and an MFA in Sound Art from the School of the Art Institute of Chicago. In 2014, she won first place in the Musicworks Magazine electronic music composition competition. Margaret Noble’s work is influenced by the beat-driven dance culture of southern California during the 1980s. This inspiration led her to perform as an electronic music DJ in the underground club community of Chicago for several years during the late nineties. Now, her interdisciplinary work resides at the intersection of sound, installation and performance. Margaret Noble uses narrative form to investigate the real and imagined repercussions of legacies left behind by families, communities and technology.
To hear on Sunday 27 July and 3 August 2014, 2pm - 9pm:
by Alan Nakagawa
Alan Nakagawa on 'Conical Sound Test 1b' [26:53]:
Conical Sound Test 1b is a combination of field recordings of various interior spaces of Barcelona architecture by Antoni Gaudi and Los Angele’s iconic outsiders art, Watts Towers by Simon Rodia. Both used conical design throughout their work and I was striving to create a sound environment that plays with omnipresence and invisible architecture.
Alan Nakagawa has worked primarily in sound and has been creating audience participatory sound experiences for the past decade. Drawing from diverse influences such as the Integratron Sound Bath in Joshua Tree CA, the frequency cluster studies of 1930’s scientist Royal Rife or his fascination with ultra-sonic communication of bats and marine mammal, Nakagawa has created a repertoire of installations and sound works that breakdown and then expand our understanding of listening.
His primary sound sources are field recordings, analog effects boxes, oscillators, and his invention the Iso Cube which is a mini-isolation box that houses objects and allows him to processes odd textures and pseudo-rhythms using micro percussion which he loops and builds into what he terms as “thick chords”.
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