Curator: Knut Remond
Sundays 24 and 3 August
Sundays 7 and 14 September 2014
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.
Website Martin Daske
7 and 14 September:
by Kg Augenstern (Christiane Prehn and Wolfgang Meyer)
The artist group Augenstern live and work 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. Quasi an adventure in which technical capsizing may certainly be expected...
Link to Kg Augenstern
Knut Remond and Isabella Zamboni will compose a text to this double presentation "Ship 014".
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”.
To hear on Sunday 13 and 20 July 2014, 2pm - 9pm:
by Annabel Frearson
Annabel Frearson on "I" [10 min.]:
The sonic representation of nine words from Mary Shelley’s novel ‘Frankenstein’ (1831), which could be said to sum up the basis of the story, as well as the birth of subjectivity. The sounds are sampled from a recent filmic bastardisation of the story. ‘I’ also charts Frearson’s evolving familiarisation with sound editing technologies.
Annabel Frearson (b. 1968 UK) has participated in exhibitions and events including at Shiraz Artist House, Iran; Cafe OTO, IMT Gallery, Camden Arts Centre, LUX/ICA Biennial of Moving Images, V&A Museum, Whitechapel Gallery, London; Arnolfini, Bristol; Ikon Gallery, Birmingham; Haifa Museum of Art, Israel, and Sheppard Fine Arts Gallery, Reno, USA. In 2012 Frearson had a solo show at xero, kline & coma in London.Frearson studied modern languages at Bristol University and fine art at Central St Martin's (University of the Arts) and the Slade School, UCL. She has recently submitted a PhD in art practice at Goldsmiths College, London.
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