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: "Meine-Welt-Musik – 2. Symphonie" Op.148/2013 by Dieter Kaufmann
1 and 8 February: "Syria..as my mother speaks" by Christine Gedeon with sound artist Bent Bøgedal Christoffersen.
15 and 22 February: "outcry" for Bassbox loudspeaker installation, by Knut Remond
1 and 8 March: "MOSCOW - (M)y Swo(O)ning (S)ends out (C)old (W)armth", by Elisabeth Schimana
To hear on Sunday 1 and 8 March 2015, 2pm - 9pm:
(M)y Swo(O)ning (S)ends out (CO)ld (W)armth
Radioart (2005, German Premiere)
by Elisabeth Schimana
Loudspeaker installation, curator: Knut Remond
Elisabeth Schimana on 'MOSCOW':
a Love Story
Two years of living in Moscow and still it seems impossible to find the right words for this city. A city of contrasts, of overlapping and colliding systems. With unrelenting harshness. The droning sound of the subway gives way to winter landscapes of freshly fallen snow and their muted acoustics. Chimes amid the constant din of the city. Birds' twittering at the bird market and in the inner courtyards. Archetypical electronic instruments like the ANS synthesizer, rhythmicon and theremin. And the russian soul.
All sound material recorded by Elisabeth Schimana, 2001 to 2005
Sound engineers: Martin Leitner und Anna Kuncio
Produced by ORF Kunstradio
Relating to the question "sound activism" with which ohrenhoch deals in 2015, Elisabeth Schimana writes (Translated from German by K. Moos):
MOSKWA renounces language and still tells a very intimate love story
MOSKWA renounces any fashionably refined sound processing, the material remains raw and dirty and in this rawness of the sounds is the living thing
MOSKWA wanders acoustically through colliding systems
MOSKWA for some triggers a recognition, a social conjointness with the sounds, and for others an astonishment, a curiosity
Hearing MOSKWA can but doesn't have to be political, since WHEN and for WHOM does a sound get political?
has been working as a composer, performer and radio artist since 1983. She studied electro-acoustics and experimental music at the University of Music and Performing Arts Vienna, computermusic-composition at the IEM, Graz and musicology and ethnology at the University of Vienna. Her work concentrated for many years on space / body / electronic. She has ongoing cooperations with the Austrian Kunstradio. She also focus on research in the field of woman, art and technology. Founded IMA Institut of Media Archeology.
To hear on Sunday 15 and 22 February 2015, 2pm - 9pm:
by Knut Remond
Loudspeaker installation 'Bassbox': 'ohrenhoch, der Geräuschladen' Knut Remond
Knut Remond on 'outcry':
"outcry" is a personal piece, and at the same time it is within the context of the questions to "sound activism".
I have underlined two of the questions in the text "sound activism":
1. Fathom the agency of the acoustic.
2. How can I influence things to action(s) without operating with language?
The piece "outcry" came into being by chance, that is: with a piano I tried out some preparations for a sound-object basis for young pupils who are in the tight corset of the western classical music traditions and the so-called pop music and trapped in it.
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 is 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); 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, premiere at Philharmonie Berlin, awarded junge-ohren-preis 2010; '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).
ohrenhoch presents on Sunday 1 and 8 February 2015, 2pm - 9pm:
by Christine Gedeon
with sound artist Bent Bøgedal Christoffersen
Curator: Knut Remond
Loudspeaker installation: 'ohrenhoch, der Geräuschladen' Knut Remond
Christine Gedeon on 'Syria..as my mother speaks':
'Syria..as my mother speaks' is an interactive playable “string instrument”, connecting strands of wire to the architecture of the space, and when triggered, plays layered sounds and snippets of stories and conversations with Christine Gedeon’s mother (mainly in Arabic), centered around the war in Syria, her relatives there, and her mother’s memories before the war.
Working with Danish sound artist, Bent Bøgedal Christoffersen, where he layered these snippets of conversations against a backdrop of war sounds, chants, and traditional Syrian songs, this instrument plays as a harp where each string triggers different points in this sound collage.
Syria, once a country famous for its love of music has forcibly had the traditional sounds of music replaced with the violent sounds of this incessant battle. This musical instrument is used as an agent in transferring the stories and memories through sound while the collapsing of this country continues to be the soundtrack for the people.
Christine Gedeon was born in 1973 in Aleppo, Syria, moved to the U.S. in 1976, and lives and works in Berlin and New York City. Her work has explored architectural spaces and mapping using string and mixed mediums as installations, but has more recently taken a detour focusing her work on the war in Syria. Gedeon has shown at various galleries and museums internationally and has received grants and awards, including The Bronx Museum, NY, the A.I.R. Gallery, NY, Fellowship, and a grant from the Dave Bown Projects. Her work was written about in Art in America, Hyperallergic, and The Dallas Morning News, among others.
Bent Bøgedal Christoffersen was born in 1948 in Copenhagen, Denmark, and lives and works in Lövestad, Sweden. He is a contemporary sound artist, producer, musician, composer, sound painter and performer, using modern electronic sound equipment, field recordings, tools and analog instruments to create experimental music and sound art. He collaborates with artists in other fields of art, including actors, painters, and sculptors.
Page 1 of 9