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
ohrenhoch presents on Sunday 29 March and 5 April 2015, 2pm - 9pm:
Installation for a single visitor
by Ludwig Abraham
Ludwig Abraham on 'Labor in the Territory of Hawaii, 1939':
Working with different accoustical triggers, on the question if one sound or an accoustic environment can provoque a certain reaction, how these reactions manipulate and can be manipulated. Recordings of abandonend halls and swimming pools, basements and living rooms, spaces people live in and some that have been forgotten. Interviews and actions in these rooms. Montage, recontextualizing, sound design.
„The word Hawaii, to the average person, conveys two ideas — a tourist paradise, and a powerful national outpost. Although these impressions are not incorrect, they are decidedly incomplete. The purpose of this ______ is to portray an aspect of these islands concerning which there are many misconceptions. It has to do with significant features of the economy of the islands; with the relations between those who live there and the basic industries, and, in particular, with statistical details regarding wages, hours, and working conditions.“
This piece is supported by Georg Neumann GmbH.
Ludwig Abraham lives in Essen, develops actions, music, text and pictures. Focus on context, performativity, disturbance, pop. Studied Arts, Music and Media at Philipps- University Marburg, instrumental and electronic composition at Folkwang University of the Arts. Since 2012 part of NEUER TANZ as performer, composer and sound engineer, touring across europe an beyond (for example Stadsschouwburg Amsterdam, Théâtre de la Ville Paris, Théâtre National de Bretagne). Own pieces at the ZKM Karlsruhe, Staatstheater Darmstadt, Cité Internationale Universitaire de Paris, Folkwang Museum in Essen. In 2015 concerts in the USA and England. Artistic director of the group Wald.
To hear on Sunday 15 and 2 March 2015, 2pm - 9pm:
(2014, European Premiere)
by Maggi Payne
Loudspeaker installation, curator: Knut Remond
Maggi Payne on 'Black Ice' [20 min.]:
Although I’ve used bits and pieces of sounds I created using the Moog synthesizer in my recent work from time to time, I had an overwhelming urge to escape into the Moog IIIP studio at Mills College in mid-December to spend some quality time generating sounds to a pair of Sound Devices. It‘s fascinating to me just how flexible that instrument is.
As with any fine instrument, it fundamentally remains the same, but the way one approaches the instrument changes considerably over time. Its open architecture has allowed quite varied aesthetic and technical approaches to the instrument over the decades since it was first built.
This work is an exploration of space and time, and especially of depth and height. Layers frequently shift, as demonstrated in the beginning where crackling is so present—almost seeming to emanate from the listener. The underlay provides a distanced atmosphere, almost a nebula, that moves towards, through, then past the listener, passing through the crackles while modifying their molecular structure and turning them to mist as they slowly recede.
All of the sounds are generated by the Moog. Many are raw; some are further actively eq’d to provide a further dynamic quality to the work.
Relating to the question "sound activism" with which ohrenhoch deals in 2015, Maggi Payne writes:
"Sound activates the space that we, and other animals, occupy. It provides an ever-changing atmosphere that we experience in varying degrees, according to how attentive we are to the sonic environment in which we exist. Sound activates the mind, the imagination, the creativity within us, and in a way, brings us all together in the sonic space that we share. It enriches our lives, even when we’re overtly unaware of its existence."
Composer, Recording Engineer, Flutist, Video Artist
Maggi Payne is Co-Director (since 1992) of the Center for Contemporary Music at Mills College, Oakland, CA, where she teaches recording engineering, composition, and electronic music. She also freelances as a recording engineer and editor and a historical remastering engineer.
Her electroacoustic works often include visual elements which she creates, including video, dance, transparencies, and film. She enjoys collaborating with other artists and has worked with video artist Ed Tannenbaum for over twenty years. She is also a flutist, and has written several works for flute as well as other acoustic instruments.
She has had performances of her works throughout the Americas, Europe, Japan, and Australasia. She received two Composer's Grants and an Interdisciplinary Arts Grant from the National Endowment for the Arts and video grants from the Western States Regional Media Arts Fellowships Program and the Mellon Foundation. She received four honorary mentions from Bourges, and one from Prix Ars Electronica, and was an Artist in Residence at the Exploratorium in San Francisco and the Montalvo Arts Center in Saratoga, CA.
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.
Page 1 of 9