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
ohrenhoch presents on Sunday 18 and 25 January 2015, 2pm - 9pm:
(Op.148/2013, German Premiere)
by Dieter Kaufmann
Dieter Kaufmann on 'Meine-Welt-Musik' [35:00]:
A sound journey through countries and times with original recordings from France, Sweden, Iceland, Egypt, Algeria, Taiwan and Austria, music from different times and cultures (Schumann, Dufay, Codex Montpellier, muezzin calls, swedish quatrains), languages of men and animals (water birds, hen house, crows, goats), wind and water. The simultaneity of the anachronistic, the simultaneousness of the incompatible, the multiculturality through times and spaces. How modest are Schumann's Scenes from Childhood (Of Foreign Lands and People)! With one single melody the child sets forth to discover the world. Laden with the garbage of history it goes back, grown older. A musical audio play.
Relating to the question "sound activism" ohrenhoch deals with in 2015, Dieter Kaufmann writes:
"foreign – familiar"
The sounds of my world may be foreign for others.
I express this process of alienation with the familiar by means of technical "exaggerations" (detuning, accumulation, sharpening...), time after time.
My wish is to contribute through "meditative" hearing to accepting the foreign, and through critical hearing to distance from the familiar.
[Translation from German: Katharina Moos]
1941 born in Vienna, grew up in Carinthia, studied composition and electro-acoustic music in Vienna under Karl Schiske and Gottfried von Einem and in Paris under Olivier Messiaen, René Leibowitz, Pierre Schaeffer and François Bayle. From 1970 to 2006 Kaufmann has taught at the University of Music and Performing Arts of Vienna two master classes, one in composition (since 1990) and one in electro-acoustic composition (since 1997). Since 2001 he has been president of the Society for Composers’ Mechanical Rights, Austro-Mechana.
In 1975 with his wife Gunda König he founded the „K&K Experimentalstudio“. This musical theater ensemble has made numerous tours in Europe, North and Latin America, Egypt and Taiwan. From 1982 – 87 K&K had its own series on ORF, Austrian state radio: „What shall I do with the sound in my hand?“
Kaufmann has composed works in several fields of music: chamber music, symphonic music, vocal music, musical theatre (six operas and number of multi-media works), electro-acoustic music and live electronic music as well as in the applied arts. He has won numerous national and international prizes, including Ernst Krenek Prize of the City of Vienna, the Prix Magisterium de Bourges/France, the Carinthian Kulturpreis and the Music Award of the Republic of Austria.
ohrenhoch presents on Sunday 4 and 11 January 2015, 2pm - 9pm:
(A Tribute to Max Eastley)
by Martyna Poznańska
Curator: Knut Remond
Martyna Poznańska on 'Salt-Sculpting':
Salt plays several different roles on the earth, in nature and in human life.
It can be a powerful destructor or a preservation aid, a savior, or a cure.
The glass tube contains the salt solution. The motor vibrates the string creating a drone. While the water evaporates throughout the days, the string gradually becomes a skeleton for the salt crystals to grow all over it.
This sound installation explores the process of transformation and change of the state of matter.
Allowing the liquid to evaporate from the salt solution, the growth of the salt crystals is enabled.
What seems to appear as dying/decaying is actually just a process of transformation into a new form. The salt elements gain their bodily presence. The particles previously convoluted individually in the solution, now intertwine strongly with each other creating a new force in the unity of the crystals.
The Salt-sculpting installation has been re-created in response to ohrenhoch-der Gerauschladen theme of the year 2015 - sound activism. The process of transformation enabled within the installation serves as a micro-scale observatory in which the visitor not only observes but also influences the process. Presence of the body in the space, every breath, movement or sound triggers a mutual exchange, contributes to the process of salt-sculpting. The change is not instantaneous or sudden it remains in the growth, it needs the right amount of time, it needs the right conditions. It is not spectacular but it emerges gradually. It leads us to the origins of the act of participation (lat. participare - to take part) and being in the world. In contrast the simultaneous solidification and fracture of personal and collective identity, and the advance of technology and bureaucracy combined with an increasing philosophical skepticism towards truth and subjectivity we experience nowadays.
The Salt - Sculpting is a combination of the fragility of sound and the strength of the crystal. It reflects upon power and vulnerability, gain and loss. It's an introduction to the poetics of change.
Special thanks to: Kris Poznanski, Jakob Motter, Dirk Zozmann, Hans Peter Kuhn, Peter Cusack, Ecki Guether and Thomas Eisl .
Martyna Poznańska is an artist who works with sound, image and performance. Her research focuses upon performative noise reduction, industrial and urban atmospheres (field recordings practice). In her installations she investigates the themes of remembering and forgetting, growth, decay and tranformation.
She studied voice at the Laboratory of Olga Szwajgier and Sound Art at The University of the Arts London. Currently she's a student of MA Sound Studies at the University of The Arts Berlin.
Commissions include Spor Festival 2013 (Dk), AudioArt Festival 2012 (Pl) and dance sound-scores for The Place (London), Dam Van Huynh Company. She has also shown her works at the ORF Graz (Au), ohrenhoch-der Gerauschladen in Berlin, Deutsche Oper Berlin.In 2013 she was the recipient of a grant from the Polish Ministry of Culture.
She lives and works in Berlin and London.
To hear on Sunday 14, 21 and 28 December 2014, 2pm - 9pm:
by Neele Hülcker and Elisabeth R. Hager
Curator, loudspeaker installation: Knut Remond
'ohrenhoch, der Geräuschladen' has been presenting up to now three times in 2013/14 the project "TAGE", a lifetime project by Neele Hülcker and Elisabeth R. Hager.
Neele Hülcker and Elisabeth R. Hager bound themselves by contract on the 25.5.2011 to pronounce the date every day making a sound recording of this act up to their death. Over the days, months, years, the lifetime project "TAGE" leaves soundtraces of two friendly lives. TAGE is a study on the aging process of the voice and - in the most general sense - an audibilisation of lived time.
At the upcoming presentation on 14, 21 and 28 December the vocally retained TAGE (DAYS) will sound in the ohrenhoch cellar over a special loudspeaker installation.
Born in Hamburg in 1987.
Works in fields of sound art, music theatre, performance, instrumental and electronic music. Has others play and plays herself. Builds situations, actions, interventions and installations. Cooperation with Ensemble ascolta, Ensemble Garage, Ensemble Radar, mam. Manufaktur für aktuelle Musik, Astrid Schmeling, Eva Zöllner, Matthias Kaul, Frauke Aulbert, Carola Schaal and Elisabeth Hager.
Performances at Wittener Tage für Neue Kammermusik, Wien Modern, Blurred Edges Festival Hamburg, Klangwerkstatt Berlin et al.
Website Neele Hülcker
Elisabeth R. Hager
* 21.10.1981 in St. Johann in Tirol (Austria).
2000 - 2004: Comparative, German & Philosophy studies in Innsbruck, Aix-En-Provence & Berlin | 2005 - 2007: Studies of Applied literary criticism at Freie Universität Berlin. During her studies & after activities on the radio, as a journalist & assistant director in different theatres in Innsbruck, Marseille and Berlin & first shorter texts.Time after time longer journeys, specially to Africa. Since 2010 organization of the intermedial stage taking place at irregular intervals "Avantgarden of Eden!".
In spring 2012 her debut novel KOMETEN was released by Milena Verlag. Besides writing she works for and is interested in sound art and dance. Since 2010 she is active as a freelancer at the radio play department of Deutschlandradio Kultur.
Digitale Repräsentanz von Elisabeth R. Hager
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