WOW Jubilee I / Ethiopia
December 2019 – 31 January 2020
is an intervention in an exchange between physical and virtual space,
physically in partnership with
http:// a d d i s v i d e o a r t f e s t i v a l .n e t/
Addis Video Art Festival intends to provide a platform for innovative video art in Addis Ababa, Ethiopia.The festival will screen throughout the city in a variety of locations including street corners, rooftops, public centers and art centers. By sharing video art in both conventional and non-conventional settings, the festival will reach both the artist community and the everyday passerby. The festival aims to create a dialogue between local, and international artists by encourag-ing digital media culture.
Initiated by Ezra Wube and his team Betelhem Mekonin (Artist . Ethiopia / U.S.A.), Celeste Ricci (Curator . Italy), Chiara Cartuccia (curator/ Artist . Italy), Dagrun adalsteinsdottir (Artist/ Curator . Iceland), Kibrom Gbremedhin (Artist/ Educator . Ethiopia / U.S.A.), Mihiret kebede (Artist / Curator . Ethiopia), Robel Temesgen (Artist . Ethiopia), Portia Malatjie (Curator . South Africa) and William Corwin (Artist/ Curator . U.S.A.)
presenting the video art programs by 5 international curators
selecting - Agnès Quillet, Jonas Schloesing, Johanna Vaude, Sigfried Bréger, Les Sœurs H
Je est un autre / I Am Someone Else – curated by Simone Dompeyre
– Agnès Quillet, Paysage, 2008, 00:59)
– Jonas Schloesing, Je ne suis personne (05:55)
– Johanna Vaude, Inner Stranger, 2012, 05:00)
– Sigfried Bréger, Catleyas, 2014, 07:01
– Les Sœurs H, La Vie de Fraulein Erzebeth est une sorte de chaos organisé, 2012, 12:01 )
Agnes Quillet – Paysage (2008, 00:59)
Little girl body’s is an image, landscape is her body. Silence. Found footage, editing: Agnès Quillet
During she studied Fine Arts, she discovered the video medium. In 2008 she is graduate of the Art school of Aix-en-Provence with her video work. After releasing some video installations for experimental video festivals and some short experimental movies, she works now with theater and dancer company between France and Mali.
Jonas SCHLOESING – Je ne suis personne (05:55)
Johanna VAUDE – Inner Stranger (2012, 05:00)
Like an introspection, « Inner Stranger » explores, through Leonardo DiCaprio’s dialogues and acting, the psychology of the modern man being a prey of his doubts and fears. The crossing through the inner hardship will guide us to a last survive instinct. « Inner Stranger » is also a tribute to Leonardo DiCaprio work.
production: Blow Up Arte and CAMERA LUCIDA – Sound design and editing: Johanna Vaude
Johanna Vaude – Artist and film director, creates eclectic and hybrid movies. Her career reveals wide influences, starting from a background knowledge in fine arts and experimental cinema which she extends to new technologies. Produced out of the traditional ways, her films are subject to specific focusses and obtained critical recognition. ARTE, the french-german cultural channel, has produced a portrait of the artist for its Court-Circuit program. She was allowed a Carte Blanche at the Cinémathèque Française on her research about hybridization : « Transplant, fusion, heredity : hybridization and new technologies according to Johanna Vaude. » followed by an edition of the « Hybride » DVD. Since 2011, Blow Up Arte, webzine dedicated to cinema, gives her Carte Blanche on a regular basis on various themes and directors. Johanna Vaude is laureate 2016 of the Prize label image awarded by the Passeurs de Lumière at the SCAM.
Siegfried BRÉGER – Catleyas, 2014, 07:01
It could be Vinteuil’s musical sentence brought up by Marcel Proust in « In Search of Lost Time : Swann’s Way ».
Directed by (image, sound, editing): Siegfried Bréger / Production: Siegfried Bréger
With the participation of: Valentine / Thanks to: Marion Hermouet / Cited autors: Marcel Proust, “Un amour de Swan” dans «Du côté de chez Swann » / Aleksei Fedorchenko, “Ovsyanki” / Claude Chabrol, “Le beau Serge”
Siegfried Bréger was born in France in 1971, and currently lives and works in Nantes. Video artist and filmmaker, he studied at the academy of the Fine Arts of Rennes in Rennes and then in Le Fresnoy, National Studio. For about fifteen years, he creates films from which arise a real poetic sensitivity to words, images, human consonances and disonances. His relation to poetry, to literature, is deep, extremely personal, marked with a melancholia expressed with both sophistication and violence. Those “poem-films”, very symbolic, succeed in avoiding classifications, and their singular style is also the result of a entirely independant creation process.
Les sœurs H – La Vie de Fraulein Erzebeth est une sorte de chaos organisé, 2012, 12:01
Fraülein Erzebeth’s name is rather outlandish. She is something of a fright too. In a strange / low-brow / English-French she conveys to us a childhood memory that is as weird / poetical / as it is tasteless. Doubts linger on, while the unspoken steals inAnd our imagination insidiously steals into the gaps of this story
Directed by: Les sœurs h / music: Clara de Scott Walker
Les sœurs h are two sisters : Isabelle Henry Wehrlin and Marie Henry.
The former is a video artist and lives in Switzerland. She is a graduate in photography of Ecole nationale supérieure des arts visuels de La Cambre (Brussels, Belgium) and has produced several video films which have been presented in international festivals in Europe. The latter is a playwright and lives in Belgium. She is a graduate of Institut National Supérieur des Arts du spectacle (Brussels, Belgium), a former member of the late “Groupe Toc” and was awarded the Prix Triennial de Littérature Dramatique in 2010. Her plays have all been published by Editions Lansman.
As daydreaming teenagers les sœurs h soon realized they would never be able to do anything to eradicate famine in Africa, or fight injustice anywhere in the world, or for that matter have any leverage in politics in general. Gradually turning in on themselves, they soon developed a particular taste for the trifles of life. Spending their days in wistful languor, shunning reality, they came to prefer the show, the formal, the fake, the specious, the spurious to the real. In an assertive, cliché-ridden rendering of everyday life, les sœurs h love mixing and opposing their respective arts by disturbing the narrative codes of writing and image.
selecting - Ansuman Chakraborty, Madhuja Mukherjee/ Epsita Halder, Utsab Chatterjee, Sudipto Basu, Chandan Biswas, Nilim Bose, Laboni Chatterjee, Bappaditya Das
City of Dread – curated by Madhuja Mukherjee (India)
Ansuman Chakraborty (India) – Ismail, 2018, 10.32
Madhuja Mukherjee/ Epsita Halder (India) – RE-TAKE, 2008, 02.33
Utsab Chatterjee (India) – Grain, 2018, 05:58
Sudipto Basu, Chandan Biswas, Nilim Bose, Laboni Chatterjee, Bappaditya Das (India) – Tracts of Dust, 2018, 27:00
Madhuja Mukherjee studied Literature and Cinema at Jadavpur University, Calcutta, India (1992/1997). She did research-programme in Social Sciences (1997-98), and received her Ph.D degree in 2008. Madhuja has done formative research on Indian film industry, technological transformations, urban spaces and cultures, and on issues of genre, gender and labour..
Sudipto Basu, Chandan Biswas, Nilim Bose, Laboni Chatterjee, Bappaditya Das (India) – Tracts of Dust, 2018, 27 min.
Credits: Ideation: Sudipto Basu and Bappaditya Das / Location Sound: Archisman Mukherjee / Sound Mixing: Bappaditya Mondal / Sound Design and Edit: Bappaditya Das / Location Support: Raja Alam / Produced by: Dept. of Film Studies, Jadavpur University, Kolkata.
‘Rajarhat’ (also known as ‘New Town’), located on the Eastern fringes of Calcutta, was built through several decades by swallowing up marshy land, and thereby threatening an entire eco-system. ‘New Town’ was planned as a smart city to be fitted with a high-end infrastructure and to be occupied by global tech/finance corporations. This would in turn feed a luxury housing market. However, like all smart cities built upon the whims and speculations of global finance, the projected plans fell through, leaving in its place a largely unoccupied township that is caught between two absent futures. The landless peasants who tilled the land for long have been displaced with little compensation: some pushed inwards towards the city, some further out towards the Sundarbans (the mangrove forests).
Sudipto Basu, Chandan Biswas, Nilim Bose, Laboni Chatterjee, Bappaditya Das, and others
Brought together by the pure contingency of collaborative coursework, the collective that made Tracts of Dust nonetheless united through a shared interest in the almost sci-fi sensory landscape of Rajarhat, a commitment to capture its strong sense of absence and placelessness. We chose the long-take form not only because it would allow this sense to emerge, but because it allowed us to work around individual aesthetic differences through a database-logic of accumulation and permutation (shoot first, arrange later). Tracts had in that sense no author; it is a film that could have been made possibly by anyone at all.
Ansuman Chakraborty (India) – Ismail, 2018, 10.32
Story/ Screenplay/ Visual Design/ Voice: Ansuman Chakraborty / – Edit: Vishal Tripathi, and Utsav Dan / Made on a Project Development Grant awarded by: German Consulate, Kolkata
Music and Song sourced and ‘quoted’ from: ‘Sarabande’ by Joseph Friedrich Haendel, ‘Finlandia’ by Jean Sibelius, ‘Flight of the Bumblebee’ by Nikolai Rimsky-Korsakov, ‘Lehron pe Lehar’ (Film: Chhabili, 1960 Singer: Hemant Kumar)
This is a story of ‘Ismail’, an unemployed, single, aging person, who eventually falls prey to the ever expanding drive of ‘Development’. Ismail is the residue of the contemporary imaginary spaces called ‘Modern City’. Ever since his arrival, and despite his failing health, Ismail kept on shifting from one odd job to another. Finally he obtains a temporary job in a cyber café — situated somewhere at the southern fringe of the city. At the time Ismail secured this job, the nearest Metro station was far away the cafe. Hence, he was allowed to leave early. On his way back home, towards North of Calcutta, he would roam across the city observing things. However, as the Metro lines expanded unto his workplace, his early exit was barred. As Metro Rail extended its routes, so did ‘Capital’ investments. Eventually, the small, make-shift, insignificant cyber cafe became as much futile as various other trades, animals, birds and Ismail. Ismail’s failure to cope with the new order is an inevitable one. Neither he deserves odes that were usually granted to Working Class Heroes nor does he claims any such thing. Only imaginary birds from his reverie arrive to perform his Swan Song. Ismail by no means, is skilled worker/labourer, nor does he put in much effort to be called so. He prefers observing things to his work and re-posits, re-orders and re-mixes them in his imagination in order to create an Almanac: an Almanac about his bonding with the city, his sense of loss and death and history as he witnessed it. This unique film comprising painted frames, and a fervent voice-over done voice-over by the artist, is as much a personal story as it is a political narrative of social change.
completed BFA in Art History from Kala Bhavana, Viswabharati University in 2003 and obtained Diploma in ‘Direction and Screenplay Writing’ from S.R.F.T.I , Kolkata in 2007. He worked in production houses, TV channels situated in Kolkata and Delhi. Wrote screenplays for four Bengali Tele Films and two Bengali Feature Films and kept on making drawings, paintings and graphic novelettes alongside.
Madhuja Mukherjee/ Epsita Halder (India) – RE-TAKE, 2008, 02.33
Direction: Madhuja-Epsita / Cast: Rupsa Sen / Camera: Nupur Mullick / Sound: Avik Mukhopadhyay / Edit: Krishnendu Ghosh / Production: The Media Lab, Jadavpur University, Calcutta
‘Retake’ is a woman’s reclaimation of the city via cinema, and city histories. It explores many passages of cinema, and women’s secret histories as we re-visit the city. It opens in darkness, shadows, glimmer, flicker, amidst tingling noise, and with a face — looking at the city from a distant. Whose city is this? What claims do women have vis-à-vis city spaces, even when historical studies narrate how partition forced middle-class women out of sheltered and cozy households, and reintroduced them in the grimness of workplace? The spectral vehicles slashing her, and she looking — yet not looking, as well, the flight of birds evoke a sense of movement, an impression of joy and a fragmentary feeling of freedom following loss. Does she attain a voice? Can she revel in her newly found pleasures? The lingering gloom on face betrays a self-doubt. How can she return to the new and ever growing, ever-changing city? What risks does she take? Perhaps she moves two steps backward as she takes a step forward. The filmic image is both a means and a process through which such journeys are articulated. ‘Re-take’ is a video-dairy and a scrapbook of the new woman, who embarks on the new path, and recalls stories of women from the past, and those yet to arrive.
is Associate Professor of Film Studies at Jadavpur University, Calcutta. She is engaged in extended practice of cinema, and inventive recreation of archival material. She has done multi-media installations, which reinvent archival material, thereby, hopes to bridge the gap between theory and practice, and archives and art-spaces. Her art-installations have been shown at renowned galleries and international programmes, including ‘International Film Festival Rotterdam’ (2012), ‘Kolkata Arts Festival’ (2017). She presented her projects at the collateral programmes of ‘KochiMuziris biennial’ 2016-17. Madhuja received ‘ArThink South-Asia fellowship’ for arts leadership (2013-14), and was selected for ‘German Federal Goverment’s Vistors’ Programme (2017) to develop her work. Madhuja is the principal initiator of TENT, theatre for experiments in new technologies, Calcutta (independent art platform), and organizes TENT ‘Little Cinema International Festival’ for experimental films and new media art, since 2014.
is Assistant Professor, Department of Comparative Literature, Jadavpur University, Calcutta. Her areas of interests are Narratology, Performance Studies, Cultural Studies; and her research project is on Islam in Bengal. She is specifically interested in popular piety, Muslim sonic and visual cultures, and the impact of new media on vernacular Islam of Bengal. She received Charles Wallace Fellowship in 2011, and a grant for Art Research and Documentation from India Foundation for the Arts, Bangalore, in 2011. Epsita is also a profilic writer in Bangla — she is fiction-writer, poet
and an artist. Her book on ‘Fakir uprising in colonial Bengal’, was published in 2002 (by Papyrus, Kolkata). Epsita has also writtern a detective novel (2006) with a teenaged girl – Ayesha – as her protogonist, which was published in serialized form.
Utsab Chatterjee (India) – Grain, 2018, 05:58
Concept, Direction, and Camera: Utsab Chatterjee / Editing & Sound designing: Utsab Chatterjee and Ansuman dey / Performance: Chirasri Roy / Production: Utsab Chatterjee
‘Grain’ is an attempt to disrupt the cluster of dystopia; it is a series of non-sequential visual dialogue that hammers us out of our comfort zones — a demonic and mechanized situation of alienation in the new city. ‘Grain’ deliberately churns out impermanence, an existentialist maneuver as it were. ‘Grain’ — the primary locus of rupture isn’t just a term; it travels through the unpredictability of our reality, like the sweat of the earth, or the rhythmic stride of the heartbeat as well as the friction between nonchalant lack of a plot and the patterns of a rational discourse. Arresting a stream of thought, within an asymmetrical network of images, ‘Grain’ is without foreplay or climax, or consummation of any acceptable mode. Indeed, the attempt to relate would be a dreadful manifestation of cozy amnesia. What goes on in the GRAIN merely follows Artaud’s prescription for a spectacle which will eliminate the stage, that is, the distance between spectators and performers, and “will physically envelop the spectator”. Thus, its neither a spectacle nor memetic; GRAIN is perhaps a movement through the city.
Utsab is a visual artist, formally trained as a painter, but through times he developed or equipped himself with the knowledge of the audio-visual medium. He has been engaged in the practice of video art as an extension of his painterly concerns, around urban and existentialist interpretation. His interest towards the medium grew as he note different geographical paranorm vis-à-vis a neo-rural scenario during his Masters in Kalabhavan, Santiniketan (2011-2013). In this respect, Utsab has been reengaging with the tools of avant-garde practices like Fluxus and transmedia processes to explore the relationship of residue, loss, absence as a situational experience in a futuristic interpretation of contemporary urban existence.
selecting - Gianluca Abbate, Cerezo Azahara, Panagiotis Tomaras, Marcantonio Lunardi, Neno Belcev, Maria Fernanda Bertero, FIELD, Thomas Valianatos, Giada Ghiringhelli
Transitions from Public to PostFuture – curated by Eirini Olympiou (Greece)
Gianluca Abbate (IT) Panorama (2015) 07:00 min
Cerezo Azahara (SP) Slopes (2013) 04:37 min
Panagiotis Tomaras (GR) 165 (2009) 02:45 min
Marcantonio Lunardi (IT) Unusual Journey (2017) 03:22 min
Neno Belcev (BU) Sectral Promenade (2013) 03:54 min
Maria Fernanda Bertero (EC) Technolapse (2017) 06:21 min
FIELD (UK) Hidden Layer (2017) 02:54 min
Thomas Valianatos (GR) Fractus machine_Cosmos (2017) 03:34 min
Giada Ghiringhelli (CH/UK) Rhythm of Being (2017) 06:26 min
Eirini Olympiou, curator @ Athens Digital Arts Festival
Eirini Olympiou (b. 1987, Athens) has studied Fine Arts (BA, MA). As an individual artist, she has participated in solo and group exhibitions and in collaborative projects since 2008. Her artistic practice takes on many forms including painting, photography and mixed media. She has been a video art curator at the international festival of digital arts and new media Athens Digital Arts Festival since 2011, has done curatorial projects with international festivals, for individual exhibitions and also been a member of video art jury in festivals. Her curatorial research explores the boundaries of digital expression. She currently lives, works and studies architecture in Athens, Greece.
Gianluca Abbate (IT) – Panorama (2015) 07:00 min
A city stretching across an infinite global space: a modern progression of the concept of polis (city), with no uninhabited areas or frontiers where you seek refuge. This landscape,
where there is no way to be readmitted into society once you have been excluded from it, reawakens imaginary worlds in search for equilibrium. Panorama is the first chapter of a
trilogy on the concept of conurbation. I got the idea for Panorama while I was on a train looking at the urban scenery pass me by. The inspiration for the images in the film came
from the forced paths taken by trams and buses, de facto dolly tracks across the city. I used cuts from amateur footage found online, elaborating on and adapting them with computer
graphics techniques, creating a phantasmagoric landscape of a dystopian city that already exists. The man’s living in this place, the complicated life conditions, and the environment’s
influence are so strong they cover up the voice of nature.
Cerezo Azahara (SP) – Slopes (2013) 04:37 min
Slopes is an experimental video series about the current recession through scenes shot in Northern Ireland (United Kingdom) and Madrid (Spain) and voices from the philosophers Slavoj Zizek, Michael Hardt and Judith Butler.
Panagiotis Tomaras (GR) – 165 (2009) 02:45 min
Various miniDV archive tapes of the artist edited in an associational way. Nothing more than presenting instantaneous events with dynamic and tension.
Marcantonio Lunardi (IT) – Unusual Journey (2017) 03:22 min
Unusual Journey shows an African man swimming in front of a camera connected to a TV that shows the image to a Caucasian man sitting in an armchair. This is the short-circuit represented following the path of political asylum seekers in Europe. In this video the stories of each of them become, in the face of public opinion, a dress from which they can no longer get rid of. Exactly like the thermal blankets that envelop them upon their arrival.
Neno Belcev (BU) – Sectral Promenade (2013) 03:54 min
The author makes a contrast even contradictory parallel between the art and real life, transforming the social message of the video into a multi meaning metaphor of crossing the bridge between the imagination and reality. This video discusses the role of the artist in the contemporary society. It does not present the artist as somebody, who walks together, or against the mainstream, but rather as somebody, who walks on his own path. On the other hand, the video aims to remind us, that very often we are observers of unexpected, unforeseen and extraordinary phenomenon, but we are so deep in our thoughts about everyday life, that we miss them. The video also can be regarded as a metaphor, presented the “walk through life” as a walk through seven different colours, which symbolical meanings refer to seven stages of the spiritual development. Even the video has light in the end of the tunnel.
Maria Fernanda Bertero (EC) – Technolapse (2017) 06:21 min
“Man programmed technology unconscious that in the future, technology was going to program man, forming an infinite Ouroboros between them both”. Technolapse is a video art about technolust and its reinterpretation, questioning our ways of doing, since they are molded by technology. The performer, interacts multi-sensorially with a typewriter (mechanic archetype) and with an external manipulation in a game of control, appetite and faith. The reinterpretation is materialized in the form of body extensions. “Heal the mechanization with the same machine, speak with an inner device in its programmed language, and touch the spectator with the same keys”
FIELD (UK) – Hidden Layer (2017) 02:54 min
With AI systems playing an ever-growing role in our daily decision making, creative studio FIELD highlights a timely and important topic. Harnessing the insight that human and
artificial intelligence will soon blend into an ‘augmented self’, FIELD weaves together fashion, live action, and CG for its experimental short film, ‘Hidden Layer’. Hidden Layer imagines how the future of AI will affect our sense of identity and humanness – and what happens when these systems inevitably malfunction. In an artificial neural network, the Hidden Layer is where the main computation is performed, but it has no direct connection with the outside world. The film explores how, to a certain extent, deep learning algorithms are simultaneously autonomous, unpredictable, and inscrutable in their decision-making.
Thomas Valianatos (GR) Fractus machine_Cosmos (2017) 03:34 min
The core of «Fractus machine_Cosmos» is an interactive reconstruction of the image and production of real time video, on the basis of the audio information of the image or the visual representation of a sound.
Giada Ghiringhelli (CH/UK) Rhythm of Being (2017) 06:26 min
For an instant, I am. The light touches me gently and I live, burst and shine. This constant, irreversible, rhythmic drift from being to not. Only the memories left. Escaping desires. The
love and the pain. I only have an instant of life. So please. This film is an ode to the rhythm of being. “Rhythm of Being” is an experimental and contemplative film inspired by Henri
Bergson’s concept of vital force and the fact that all existence is a flux of becoming and never at rest, a perpetual generative process that we can’t escape. Through body movements, light and sound, a surreal and artificial world is constructed and deconstructed.
selecting - Gökçen Dilek Acay, Orhan Cem Çetin, Ali Demirtas, Beste Erener, Murat Germen, Çagdas Kahriman, Tahir Ün
WOW Turkey curated by Tahir Ün
Gökçen Dilek Acay – Lenin, 2010, 3:29
Orhan Cem Çetin – Passiflora, 2016 / 04:34
Ali Demirtas – Vision, 2018, 02’30”
Beste Erener – SATURN, 2018/ 4:24
Murat Germen – Emerging talent, 2017 / 5:03
Çagdas Kahriman – Rear window, 2009-2013, 6:00
Tahir Ün – The Game, 2013, 00:02:56
Tahir Un was born in Turkey. He holds a BA degree from Language and History-Geography Faculty of Ankara University, where he studied History of European Arts.
He gives lectures in photography and multimedia essay in the Communication Faculty of Yasar University, Turkey. Tahir Un is currently active in photography, moving image and curatorial works. He lives in Izmir.
Some Video/Film Awards & Distinctions:
2017 – FATHER TONGUE, awarded for “The Film With Most Profound Message”, Uhvati Film Festival, NOVI SAD.
2014 – THE GAME, TOP 10 Selected by jury of the Facade Videoart Festival, PLEVEN.
2012 – POSE, best videoart prize, 14th. International Panorama of Independent Film and Video Makers, PATRAS.
2012 – FACIAL PERCEPTION, 2nd prize for experimental video section, International SnapFilm Festiwal, KRAKOW.
2006- DISTRESS IN THE CITY is selected for Rhizome Artbase Collection, NEW YORK.
Gökçen Dilek Acay – Lenin/2010/3:29
There have been many people who have changed world history. They’ve stopped time, fast forwarding and deforming it. By time, many phenomenon and ideology gave their places to names and symbols while losing their importance and value. I was lucky to be in East Germany where I found a Lenin statue near a Russian Casern near Weimar. This statue was clean and re- polished although the buildings nearby were demolished and torn apart. I knit a nearly 4 meter long rug with phosphorous colors and decided to cover the statue with it. There is an ideological illusion that remains.
Gökçen Dilek Acay
Born in Istanbul, in 1983, Gökçen Dilek Acay, studied music major violin at the Yıldız Technical University Istanbul (2009) and attended master program in fine arts, at the Bauhaus University Weimar (2012). She worked with the dancers, musicians, visual artists and participated several group exhibitions She was Gala Artist and Performer at Watermill Center Benefit 2013 curated by Robert Wilson and guest artist in Cite International des Arts Paris in 2015 with support Istanbul Foundation for Culture and Arts. Artist got 3rd Honorable Mention of the competition of ”New Generation Young Contemporary Artists in Turkey“. She is selected artist who represents Turkey for 17th International Biennial of Young Artists from Europe and the Mediterranean in Milan 2015. She was represented at ‘Art Fair Brussels’ and ‘Contemporary Istanbul’ by NEV Gallery Istanbul.
Orhan Cem Çetin – Passiflora – 2016 / 04:34 / photography and editing by the artist
This short and silent time-lapse piece shows the movements of a passiflora plant raised by the artist from a seed.
Commonly used as the source of an otc tranquilizing syrup, the plant itself seems to be very active and finally tries to string itself to an old mandolin from the artist’s childhood.
The piece was earlier shown as part of a group show titled “The Atlas of the Sleepless” at Halka Art Gallery in Istanbul in 2016, curated by Ipek Cankaya.
Orhan Cem Çetin
A self taught photographer, Çetin was born in Istanbul in 1960. He graduated from the Department of Psychology at Boğaziçi University, Istanbul and received his MFA degree in Visual Communication Design at Istanbul Bilgi University. He opened his first solo exhibition “Familiaria” in 1988. His work attracted considerable attention with its alternative approach to photography. Numerous solo and group shows have followed ever since. Orhan Cem Çetin is recognized for his focus on a conceptual and interdisciplinary approach to visual arts.
Today, Çetin earns his living as a visual artist, a photographer, a consultant on photography and photographic technology, and as a lecturer, currently teaching at Galata Academy of Photography and Bahçeşehir Uni. Dept. Of Photography and Video. His personal works, essays, and critiques are published in various printed periodicals as well as e-zines. In 2000, Orhan Cem Çetin released a mini-album, Renk’arnasyon and his book, Bedava Gergedan (Rhino for Free), a black humor collection of photography and literature was published in 2004.
Ali Demirtaş – Vision, 2018 / 02’30”
Director: Ali Demirtaş / DoP: Ayşe Nur Gençalp / Art Director: Dila Kuvvetli
Short Synopsis: vision examines the traumatic aspects on humanbeings of media environment with a young man watching a TV. This young man watches a TV at home and zapping not so often. He continues watching different kinds of programs without any reaction. When the pen he plays gets broken, he gives a really abnormal reaction on it. His response should be observed in the sense of media informations, against our daily abnormal and traumatic reactions.
was born in Turkey in 10th of April 1996. He still studies in İstanbul Arel University Faculty of Communication Department of Journalism with %100 succes scholarship. He educated on cinematography in İstanbul Media Academy for 8 months. During this time he also made experimental and fictional works; a single plan named “Bakış”, a music clip named “Kaçış” and a short movie named “Diyalog”. He wants to work on the subjects like “disability, criterion, communication” in the area of cinema. All literary and short movie works of him are collected and published by him on his blog named “momamijournalist”.
Beste Erener – SATURN, 2018/ 4’24’’ – /1920×1080/16:9 video animation
Sound: A. Devrim Güçlü & Beste Erener
Saturn is an experimental video-animation, which unfolds an allegoric story on the Lacanian ‘Father-law’. The Big other, or the structure that envelops us within the language, hijacks our desire and fills it with its own phantasies. These phantasies appear in the narratives of nations, moral doctrines and capitalistic success stories. The character Saturn in the animation is inspired by Goya’s infamous painting: “Saturn Devouring His Son” which refers to the Greek myth Cronus or Saturn in Roman myth. The 3D environment is created with Blender and Make Human. This environment is overlapped with real city shots from Istanbul in some scenes.
Turkey based visual artist. She graduated from Marmara University, Faculty of Fine Arts in 2003 and continues her studies at the University of Applied Arts, Vienna, digital arts department. She joined several group exhibitions and social projects in Istanbul, Vienna, Salzburg, Izmir and Athens. In the last years she is working consequently on the field of 3D animation and developed here a unique style, where she transforms concepts of classical analog painting into this time based virtual medium.
Murat Germen – Emerging talent / 2017 / 5:03
Murat Germen / The prevailing economic system internalizes, consumes and finally depletes almost everything; even opposition, resistance… Permanency, durability, sustainability are not desired qualities anymore; the quicker any object or subject disappears from the scene to be replaced by a new “cool”ness to be consumed next, the better!
is an artist using photography as an expression / research tool. Born 1965, he currently lives / works in Istanbul and London. Has an MArch degree from Massachusetts Institute of Technology, where he went as a Fulbright scholar and received AIA Henry Adams Gold Medal for academic excellence. Works as a professor of art, photography and new media at Sabanci University in Istanbul. Having many papers, photo series published on architecture / photography / art / new media in various publications; he has lectured at tens of conferences internationally.
Çağdaş Kahriman – Fenêtre sur cour / Rear window, 2009-2013, 6 min
The last years of a tree in city, photographed through my windows between 2009 et 2013
works are rooted in everyday observations, but push beyond them to reveal latent aesthetic, socio-political, or even metaphysical realities. Her characteristically intricate visual sensibility conceals a tension between the referential possibilities of images and the choreographic nature of their agencement in context. She combines drawings, collages, animations and videos. This mixed and hybrid practices require different approaches to evoke the ambivalence of perception by playing with notions of distance and reversals. She is sensitive to the unassuming nature of everyday interactions, uninteresting details and through subtle means examines the notion of individual agency as it plays out within common ideals, models of authority or processes involving manipulation and power. Kahriman transposes everyday life experience with other temporalities to reveal the social conditioning, latent violence of practices and normative processes.
The Game / 2013 / 00:02:56
Mardin is an ancient city of Mesopotamia Coombe and nearest to the border of Syria. The city is established above the hill and some border villages can be viewed from. The civil war in Syria has been effective economically as well as socially in southeastern Anatolia because of the affective commitment between the peoples. The Syrian immigrants more than 2 million came to Turkey during the Syrian civil war. They fight a lot of problems in their new home. Nowadays, Maybe someday, the children will establish peaceful World who share the pain.
was born in Turkey. He holds a BA degree from Language and History-Geography Faculty of Ankara University, where he studied History of European Arts. He gives lectures in photography and multimedia essay in the Communication Faculty of Yasar University, Turkey. Tahir Un is currently active in photography, moving image and curatorial works. He lives in Izmir.
selecting - Eija Temisevä , Kristina Frank, Coalfather Industries, Albert Merino, Lisa Birke, Emma Zukovic
WOW – Earth Games – curated by Wilfried Agricola de Cologne
Eija Temisevä (Finland) – An Attempt to be Earth, 2016, 5:15
Kristina Frank (Sweden) – Earth One Minute, 2013, 1:43
Coalfather Industries (USA) – User History, 2018, 6:02
Albert Merino (Spain) – Bestiary, 2018, 5:10
Lisa Birke (Canada) – Endgame, 2017, 7:05
Emma Zukovic (Macedonia) – Post Memory From A Lost Country, 2018, 4:33
virtually by complementing this through online features between 26 December 2019 and 31 January 2020
the solo feature of
Ezra Wube (b. 1980, Addis Ababa, Ethiopia),
received his BFA in painting from Massachusetts College of Art, Boston, and an MFA from
Hunter College, New York, NY. Based in Brooklyn, NY his works encompassing video, installations, drawing, painting and performance.
Ezra’s work references to shifting time and place.
VIP – VideoChannel Interview
Ezra Wube (Ethiopia) – Mela, 2006, 1:54
Ezra Wube (Ethiopia) – When we all met , 2008 , 3:54
Ezra Wube (Ethiopia) – Amora, 2009, 2:41
Ezra Wube (Ethiopia) – Hisab, 2011, 7:56
Ezra Wube (Ethiopia) – Kaled, 2014, 6:10
Ezra Wube (Ethiopia) – Twilight Galaxies, 2017, 7:51
a feature of video art from Ethiopia curated by Ezra Wube for Addis VideoArt Festival 2015, entitled: Grounded in Movement, including
1st Addis Videoart Festival 2015
Grounded in Movement – videoart from Ethiopia
According to Einstein’s unifying law, a continuos transformational cycle between mass and energy must occur for anything to exist.
Addis Ababa is in the midst of massive transformation. It is expanding drastically with over a quarter of its current residents relocating to newly built neighborhoods. As old communities are disappearing new ones are forming. Echoing the current state of the city, these videos examine the paradoxical unity of movement in energy and its relationship to stillness.
How does one negotiate these shifts? What is the axis of time in the frame of the past and the present? How does one cope with the familiar and the unfamiliar? How does one endure a consistent belonging while everything around it is in transition?
Berhanu Ashagrie – “The-City-is-The-People” 7:21 min., 2013
Betelhem Makonnen – (w)here is here, 2014, 02:35
Helen Zeru – Inside Out, 2014, 4:17
Helina Metaferia – The Newest Flower, 07:48, 2015
Maranata Tegegne – My Backyard, 2011, 1:00
Martha Haile and Noregard – You can’t eat money, 2014, 10:05
Miriam Haile, Tigrinya Wealth – 2015, 09:38
Mulugeta Gebrekidan – Inside Out, 2013, 2:58
Naod Lemma – 360 Birtukanoch/ 360 Oranges, 2015, 14:57
Robel Temesgen – Semone Himamat/ Holy Week, 2015, 2:01
Yacob Bizuneh – Circle and Hollow, 2013, 3:19
a screening program with the special focus: AFRICA, including
Saliou Traore, Michele Magema, Abdoul-Ganiou Dermani, Kisito Assagni, Emeka Ogboh, Jude Anogwih, Armstrong Tarke, Tabita Rezaire, Samba Fall
Kai Lossgott, Richard Bolland, Ananda Fuchs, Jeanette Ginslov
Muhammad Taymour (Egypt) – The Caller, 2017, 9:29
Theresa Khalil (Egypt) – It goes on, 2013, 5.40 ***
Yasser Abo El Ella (Egypt) – The Mask, 2013, 11:27 Henok Getachew (Ethiopia) – Framed Embryo, 2008, 4:12
Esra Wube (Ethiopia) – Amora, 2010, 3:26
Hamza Halloubi (Morocco) – untiltled (lait), 2009, 0:57
Mohamed Thara (Morocco) – As Long As I Can Hold My Breath, 2016, 9:40
Simohammed Fettaka (Morocco) – Creatruction, 2011, 10:00
Badr El Hammami (Morocco) – Autoportrait, 2012, 3:06
Mo’ Mohamed Benhadj (Algeria) – God Will Know His Owns, 2014, 08:32 Saliou TRAORE (Burkina Faso) – Traffic Mum / 2009 / 10′33″
Michele MAGEMA (D.Congo) – Interiority-Fresco IV / 2010 / 2′31″
Kisito ASSANGNI (Togo) Explosion, 2009, 2:22
Abdoul-Ganiou Dermani (Togo) – Hands Up – Don´t Shoot, 2016, 00:02:01
Emeka Ogboh (Nigeria) – [dis]connect III, 2011, 3:36
Jude Anogwih (Nigeria) – UNSTABLE STABLES, 2009, 1:20
Armstrong Tarke (Cameroun) – REVERSE CIVILISATION, 2014, 3:57
Tabita Rezaire (Guinea) – Same Sex Biz, 2014, 6:19
Samba Fall (Senegal) – Yesterday, I had a Dream, 2011, 7:08 Ananda Fuchs (RSA) – waitless, 4′40”, 2009
Jeanette Ginslov (RSA)- Karohano, 4′30”, 2009
Richard Bolland (RSA) – I Dream Manenberg, 2010, 15 Minutes
Kai Lossgott (South Africa) “alpha”, 2007, 3:17
the official launch of the brandnew video collection, entitled:
The 1 Minute Before 12 Memorial
Tova Beck-Friedman, Wilfried Agricola de Cologne, Pierre, Avajon, Alina Vasilchenko, Yarik Z, Fran Orallo, Kate Walker, Julio César Guzmán Villarpando, Johannes Gerard, Uri Kloss, Jonas Ersland, Dmitry Kmelnitsky, Maureen Bachaus, Isabel Perez del Pulgar, Caryn Kline, My Name is Scot, Savio Leite, Carolin Koss , David R. Burns, Gwendolyn Audrey Fosterm Xia Han, Alan Sondheim, Claudia Borgna, Ausin Sainz, Andrea Torrice, Kristina Frank /Mervi Kekarainen, Moshe Vollach, Irena Paskali, Susanne Wiegner, Adrien Gaumé, Oleg Kharch, Gabrielle Lenhard, Marie-Paule Bilger and Jean-Baptiste Friquet, Lino Strangis , Gabriele Stellbaum, Ana Isabel Martén, Arie Sigal & Ben-David Sigal, Kim Maree, Oliver Ressler, Laura & Sira Cabrera, Farid Hamedi, Brit Bunkley, Adrian Regnier, Karin Till, Lisi Prada, Renata Renata Padovan, Dee Hood, Stephen Nachtigall, March Schagen, Boris Marinin, Maria Korporal, Zlatko Cosic, James Murphy, Stine Gonsholt, Lana Z. Caplan, Michael Carmody & Elissa Goodrich , Mikey Peterson, Krzysztof Rynkiewicz, Ronnie Sluik, Xavier Leton, Jean Michel Rolland, Müge Yildiz, Michael Spahr, Monika Zywer, Studio Third World Collective, Tatiana Zubchenko, Eleni Magklara, Stelios Papiemidoglou, Efi Roufagala, Julie Stephenson, Radhika Vyas, Ravin Vyas, Ramesh Vyas, Nance Davies, Patricio Ballesteros Ledesma, Timo Kahlen, moltamole, Lauren Bikerdike, Le Tuan Huang, Dide Akseymen aka Isobel Siemmond, John McVay, Methas Chantawongs, Guilaume Chappez, David John Charles de la Haye , Elissa Goodrich, Daniel Blinkhorn
1 Minute Before 12 Memorial
The Wake Up! Memorial is adding a new commemorative site focussed on preserving the natural environment on Earth for future generations.
Artists working with audio-visual media were invited to submit works in order to sensitize the open-minded viewer.
As a term or catchword, “Climate Change” is ambivalent – it describes a process, development or state which can be reversible, as well as irreversible – reversible, this includes for an individual the option to take personally influence on one’s environment and prevent actively “the climate change” as an irreversible process or state – irreversible, it is too late to take any influence, and “climate change” means nothing else than the “Last Days” (of humanity, of the natural environment, the world as we know, etc). One has to accept the inevitable destiny. In its widest sense, “climate” can be understood as “environment”.
Wake Up! – Climate Change!
Open the project here
The list of contributors
Wilfried Agricola de Cologne (Germany) – Dawn, 2017, 6:40
Pierre Ajavon (France) – Forever Change, 2019, 2:50
Maureen Bachaus (NL) – The end or the beginning, 2013, 1:37
Patricio Ballesteros Ledesma (Argentina) – Never Stop Sowing, 2018, 11:54
Tova Beck-Friedman (USA) – Gaia Regards Her Children, 2017, 2:46
Marie-Paule Bilger and Jean-Baptiste Friquet (France) – Conversation, 2019, 3ʼ51
Claudia Borgna (Italy) – L’ultimo Accordo I, 2016, 06:05
Brit Bunkley (New Zealand) – Pillard of Cloud, 2016, 4:00
David R. Burns (USA) – Aśānti (Discomfort) Wake up!, 2019, 02:10
Laura & Sira Cabrera (Spain) – Climate Dementia, 2019, 3:51
Lana Z. Caplan (USA) – Canaries in the Mine, 2015, 8:19
Michael Carmody & Elissa Goodrich (Australia) – Common Time, 2018, 12, 23
Zlatko Cosic (Bosnias) – Even Birds Know It, 2019, 2:55
Nance Davies (USA) – ‘Fugue (a storm is blowing from paradise), 2016 , 3:39
Silvana Dunat (Croatia) – The skies will always be above , 2019, 3:25
Jonas Ersland (Norway)- Glacier Sans, 2019, 2:37
Gwendolyn Audrey Foster (USA) – Memento Mori, 2017, 6:34
Kristina Frank /Mervi Kekarainen (Sweden) – 2Rabbits in Purgatorio, 2019, 05:11
Adrien Gaumé (France) – Dry by innocence, 2018, 4’53”
Johannes Gerard (NL ) – . Constantly Floating – So Rising, 2019, 5:20 min
Stine Gonsholt (Norway) – Test 4.1, 2017, 6:12
Julio César Guzmán Villarpando (Bolivia) – The Positive Value Of Powerlessness, 2019, 05:20
Farid Hamedi (Rohina) (Iran) – A Chair For All, 2019, 7:44
Xia Han (China) – The Gift, 2019, 14: 23
Dee Hood (USA) – Game of Chance, 2019, 2.02
Oleg Kharch (Ukraine) – Fakemet, 2019, 3:46
Caryn Kline (USA) – Butterfly Disaster, 2019, 00:06:50
Uri Kloss (Israel) – Word, 2017, 1:29
Dmitry Kmelnitsky (USA) – URTH LING, 2019, 3:43
Maria Korporal (Netherlands) – Emergency Call, 2019, 5:19
Carolin Koss (Finland) – Plastic Child, 2016, 12:11
Fenia Kotsopoulou (Greece) – On the streambed, 2019, 03:43
Savio Leite (Brazil) – Lacrimosa, 2019, 3:00
Gabrielle Lenhard (USA) – Flower Pwr, 2019, 00:02:56
Xavier Leton (France) – Uncovered Earth, 2019, 2: 36
Eleni Magklara, Stelios Papiemidoglou, Efi Roufagala (Greece) – IMPRINT, 2019, 3:10
My Name is Scot (Canada) – Anthropocene Antiphony, 2017, 1:00
Kim Maree (New Zealand) – Masterplan, 2019, 9:58
Boris Marinin (Israel) – Greenhouse, 2019, 3:19
Ana Isabel Martén (Costa Rica) – Compass 1, 2019, 4:23
James Murphy (Ireland) – Moving Water, 2019, 1:59
Stephen Nachtigall (USA) – Yellow Forest, 2019, 7:34
Fran Orallo (Spain) – Death Dance, 2017, 1:00
Renata Padovan (Brazil) – Aral Mermaid, 2015, 4:12 // The Scale of Desaster, 2013, 9:41 // The Voices of the Upper rio Negro, 2019, 3:21
Irena Paskali (Macedonia) – 2202m, 2018, 2:36
Isabel Perez del Pulgar (Spain) – Horizon, 2019, 5:08
Mikey Peterson (USA) – Gloriosa Superba, 2019, 3:52
Lisi Prada (Spain) – ELECTRonIC water, 2013, 3:14
Adrian Regnier (Mexico) – Y., 2016, 5’00”
Oliver Ressler (Austria) – Everything’s coming together while everything’s falling apart: Limity jsme my, 2019, 10:00
Jean-Michel Rolland (France) – Waste, 2018, 4:08
Ruzan Petrosyan (Armenia) – Wash My soul , 2019, 5:31b
Krzysztof Rynkiewicz (Poland) – The 5th Season, 2019, 4:23
Ausin Sainz (Spain) – Today, 2019, 5:00 // I Like to Fly, 2019, 1:12
Marcha Schagen (NL) – Melt Less CO2, 2019, 3:48
Arie Sigal & Ben-David Sigal (Israel) – Perlite, 2018, 4:17
Alan Sondheim (USA) – American Life, 2018, 6:03
Ronnie Sluik (NL) – ronnie s attempts green animist genderfriendly artistic research, 2019, 1:43
Michael Spahr (Switzerland) – Remember Civilization…?! Part Two – The Drought, 2019, 1:43
Gabriele Stellbaum (Germany) – Shame, 2019, 1:11
Julie Stephenson (Australia) – Melting Memory, 2019, 2:34
Lino Strangis (Italy) – DREAMLIKE OF A PRESENT FUTURE, 2019, 4’49”
Studio Third World Collective (India) – Watermark 1# SOS, 2017-2018, 2:00
Karin Till (Australia) – song of elements, 2015, 9:28
Andrea Torrice (USA) – A Message from the Island of Kiribati, 2013, 5:11
Alina Vasilchenko (Russia) – The Crows, 2014, 3min 30
Moshe Vollach (Israel) – 31 Cubes, 2013-2016, 8:35
Radhika Vyas, Ravin Vyas, Ramesh Vyas (India) – Panchtatva via Canvas, 2019, 1:44
Kate Walker (USA) – Cloudship, 2018, 14:33
Susanne Wiegner (Germany) – Sunrise, 2019, 5: 46 // Melting Fields, 2018, 8:16 //Listen 2019, 3:20
Müge Yildiz (Turkey) – Praise of ther Jellyfish, 2016, 3:42
Yarik Z (Russia) – In Search of Lost Time, 2017, 5:55
Tatiana Zubchenko (Ukraine) – Genus. Code Unsealing. , 2019, 3.15
Monika Zywer (Poland/Germany) – Arctic Holiday, 2019, 00:01:29
featuring the selection – Wake Up! Climate Change!
moltamole (Denmark) – and so we heard them melt – Sermermiut, 2018/2019, 7:23
Lauren Bikerdike (Ireland ) – See The Nine, 2018, 15:44
Le Tuan Huang (Vietnam) – Earth Cries, 2019, 5:29
Dide Akseymen aka Isobel Siemmond (UK) – Coral, 2018, 2:11
John McVay (USA) – Flight of the Bees, 2019, 2.04
Methas Chantawongs (Thailand) Electronic Ocean, 2:19, 2:12
Guilaume Chappez (France) – Forêt-Noire / Black Forest, 2016, 4:56
Timo Kahlen (Germany) – F O O T P R I N T“ (Nr. 2, 2017) – 00:01:04 min, stereo
David John Charles de la Haye (UK) – Silurian – A Work In Progress, 2019, 9:04
Elissa Goodrich (Australia) – Beneath_Above – Playing with listening, 2018, 7:33
Daniel Blinkhorn (Australia) – frostbYte – cHaTtEr, 2012, 10:00
The Refugee Film Collection – special selection 01
Dimitris Argyriou (Greece) – 5 Minutes of silence, 2018, 10:00
Boutheyna Bouslama (Tunisia) – When I Grow Up, 2015, 6:00
Zaher Alchihabi (Syria) – Tanarium, 2017, 3:33
The Refugee Memorial – selection 02
Sonia Guggisberg (Brazil) – Migrant dream, 2016, 9:01
Kalli Paakspuu (Canada) – Awakening –as told by Roman Toi”, 2017, 5:00
The Unstitute (UK/Spain) – ‘Immigranta’, 2017, 6:24
Oksana Chepelyk (Ukraine) – «Letter from Ukraine», 2014, 7:31
Parya Vatankhah (Iran/France) – Not Read, 2014, 5:14
The Refugee Memorial – selection 03
Daniela Lucato (Italy) When I dance, 2016, 67:00
The Refugee Memorial – selection 04
Anna Knappe (Norway) – Three Ways to Escape – Mohajer, II (Reza), 2012, 05:57
Jake Martin Graves (UK) – On the Road to Relief, 2016, 23:00
The Refugee Memorial – selection 05
Paul Barrios (Colombia) – Outside As Insidee, 2018, 14:00
Beate Hecher/Markus Keim (Austria) – Mare Mediterraneum, 2015, 9:00
Jan Szewczyk (Poland) – Day of Rage, 2011, 02:5faroqi1
Image vs. Music
Daniel Rodrigo (Spain) – Fashion Death, 4:51, 2008
Sandra Dollo (Italy) – Tweng, 2013, 2:15 ***
SuZi Zimmermann (Germany) – Once Upon a Time,2011, 2:30
Giovanni Bucci (Italy) – Never-Never, 2013, 3:44
Ulf Kristinansen (Norway) – Gimme Shelter, 2017, 3:24
Po-Wei Su (Taiwan)- Plastik Flowers, 2014, 2:56
vvitalny (Tusia Dabrowska & Clara Inés Schuhmacher) (USA) – In Peru, 2013, 3:05
Andi McGarry (Ireland) – My Babe Rides the Railroad, 2010, 3 min 4
Shaun O’ Connor (Ireland) – Exit: Pursued By A Bear: “Amédée”, 2010, 4:17
VIP – VideoChannel Interview project – selected interviews 01
VIP – VideoChannel Interview Project
selected interviews 01
Ulf Kristiansen (Norway) – http://vip.newmediafest.org/?page_id=350
Andi McGarry (Ireland) – http://vip.newmediafest.org/?page_id=594
Daniel Rodrigo (Spain) – http://vip.newmediafest.org/?page_id=150
Sonia Guggisberg (Brazil) – http://vip.newmediafest.org/?page_id=2275
Parya Vatankah (Iran) – http://vip.newmediafest.org/?page_id=762
Oksana Chepelyk (Ukraine) – http://vip.newmediafest.org/?page_id=1722
Susanne Wiegner (Germany) – http://vip.newmediafest.org/?page_id=368
Ezra Wube – Ethiopia) – http://vip.newmediafest.org/?page_id=830
Kai Lossgott (South Africa) – http://vip.newmediafest.org/?page_id=130
David Blinkhorn (Australia) – http://vip.newmediafest.org/?page_id=11
Lisa Birke (Canada) – http://vip.newmediafest.org/?page_id=1702
Marcantonio Lunardi (Italy) – http://vip.newmediafest.org/?page_id=907
Kristina Frank (Sweden) – http://vip.newmediafest.org/?page_id=910
Albert Merino (Spain) – http://vip.newmediafest.org/?page_id=944
Coalfather Industries (USA) – http://vip.newmediafest.org/?page_id=2271
Theresa Khalil – http://vip.newmediafest.org/?page_id=1697
Hamza Hallobi (Morocco) – http://vip.newmediafest.org/?page_id=290
Emeka Ogboh (Nogeria) – http://vip.newmediafest.org/?page_id=603
Marianna & Daniel O’Reilly aka The Unstitute (UK) – http://vip.newmediafest.org/?page_id=389
The WOW Project – netart features – including interactive works by
Jing Zhou, Kyon, J.t.wine, Mark Cypher, José Alejandro López, Marc Lee, Pedro Veneroso, Dennis Summers, Robert Dohrmann , Khadija Baker, Jens Sundheim/Bernhard Reuss
Jing Zhou (China/USA) – Through the Aleph: A Glimpse of the World in Real Time, 2016, interactive
Open the project here
ABSTRACT – “Through the Aleph” is a net art project offering an unprecedented interactive and visual experience where many places on Earth and in space can be seen simultaneously in an instant. It visualizes the diversity of human civilizations (microcosm) and the unity of humanity without borders in the ever-changing universe (macrocosm); it draws the connections between individuals and the global environment, Earth and outer space, eternity and time, and art and science. With an unexpected approach to surveillance cameras and global networks this meditative web project uses live data to create an abstract landscape in an open source environment. It not only embraces the dream of peace on Earth but also explores the bond between humankind and nature through time and space in the present moment.
STATEMENT – What is an Aleph? In his short story “The Aleph” (1945), Argentine author Jorge Luis Borges described that an Aleph is one of the points in space that contains all other points—the single gigantic instant where millions of acts in the unimaginable universe can be seen simultaneously from every point and angle.
Although a real Aleph might never be found, following Borges’s vision “Through the Aleph” contains 142 live surveillance webcams selected from seven continents, real-time water temperatures of four oceans, 12 constellation maps alternating dynamically every month, a thin rotating line in the background representing the passage of time, the latest NASA solar image updated every 12 hours, NASA International Space Station videos of Earth, and satellite time-lapse imagery of the solar system planets. The video component of this project consists of 12 days of time-lapse screenshots of the artwork in 12 months (one day per month during 2016-2017).
In this artwork, surveillance cameras and global networks were studied from a grand viewpoint to observe humanity and space. Using live data to portray the Earth’s pulse and human existence, this meditative web project creates an abstract landscape in an open source environment, where we could experience humanity as one in the unimaginable space—therefore, the unity in infinity.
Born in Chongqing, China, Jing Zhou is a multimedia artist, designer, and educator in USA. Her award winning work has been widely shown and collected internationally including: Triennale Design Museum, Milan; British Computer Society, London; Asian Cultural Center, New York; SIGGRAPH Art Gallery; ISEA; CAA; Les Abattoirs Museum, France; Mons Memorial Museum, Belgium; Royal Institution of Australia; RE-NEW, Copenhagen; New York Hall of Science; Danish Poster Museum; GAMeC Modern and Contemporary Art Gallery, Italy; Athens Digital Art Festival, Greece; Taksim Republic Art Gallery, Istanbul; FILE, Sao Paulo; Visual Information Design Assn. of Korea; Goethe Institute Alexandria, Egypt; Hungarian Electrographic Art Assn., Budapest; Brown University; PX3 Prix de la Photographie Paris Awards; International Photography Awards; public collection of the WRO Media Art Center, Poland; Waikato Museum, New Zealand; Moravian Gallery in Brno, Czech Republic; SDAI Museum of the Living Artist, San Diego; and Chinese Culture Center of San Francisco. Numerous books and magazines such as Photo Techniques, NMEDIAC, and Computer Graphics World have published her work. Jing is also a Gold Medal recipient of the Art Directors Club of New Jersey, Gold Winner of the American Design Awards, Silver Winner of the Summit International Creative Awards, and Prize Winner of IFUW (GWI) Poster Competition in Geneva. Jing’s multimedia artwork explores our common humanity and reflects her interest in spiritual experiences, Eastern and Western art, literature, and philosophy. To Jing, creating art is a process of deciphering her life journey.
Florafalla & Kyon (Germany) – Do Now, 2015-2017, interactive
Open the project here
Do:Now! spells in german like “Donau” means the river danube. Its water reaches 18 different countries, the people come from varying social and cultural backgrounds, and have different religions. But they all need: water. both artists, florafallalla and kyon have carried out the Do:Now-project from 2015 – 2017.
florafallalla lives and works in berlin. she was born in 1969, degree in magister artium (philosophy and art history).
kyon lives and works in berlin. born 1953. oil-painting, performances and netart-projects (netzliteratur: Deutsches Literaturarchiv Marbach)
j.t.wine (Germany/USA) – Over_TOP, 2016, interactive
Open the project here
OVER_TOP is a dystopian, over the top, acid humorous and bitingly ironic, orwellian and kafakaesque, audio-visual, net-based pseudo-game. It consists of multiple variations of repetitive interactive-inter-linked, line-based drawings, gif-animations, found footage and automated-mouseover-film-scrolls supported by various soundtracks culled from the net.
OVER_TOP is reflecting, in a minimal-expressionistic manner, on the bizzare world we are living in, with a strong focus on the military industrial complex and it’s global, socio-political and environmental impact.
OVER_TOP is a project created for psychological self-preservation of the artist and encourages the viewers to use their critical thinking, regarding that we are one world and need to stick together to fight for our rights.
Jürgen Trautwein and Silvia Nonnenmacher aka jtwine
– Jürgen Trautwein and Silvia Nonnenmacher are interdisciplinary artists working in a variety of media such as new media and hypertext web-works, performative temporary interferences, installations, land-art, sound art, animation and classical forms such as painting, drawing, collage and photography. Their work is process oriented with a strong conceptual base, manifesting the immediate, everyday and present experience.
– Trautwein’s and Nonnenmacher’s work have been shown widely in museums, non profit art spaces, festivals and galleries around the world and are included in private, corporate and public collections. Their work has been shown in places such as the Irish Museum of Modern Art Dublin, Turgut Pura Museum Izmir, the Museum of graphic arts Tokyo, Screengrab Australia, File Festival Sao Paulo Brazil, Festival de Arte digital Belo Horizonte Brazil, European New Media Art Festival Osnabrück, Plato Sanat Istanbul, Stuttgarter Filmwinter, Arte -TV, Rhizome Artbase, Netart.org, the Wrong online biennial, Webbiennal Istanbul, JavaMuseum, El Pobre Diablo Quito, Micromuseum Athens, Furtherfield London, Denis Bibro Fine Art NYC, Bronx artspace NYC,Center on contemporary arts Seattle, Korean Cultural Center Los Angeles, Jan Baum Gallery Los Angeles, Southern Exposure San Francisco, Galerie 60six San Francisco, SOMA San Francisco, Berkeley Art Center, Chrom VI Karlsruhe, Galerie Marek Kralewski Freiburg, Institut für Alles Mögliche Berlin, Stattbad Berlin and at the Kunstamt Kreuzberg Berlin among others.
– Trautwein studied painting, drawing and printmaking at the Roedel art college in Mannheim, Germany and free painting at the University of the Arts in Berlin. He holds a Meisterschüler degree from the University of the Arts in Berlin. Nonnenmacher is self-taught and holds an American and a German nursing degree.
Mark Cypher (Australia) – Biogram, interactive
Open the project here
Biogram is a net-art work that generates real-time topological visual and aural models based on the sentiment analysis of tweets that reference ‘experience’.
The art-work contends that rather than being a singular subjective event, the space of experience is entangled with multiple networks of human and nonhuman objects that help us perform what we might express as ‘experience’. To tweet is to perform a prescribed script that in turn orders our actions with and through devices. In Brian Massumi’s words these tweets are Biograms, event-perceptions irretrievably entangled with combinations of senses, times, networks and software; in constant flux. Likewise in the artwork, the generated images, animations and sounds are intimate signatures of this networked and partially ephemeral activity.
Just as the Twitter tweet is a transitory mediated reflection of the user, the artwork is a mirrored topology that reflects and carries the user’s experience out of herself. Only to be filled not by a new subject or object but by an intimately interconnected collective process in constant motion. Within the artwork Biogram, tweets that refer to an experience (if in fact it was ever singular) become animated performances shot through with ‘other’ ontologies that render ‘experience’ as a multifaceted mirror.
Mark Cypher is an Australian artist and designer and works at Murdoch University in Perth, Western Australia. Mark has exhibited in over 25 international exhibitions over the last 12 years, including, ISEA2017 (Colombia), Al-Tiba917, Arab International Exhibition of Contemporary Art (Barcelona) ISEA2011 (Istanbul), 404 International Festival of Electronic Arts (Argentina), Salon International De Art Digital (Cuba), Siggraph 2006 (USA), FILE -Festival Internacional de Linguagem Eletrônica ( Brazil), NewForms06 (Canada), BEAP -Biennial of Electronic Art (Australia), Haptic 07 (Canada), Bios4, Centro Andaluz de Arte Contemporáneo (Spain), Transitio_MX (Mexico) and Currents, Santa Fe International New Media Biennale (USA). Mark Cypher’s artwork is also represented in several Australian state and national collections.
José Alejandro López – Viaje/Travel, Netart, 2016
Open the project here
Different videos were made based on a trip through South America, the Middle East, South Asia and Eastern Europe, with focus in the routines. The selection of these was classified on a database according to its contents (using tags). This work, in real time, selects and visualises videos from the database in relation to its tags. Therefore, a visualised video’s tag will also be in the next video. The work manifests similarities and differences of everyday live of different cultures.
Note: it does not work automatically on phones nor tablets.
José Alejandro López holds a Phd in Visual Arts from the Universidade Federal do Rio de Janeiro, an MSc in Art and Technology from Chalmers University (Sweden)and a BA in Cinema and TV from the Universidad Nacional de Colombia. He is a professor at the Faculty of Arts at the Pontificia Universidad Javeriana de Bogota. His work has been exhibited at different festivals around the world.
Marc Lee (Switzerland) – Sunrise Sunset, 2017, netart
Open the project here
Sunrise Sunset by Marc Lee captures the circulation flow and momentum of the social media-fueled campaign. The online work filters out the latest Twitter, Instagram and YouTube messages containing Sunrise and Sunset, and weaving them into a TV show.
If the preconfigured topic does not fit, you can replace them as you like. You can create your own TV show according to your own preferences and share it with others.
Marc Lee (born 1969) is a Swiss media artist. He is creating network-oriented interactive art projects, interactive installations, media art, internet art, performance art and video art since 1999. He is experimenting with information and communication technologies and within his contemporary art practice, he reflects creative, cultural, social, economic and political aspects.
His works are exhibited in major Museums and new media art exhibitions including: New Museum New York, Transmediale Berlin and ZKM Karlsruhe.
Pedro Veneroso (Brazil) – Gogoame, 2016, interactive
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How would letters and characters behave if they were subjected to physical forces similar to those observed and experienced in the concrete world? Gogoame is a web-art experiment that makes letters and characters rain in a constant and dynamic flux. By doing so, it continues the tradition of literary experimentation seen in concrete and visual poetry, transposing verbal text to a simulated virtual environment in which textual spatialization contradicts linearity and becomes multilinear and non-hierarchical. Among the textual rain, words and phrases are being constantly formed. By contemplating the text rain, the website’s visitor finds words that are briefly formed while the letters are falling; those words are recovered from a database that is composed of texts written by other visitors. If the visitor decides to become a writer, he can make his own texts rain, forming his words and phrases in the constant flux of the rain. By being accessed and exhibited internationally, the work becomes a multi-language experience in which its visitors can contemplate works and phrase being formed in several languages.
Pedro Veneroso (1987) lives and works in Belo Horizonte, Brazil. He is a bachelor of Visual Arts (UFMG, 2011, Brazil) and master with distinction in Literary Studies (UFMG, 2016, Brazil). His research is focused on the intersections between art, science and technology. He has created and exhibited, both nationally and internationally, works of new media, computational art, video, photography, drawings and installations. He was awarded 1st place at the Techonological Connections Festival (2008), nominated for the 8th Sergio Motta Award (2009) and awarded at the 4th Filme em Minas (2009). In 2011 he was an artist in residency at LABMIS (MIS-SP, Brazil). Among his exhibitions, we highlight the following: Current New Media 2017, in Santa Fé, USA (upcoming, 2017) | SPAMM – Super Art Modern Museum – Globe Tour, Paris, France (upcoming, 2017) | FILE 2016, at FIESP in São Paulo, Brazil (2016) | Novas aquisições 2010/2012 – Coleção Gilberto Chateaubriand, at MAM in Rio de Janeiro, Brazil (2012) | Mostra LABMIS, at MIS in São Paulo, Brazil (2012) | SIANA Nanchang, in Nanchang, China (2009).
Dennis Summers (USA) – The Crying Post Project, 2002-2018, interactive
Open the project here
The indigenous Australian people relate to the world in a way that has had a powerful effect on me. I have responded to their belief that physical reality is created by their “performance” within their environment. In addition (and not unrelated), I feel as an artist, that I must react to the damage caused by humans to the natural environment, and other closely related events of destruction. To this end in 2001 I began work on a long term project: a memorial to the earth’s pain. This memorial consists of a network of painted wood staffs placed around the world. Each staff rises above ground about 9 feet, and at the top is a solar powered “cry” generator. This small device is controlled by a computer chip and emits a tone of randomly varying lengths.
Posts have been placed in the following locations: Australia; Cherokee Court House, Oklahoma; Sellafield, England; Bhopal, India, Galicia, Spain; Bligh Island, Alaska; Hanford Nuclear Facility, Washington; Ushuaia, Argentina, and more.
A data rich web site has been created to include information and stories related to each site. This site includes an interactive 3D environment, marking the locations of the posts, along with images, texts and internet links related to the content. This information includes, but is not limited to, the following: geography, ecology, sociology, philosophy, history, folklore, and personal stories. An extensive description of the overall themes of this project was published in Leonardo, Journal of the International Society for the Arts, Sciences and Technology.
Dennis Summers has exhibited artwork internationally since 1984. He has worked in a wide range of genres and media. In the late ‘90s new interests included environmental issues, mapping, and language extinction. This lead to the ongoing global memorial artwork called The Crying Post Project, begun in 2001 (www.thecryingpostproject.org). This project involves placing wooden posts with
computer chip controlled “cry generators” at locations of environmental disasters. Such sites include Bhopal, India, an island near the Exxon-Valdez oil spill, and several more.
With his background in both “analog” and digital 3D, in the mid-90’s Summers found himself at the confluence of these fields, which was wide open for new aesthetic exploration. One component of The Crying Post Project is an interactive 3D website.
Summers has created 3 short “art” digital animations that have played and won awards in film festivals worldwide. This digital artwork has come to its full fruition, in a series of digitally created abstract “color field” videos called The Phase Shift Videos begun in 2005 (www.phaseshift.org). One of these was a purchase prize winner in the Bienal Internacional de Arte Contemporáneo, in Almeria, Spain, 2006. Others have been exhibited in the Toluca Museum of Modern Art in Mexico, an airport in Russia, a new media festival in Brazil, and numerous other galleries and museums world-wide. In contrast to The Crying Post Project these videos have been described as mesmerizing, beautiful and complex.
He is also at work on a series of short, dense, digitally created collaged videos inspired by artists and scientists called Slow Light Shadow Matter. His artists books, videos and interactive digital projects are in the collections of several major museums including the MOMA, the Pompidou Center, and the International Dada Archive.
Robert Dohrmann (USA) – Davison Grant Genetics, 2011-2018, interactive
Open the project here
Davison Grant Genetics is a simulated biotech company using the Internet, digital prints, and performance as its primary forms of delivery. The inspiration for this project began to unfold in early 2009, and not unlike any corporation focused on global success, it has continued to rise
and expand to this day. Initially, the frantic race to map and patent human DNA during the 1990’s was the most inspiring element for this project. Therein I found a complex framework to fabricate an artificial empire seemingly dedicated to healing and improving the human body through science and technology. The dream to live longer, be healthier, and appear more beautiful has been the conceptual strategy throughout the creation of this company
The foundation of this piece was an investigation into the potential reverberations of private corporations becoming involved in the Human Genome Project. Perhaps solely motivated by its financial potential, a research group from the private sector called Celera Genomics created
their own biotech company and directly competed with government-funded programs relating to the discovery and ownership of genetic material. The pseudo-science of Eugenics, which aimed at improving the “qualities” of the human species at the beginning of the 20th Century (including moral and racial characteristics), played a significant role in informing this work. Also important was an eccentric group known as the Transhumanists, who fervently believe in the “humane”
use of advanced science or technology to help mankind elevate the body, mind, and spirit to a
higher-level of consciousness.
Behind a scientific veil of humanitarianism, Davison Grant is simply fulfilling a need and unapologetically capitalizing on the human propensity for vanity and quest for immortality. This visionary company is assuming the role of a laboratory God in earnest with great hopes of ushering in a utopian world.
Robert Dohrmann received his MFA in Painting and Drawing in 1992 at Central Washington University, Ellensburg, WA. He is currently a Professor of Studio Art at The University of Oklahoma. His most recent body of works include experimental video shorts and nonlinear interactive web based media.
Jens Sundheim/Berhard Reuss (Germany) – The Traveller, 2001-2020
Open the project here
You can watch me.
For 17 years now I have been following the traces of public webcams: cameras installed in public or private spheres that automatically record images and spread them via internet.
I research where they are located, travel there, and get myself photographed. New York and Moscow, London, Las Vegas and Singapore – I went to more than 700 webcams in 20 countries. So far.
In New York, I was taken in police custody after standing around in front of a traffic webcam, and was later interrogated by the FBI.
On location, I place myself in front of the camera. As »The Traveller«, I stare back. Same clothes, same pose, every time. You can recognize me in every image. You can watch me.
A lot of questions arise. Who sets up these automated cameras, and why? What do they show? Are people aware of them? Who needs these images? Who looks at them? Does the presence of a camera alter a site? What constitutes a photographic image in terms of content, authorship or quality?
»The Traveller« examines global spread of imagery between irrelevance, amusement, information and surveillance, and the aesthetics involved.
Among many other places, The Traveller encountered the legendary coffee machine where the world’s first webcam was ponted at, the ESA European Space Agency main control room, a huge cactus observed by four cameras, numerous front gardens and backyards, and the inside of a New York police station – arrested for strange behaviour.
Jens Sundheim – Born 1970 in Dortmund, Germany. Studied information science, then photography at the University of Applied Sciences and Arts Dortmund, University of Plymouth in Exeter, England and HAW Hamburg. Based in Dortmund.
Bernhard Reuss – Born 1966 in Wiesbaden, Germany. Studied photography at University of Applied Sciences and Arts, Dortmund. Numerous works with the camera obscura. Since 2006 engaged in a photography art space. Lives and works in Wiesbaden, Germany.
JIP – JavaMuseum Interview project – selected interviews 01
JIP – JavaMuseum Interview Project
selected interviews 01
Patrick Lichty (USA) – http://jip.javamuseum.org/?page_id=60
Kyon (Germany) – http://jip.javamuseum.org/?page_id=84
Timo Kahlen (Germany) – http://jip.javamuseum.org/?page_id=109
Jody Zellen (USA) http://jip.javamuseum.org/?page_id=46
Jens Sundheim (Germany) – http://jip.javamuseum.org/?page_id=57
soundMIGRATION – interactive works by
STANZA (UK) – SoundCities
Open the project here
Soundcities is an open online database of the thousands of sounds from around the world and you can visits the various cities and create soundmaps..
Soundcities was the first online open source database of city sounds and soundmaps from around the world, using found sounds and field recording. There are now thousands of sounds from around the world on the website. The concept started in 1995 with various iterations. In 1996 Stanza devised the term soundmaps and initiated the various works that developed into soundcities.com. Stanza’s interactive soundmaps have been online since 2000 and the Soundcities database since 2004. This project allows the audience the possibility to remix the hundreds of samples recorded from cities around the world in an online database. The sounds can be listened to, used in performances on laptops, or played on mobiles via wireless networks. The Database is also open so anyone can upload sounds they collect from world cities, thereby making a contribution to the project and making an online sounds archive.
The sounds of cities also give clues to the emotional and responsive way we interact with our cities. Cities all have specific identities, and found sound can give us clues to the people that inhabit these spaces, as well as provoking us and stimulating our senses in a musical way. I am interested in the sounds of specific places, and how the sounds reflect this identity and re-imposes characteristics back onto the location or environment. The aim is to create an online aural experience that evokes place, both as literal description but also developed musical composition. The sounds of cities evoke memories.
A growing labyrinth, a community of aural cityscapes and collages is now evolving. The city is its own music, constantly evolving, a beautiful composition of squeaks, clanks, and pulses. The city is the orchestra. As globalization fractures the identity of the city experience we start to find things that appear the same the world over. Soundcities, involves field recording literally the sounds we hear as we walk out of the door. Not just as noise (data) or as noise pollution but also as an appreciation of sound and how this not only affects the space but is the space. The noise is the city, the noise is the music, the city is the orchestra and we are just conductors whose interactive actions compose this music as we walk around. We control the interface of the city as we navigate the streets. We are responsive in out interactions of the city space.
STANZA – I am an independent artist based in London. I have been working as an artist for over thirty years, and most of my artwork can be seen here on this website. These artworks include audio visual installations, videos, paintings, software and public engagement artworks.
I have become an internationally recognised artist for my practice and net art systems and I have been exhibiting worldwide since 1984. My artworks have won over twenty international art prizes and art awards including:- Vidalife 6.0 First Prize Spain. SeNef Grand Prix Korea. Videobrasil First Prize Brazil. Cynet Art First Prize Germany. Share First Prize Winner Italy. Wolfsen 25 UK. AOF Nova Competition Norway. Videoformes First Prize France. The artwork I have made has also been rewarded with a prestigious Nesta Dreamtime Award, an Arts Humanities Creative Fellowship, a Clarks bursary a STARTS residency.
Jody Zellen (USA) – Disembodied Voices, 2004, interactive
Open the project here
Disembodied Voices is a meditation on the nature of public space. It is a visual representation of how different bodies communicate across space, using cell phones as a metaphor for the new translocal of connected, yet disembodied voices, linked across space invisibly – forming an unseen network of wanderers, always within reach yet nowhere in sight. This site illustrates the collision of the personal/private and public space. As the line between public and private continues to blur intimate transactions have become audible to anyone within earshot. Where we are, in a sense, no longer matters since we are always connected. Using the cell phone as a metaphor, this project connects users and investigates the changing nature of public space into a wirelessly connected translocal, where each person is a node in the network.
Jody Zellen, a Los Angeles based artist working in many media— making interactive installations, mobile apps, net art, animations, drawings, paintings, photographs, public art, and artists’ books— constantly thinks about ways to integrate interactivity and technology into her works.
She received a BA from Wesleyan University (1983), a MFA from CalArts (1989) and a MPS from NYU’s Interactive Telecommunications Program (2009).
Her site specific interactive installations include “Time Jitters” a commission for the Halsey Institute of Contemporary Art at the College of Charleston, SC, 2014; “The Unemployed” exhibited at Disseny Hub, Barcelona, 2011; and “The Blackest Spot” created for Fringe Exhibitions, Los Angeles, 2008.
Among her numerous interactive net art projects are “Spine Sonnet,” 2011 (commissioned by LACMA); “Lines of Life,” 2010 (commissioned by terminalapsu.org); “Without A Trace,” 2009 (commissioned by turbulence.org). Other net art projects include “Ghost City,” 1996-present, an ever changing poetic meditation on the urban environment; “Urban Fragments,” “Talking-walls” and Disembodied Voices.”
Most recently she has been creating mobile apps as artworks. These projects available for free in iTunes include: “Time Jitters,” “Urban Rhythms,” “Spine Sonnet,” “Art Swipe,” “4 Square,” “Episodic.” and “News Wheel.”
Zellen was awarded a second Artist Fellowship from the City of Santa Monica, for 2015-2016. She is also the recipient of a 2012 California Community Foundation Mid Career Fellowship, a 2011 Center for Cultural Innovation Artistic Innovation Grant as well as a 2004 COLA (City of Los Angeles) Fellowship.
The Sonic Memorial
The Sonic Memorial
unique in its kind, because it uses the non-visual medium of sound as a tool for commemorating, instead of static or moving images, the Memorial belongs to The 7 Memorials for Humanity – a media art environment, created and curated between 2010 and 2018 by the Cologne based media artist & curator- Wilfried Agricola de Cologne.
The Memorial is consisting of two individual sonic art projects –
1. soundCollective – collective trauma, identity and sonic art
2. soundMigration – migration in a global context and sonic art
“soundCOLLECTIVE” – collective trauma, identity and sonic art
was released on 9 November 2015 – commemorating the “Night of Broken Glass” (9 November 1938 /Reichskristallnacht), when the NAZI in Germany were destroying the synagogues nationwide in one single night.
The project, initiated by Wilfried Agricola de Cologne would like to sentitize people via sonic art for the phenomenon of collective trauma. The non-visual medium of soundart has a particular potential to express affection via a wide range of soundtools.
SoundLAB has been an active project environment between 2004 and 2010 – featuring each year another edition of soundart online – in total 7 editions – see also http://soundlab.newmediafest.org
Sound artists from all over the world were invited to submit a sound piece dealing with collective trauma. There is no need to go back 70 years ago, but collective trauma happens every day before our very eyes in the media whether via desasters of nature, genocides, the refugees persecuted and expelled from their home countries in Africa or Middle East,. collective trauma is currently touching everyone’s life more or less dramatically. So, it is more than worth to express one’s feelings and emotions via artistic media like soundart.
Since 2016 “soundCOLLECTIVE” is also corporate part of “://self~imaging – artist show face against Intolerance, Racism, Xenophobia and Antisemitism – http://self.engad.org/2016/
has been initiated in 2017 for The W:OW Project – We Are One World – http://wow.engad.org . The title refers to the current global phenomenon of migration, but goes actually down to the philosophical aspect of migrating as an active and evolutionary process in human existence, offering desaster and chance, hope and despair alike. Migrating means always to leave the familiar surroundings of the homeland, in order to find elsewhere more appropriate conditions for survival. There are many reason why people start migrating, to escape persecution and murder, expulsion, climate change or poverty.
The invited artists commemorate the migrants and their motivations to change the Present for a better Future with the tools of sonic associations.
The project of “soundMigration” is including two curators- Wilfried Agricola as the initiator and chief chief curator and as a guest curator – Rainer Krause, a reknown soundartist based in Chile.
“soundCOLLECTIVE” – collective trauma, identity and sonic art
soundMIGRATION – migration in a global context & sonic art
are project initiated and curated by Wilfried AGricola de Cologne
copyright © 2015-2020
All soundart works
copyright © by the artists
soundart by soundMIGRATION
Ephemeral collective of sound art, Felipe Otondo, Raúl Díaz Ojeda & Fernando Godoy, Claudio Fernandez Sini, Alejandro Albornoz, Monica Bate, Pablo Schalsch, Federico Schumacher Ratti, Felipe Cussen, Gregorio Fontén, RadioRuido.2, Mario Z, Barbara González Barrera, Christian Delo, Renzo Filinich, Rainer Krause
curated by Rainer Krause
01. Ephemeral collective of sound art – Vagrancy [excerpt], 2015, 8’53’’
02. Felipe Otondo – Wetland soundscape, 2016, 5’01”
03. Raúl Díaz Ojeda& Fernando Godoy – W [excerpt], 2015, 13’42’’
04. Claudio Fernandez Sini – Traccia, 2017, 15’01’’
05. Alejandro Albornoz – Listening Animals, 2016, 8’00”
06. Monica Bate – The Life of Crystals, 2016, 1’39’’
07. Pablo Schalscha – Electromechanical Sirens + The Bullet, 2016, 1’33’’
08. Federico Schumacher Ratti – Danza de la Protesta [Dance of Protest], 2011, 5’41’’
09. Felipe Cussen – We are not one world, 2017, 2’50’’
10. Gregorio Fontén – El lugar que habito [The place I live in], 2017, 10’05’’
11. RadioRuido.2 – n [excerpt], 2015, 7’57’’
12. Mario Z – think a song (créditos bonuz track), 2016, 4’33’’
13. Barbara González Barrera – Abstract from metronome 40, 2016, 2’43’’
14. Christian Delon – Residencia Melosilla [excerpt], 2016, 7’38’’
15. Renzo Filinich – We do not have a body, but we are a Body, 2015, 11’08’’
16. Rainer Krause – Captcha piece [excerpt track 4], 2015, , 4’40’’
Jonathan Sherman aka JFS, Amelia Marzec, Caitlin Foley & Misha Rabinovich, Four Lines , Wilson Butterworth, Meri Nikula , Marc Lee, Le Tuang Hung , Bambang Dwiatmoko , Daniel Bargach Mitre , Lorenzo Fiduccia , George Cloke , Ximena Alacron , Scott Sherk, Siou Ming Wu
selection curated by Wilfried Agricola de Cologne
Jonathan Sherman aka JFS (USA/Taiwan) – Household Waste Remix, 2017, 9:17
Amelia Marzec (USA) – Future Syndrome, 2017, 4:17
Caitlin Foley & Misha Rabinovich (USA) – Kohotume, 2016, 5:55
Four Lines (Georgia) – Story of the Night, 2017, 3:30
Wilson Butterworth (USA) – Golden Gate
year of creation: 2015
Meri Nikula (Sweden) – Fatima’s Tears, 2016, 3:30
It is from a live performance I did in Israel. The special thing about this song is that I composed it in my parent’s sauna in Finland… but it is dedicated for the muslim women all over the world, who are suffering. Fatima’s Tears. From a non-muslim, non-religious woman. As a part of my Global World Music, to bring peace and unity through music.
Marc Lee (Switzerland) – SECURITY FIRST, 2015, 4:28
[sc_embed_player_template1 fileurl=”http://sound.newmediaserver.org/som/marc-lee_security.mp3″] Manifesto:
Boston bombings, 9/11, we need “rings of steel,” we need more cameras, and we need them now. We all know, we are seen and recorded without a choice. In public transportations, shopping malls, cafe shops, museums, e-mails, hangouts, online and offline, public and private, outside on the street and at demonstrations. It’s not just for your own safety; it’s for the safety of us all.
Buy surveillance cams and become part of this wise movement. It’s a corporate evolution. There are countless camera models, designed for all our needs. Wireless hidden spy cams. Lightweight water- and ice-proof surveillance cams, high resolution night vision Webcams — for offices, schools, households, toys, cars, animals, and drones. Today, people feel unsafe if they don’t see surveillance cams. Therefore, at least invest in blinking dummy cams. But try to be more responsible — monitor and record your house and garden, your neighbors and street, 24/7. And make it available online. Store it automatically in the Cloud, on open networks and peer-to-peer file sharing. The algorithm bubble is for all of us. Post and tweet it, on the social web and empower it by retweeting it again. You don’t have to be afraid, feel free, proud, and privileged. Even if it seems technically complicated, it isn’t. We’ll help you, we are all behind you. Be part of this smart web culture; it’s fun, addressing this encouraging enrichment worldwide. Your recordings help to train and improve sophisticated software. They identify objects, by size, shape, color, and movement. They can read license plates and recognize cars. When it comes to people, they detect our gender, approximate age, and demographic information. They automatically zoom in on any person’s face and identify us based on things like the distance between our eyes and the shape of our nose. They recognize our mood and emotions and analyze our feelings. They spot and tag systematically and enrich our user profiles. To get a clearer picture of us all, recordings are linked, combined, and harmonized, like with Facebook’s huge facial recognition databases and countless other rich veins of data services. It’s for the bigger picture, spotting criminal activity before it happens.
Only a few privacy advocates are uneasy about the idea that Big Brother is monitoring our every move. The truth is, cameras make people feel free and more secure, knowing that bad guys are being watched. After cameras are installed, crime falls rapidly. When you tolerate being seen and recorded, we can all learn from it, now, as well as future generations. We will be an-individualized, normalized, and we will be as one. We and our children will feel safe and secure inside and outside, in the street, in the fresh air, on public transport. This is openness, generous, liberal and tolerant, recording us now and for the future. Your actions will be embedded in our history. You will not be forgotten, you will be seen forever. This is important: Make a clear choice to record and be recorded. Make a change. It’s your own individual right. We are the new generation. It’s a challenge, be virtually everywhere, create communities, network and exchange. Don’t escape and don’t occupy spaces, let them be open and free. And when you publish or talk to an algorithm, never be anonymous. Crime will fall rapidly. Our life will be better. Your choice is our choice.
Le Tuang Hung (Vietnam) – Valley of Songs, 2017, 9:21
Bambang Dwiatmoko (Indonesia) – Ladrang Synthetic , 2012, 4:12
Daniel Bargach Mitre (Bolivia) – before and after valparaiso (mapuche), 2017, 07.32
Lorenzo Fiduccia (Italy) – 11 Variations on Bach’s portrait, 2016, 3:17
George Cloke (UK) – Year In Review (10 Minute Version), 2017, 10:00
Ximena Alacron (Norway) – Suelo Fértil Audio Essay, 2016, 20’43”
Scott Sherk (USA) – Snow Geese Take-off, 2017, 3:06
Siou Ming Wu (Taiwan) – Lingering Sound, 2016, 01:28
Kanwal Tariq, Simon Hutchinson , Adam Stanovic, Brad Carlile & Angelica Clendening , Ben Skea , Paola Santillan , Ryan Hoover , Bernhard Wöstheinrich , Tomas Laurenzo , Tim Howle & Paul Dibley , Paolo Pastorino , Stephen Bradley/John Sturgeon , Sonia Guggisberg , Harai Izenberg
curated by Wilfried Agricola de Cologne
Kanwal Tariq (Pakistan) – Untitled III, 2017, 1:13
Simon Hutchinson (USA) – Planned Obsolence, 2015, 6:37
Adam Stanovic (UK) – Foundry Flux, 2016, 10:00
Brad Carlile & Angelica Clendening (USA) – Electronic Communication, 2017, 2:08
Ben Skea (UK) – No Heads, No Centre, 2017, 04:14
Paola Santillan (Canada) – 6 etudes électroniques , 2016, 6:28
Ryan Hoover (USA) – Sounds of India I: Fatehpursikri Fort, 2009, 3:18
Bernhard Wöstheinrich (Germany) – Unpossessed, 2017, 08:07
Tomas Laurenzo (Hongkong) – “Simple Background Noise: Movement and Stillness”, 2016, 3:18.952
Tim Howle & Paul Dibley (UK) – The Phantom Ride, 2016, 9’12”
Paolo Pastorino (Italy) – Matérica, 2017, 4:33
Stephen Bradley/John Sturgeon (USA) – In The Neighborhood, 2017, 3’47”
Sonia Guggisberg (Brazil) – Migrant Dream, 2017, 10:00
Harai Izenberg (Israel) – Spalax, 2017, 8:04
Jere Ikongio, Sarah Ouazzani , Nicole L’Huillier, Wayne Clements , Timo Kahlen , JAime Yakaman , Marco Stefanelli , Marcellina Wellmer , Edward Morin , Laura Netz , Tom Bogaert , Scott Hall , Aaron Oldenburg , Lucinda Luvaas
migration in a global context & sonic art
Jere Ikongio (Nigeria) – Eko Blues, 2015 – 2017, 05:41
[sc_embed_player_template1 fileurl=”http://sound.newmediaserver.org/som/ikongio_Eko Blues .mp3″]
Sarah Ouazzani (France) – Chat-huant, 2017, 7 :30
Nicole L’Huillier (Chile) – Nothing (but the textures of my body), 2017, 4:29
Wayne Clements (UK) – Chromo1x50gunfire, 2017, 10:00
Timo Kahlen (Germany) – Footprint, 2014, 1:01
JAime Yakaman (Spain) – Identidades sonoro-espaciales 1, 2 y 3, 2013-2015, 8:07
Marco Stefanelli (Italy) – Ave Europa, 2016, 09:59
Marcellina Wellmer (Germany) – 52.2297° N, 21.0122° E // 52.5200° N, 13.4050°, 2017, 5:03
Edward Morin (USA) – : Sonic Variations on the Goldberg Variations – Variation I, 2017, 02:51
Laura Netz (UK) – Medial Ages, 2017, 20:00
Tom Bogaert (Switzerland) – It’s Grim Up North, 2017, 02:33
Scott Hall (USA) – Sad, Tragic, Eventually (London Drone), 2013, 3:36
Aaron Oldenburg (USA) – Alone in the Sun, 2016, 00:01:30
Lucinda Luvaas (USA) – The Agry Forest, 2016, 4: 37
Hilda Daniel, Elisabeth Wood, Jing Yu, Cezary Ostrowski, Lristopher reeder, Pit Molling, Martin Klusak, Yaniv Kuris, Pieter Gyselink, Marcus Beuter
Hilda Daniel (Singapore) ECHOLULLIA, 2015, 3:00 min
Elizabeth Wood (Canada) – Lamentation 2015, : 5 min. 40 sec.
Jing Yu (South Korea) – Daytime: Rebirth of the City, 2015, 7:23
Cezary Ostrowski (Poland) – I Don’t Deny, 2014, 1:32
Kristopher Reeder (UK) – 28 Trombones, 2015, 6:54
Pit Molling (Germany) – Sawtooth, 2015, 5′ 51”
Martin Klusák (Czech Republic) Princess in the Iron Mask , 2014 , 15′ 26”
Yaniv Kuris (Israel) – Cataclysm II/קטאקליזם II , 2014, 4:59
Music For Installations/Pieter Gyselinck – Synesthesia 2-Identity Crisis, 2013, 5:33
Marcus Beuter (Germany) – forgotten, 2015, 9:59
Echolullia is a chorus of lullabies. Beautiful and broken, it is a response to and representation of the psychic violence of the holocaust, of collective trauma, of any kind of genocide. For Echolullia, I asked friends, mothers, to send me a recording of themselves singing a song they used to sing to their babies; the piece also uses other sound incarnations of lullabies. As songs sung to soothe infants, as prayers for safety and happiness, lullabies are an intimate evocation of what is lost in the ravages of collective violence. The name of the piece is derived from “echolalia”, a term used to describe the sounds babies make to mimic those they’ve heard, and the automatic repetition of another’s spoken words (sometimes thought to be a symptom of mental illness). Echo is used in the piece to represent this mimicry, alluding to the title – its sound and meaning; to represent a multitude of voices – the collective; serial repetition (in art) and serial killing (in war); and as a representation of time tumbling in on itself, like a memory of violence recurring. In Echolullia, things start to go backwards, the delicate tynes of a music box twist in a deep bass of dread, words are cut off, bits are displaced, spectred and repeating, sounds and utterances and breathing more expressive than the words they used to be. Like the piece, spiraling in and out of the lullabies, each victim of the collective is some one’s baby, a life cut short, displaced and out of context, out of family, the mother the father hope severed, the sisters the brothers, the friends, multiplying, intimate and singular and resonating outward in ruptures of the psyche, passed on with the stories and songs from generation to generation. A chaos of loss remains behind the words, in every lull and lullaby, its there in every breath.
The singers are Rachael Daniel, Regina Drenik, Joanne Levine, and Linda Midori. They include my sister – whose experience of the holocaust comes from stories of our parents and families in Japanese concentration camps in Singapore during WWII, and my oldest friend, who counsels holocaust survivors. The sounds used include traditional American and French folk songs; a music box playing the melody from Johannes Brahms, op.49, Nr 4 and the same performed by Ernestine Schumann-Heink (1861-1936) in 1915; Louisa May Alcott’s poem, Lullaby, read by Ezwa in Belgium in October, 2009; and other songs/recording in the public domain.
Hilda Daniel is a multi-media artist based in New York City (from Singapore and Los Angeles, family from India and Iraq). Her work has been exhibited in galleries and festivals in New York, London, Berlin, Oslo, Dublin, Marseille and other cities in Europe, US, Canada and Mexico – including the Anthology Film Archives, NYC; Oslo Screen Festival; online as a finalist in the SXSWclick festival and as part of Museum of Modern Art’s SoundCloud site for its exhibition on John Cage’s 4’33”; in curated sound/cinema events at the Library of Performing Arts at Lincoln Center, NYC, the British Library, London, and the Whitworth, Manchester, UK; reviewed in The New York Times, Performance Art Journal, New Art Examiner and other publications.
I am drawn to make art works focused on the interior self – specifically in the context of loss and vulnerability, and I gravitate to both installation and sound art as the means of reflecting those particular complexities of our inner lives in the most visceral manner possible.
My art practice has been largely text-based and my approach frequently involves the appropriation and re-assembly of evocative words and phrases from art history, literature, opera and popular culture. I am drawn to the reshaping of historical materials, already rich with meaning, in order to release their potential to generate other layers of interpretation or response in fresh conceptual and emotional contexts. In focusing on loss and vulnerability, I attempt to address themes of subjective yet universal experience set against the larger backdrop of life.
In responding to the call out for a sound piece focused on the theme of Collective Trauma, I have selected and re-formed phrases from news events that reflect the brutality that groups of people have inflicted upon others in varying degrees of scale around the world. I have referenced notorious events that we are all familiar with historically, such as the Holocaust and Cambodia, as well as more current atrocities of a relatively smaller scale such as the actions of the drug cartels that inflict ongoing trauma on Mexican communities. The sound piece is structured in the manner of a lament in order to reflect the mourning and sorrow we experience at the pain, suffering and terror caused by these acts. The phrases allude to the collective nature of the trauma inflicted not only upon those who have died or have been forced to await an almost certain death, but also upon the survivors who relive the events, vicariously and relentlessly, in their imaginations.
In the sound piece I refer to 41 sites around the world where brutality has occurred and where subsequent collective trauma has taken root. While these sorts of atrocities continue to occur in various parts of the world with alarming regularity, it is necessary to be selective in presenting a work like this. These particular references attempt to capture the multitudinous ways in which the brutality is manifested and the pervasive trauma is entrenched.
By using phrases from news events, I also seek to draw attention to the impact news coverage has on the listeners and viewers who have had no direct involvement. Although the acts of barbarism we hear about on a nearly daily basis cause significant anxiety, fear and stress for many, for others, the ongoing bombardment of horror may trigger a numbness to the suffering. I hope that by transferring these ‘headlines’ to a work of this sort, some listeners will be re-sensitized to the massiveness of the accumulating atrocities and that sensibilities and responses will be re-awakened.
Through good fortune, I live in a relatively peaceful and politically stable country which embraces diversity and often seems far removed from the devastation experienced elsewhere. Yet through the daily news stories that reach me, I appreciate how depressingly thin the veil of civilization is, and I cannot help but wonder “why them and not me?”. This art work is my effort to pause and reflect, however momentarily, on the nature of such suffering and the legacy of collective trauma that pervades so many parts of the world.
In the hills and valleys of Armenia
In the killing fields of Cambodia
In all corners of Rwanda
From the ashes of Ground Zero
In the heat of the Syrian desert
On a desperate journey across the Mediterranean
In the blue sky over Yemen
Beneath the sands of Atacama
In the depth of the Congolese Forest
On the streets of Baltimore
In the turbulent waters of the Black Sea
In the hills surrounding Iguala
Within the homes of Ugandan men and women
On the southern Somali coast
In the cities and towns of Bangladesh
In the faces of girls rescued from Boko Haram
On boats in the Andaman Sea
In a Black church in Charleston
At a university campus in Kenya
On a mountain in northern Iraq
In the villages of South Sudan
In the slums of Burundi
On the island of Sri Lanka
In the green landscape of Ethiopia
In the rain that floods Dohuk
Inside a school in Gaza
In a forested hilltop of Central African Republic
In the bullet holes of a Sarajevo building
At a residential school in Ontario
Within a shopping mall in Nairobi
On a bus in Tel Aviv
Along the American Trail of Tears
Before a silent wasteland in Ukraine
Beneath a dark cloud over Halabja
In Tiananmen Square
Beyond the plains of Nineveh
From the ruins of Nanking
In the port city of Smyrna
In a North Korean prison camp
On a street corner in Havana
I studied visual art at the Emily Carr University of Art and Design and in the Visual Arts program at Simon Fraser University in Vancouver, B.C. Canada. My art education began when emphasis was placed on ‘open studio’ investigation as a means of nurturing opportunities for intellectual curiosity and wide-ranging experimentation. My art practice has since evolved in a conceptual manner crossing boundaries into hybrid genres that include text and sound- based work. I am currently exploring the use of the public domain where, removed from the confines of the art gallery, I hope to generate a more poignant visceral and emotional experience for the viewer.
When we talking about the noises of the city, noises from construction site always being the biggest issue. But in some cases, they represent a new hope of a city.
In this sound piece, sound sources are recorded from a construction site in Ya’an, China, a year after a 7.0 earthquake.
Disasters destroyed humans’ lives, reducing the city to a shambles, removing the traces of evolutions. Everything seams to go back to zero. What I’ am eager to find out is the desire for surviving, which pushes human beings keep going on. The things they have suffered, the families and lovers they lost
All of those traumas knocked them down suddenly, yet they get up with strong faiths for reconstruction. Thence, the building fieldis more like a battlefield for rebirth.
Used tools : Zoom H4N Logic X
Musician, Sound designer From China, now based in New York
(I Don’t Deny (also called Best Band Ever) is a short musical manifesto of my attitude towards cooperation for mankind’s development)
visual artist and composer, born and living in Poland)
The seeks to draw upon the ceaseless trauma associated with conforming with broken systems by challenging the institutional model of the ensemble. The Classical ensemble represents broken colonial power systems which force musicians to conform and suffer if they do not conform. This piece deals with and challenges the notion of ensemble and conformity and asks the audience to reflect on the trauma of their own conformity.
Kris Reeder (born 1984) is an Oxford (UK) born Trombonist, Sonic Artist and Composer. Kris Reeder is widely considered to be one of the leading Trombonists of his generation. Kris Reeder has performed alongside world-class musicians and conductors across many genres including: Sir Colin Davis, Sir Simon Rattle, Laura Wright (Classical), Pat Thomas, Derek Watkins, Kenny Wheeler and Dennis Rollins (Jazz). Kris Reeder has been broadcast by major international media companies including: BBC television, BBC radio, Sky, ITV and regularly appears in major print media.
Kris Reeder started playing the Trombone at the age of 11 (1996). He was first exposed to Jazz when he participated in a free jazz/performance project when he was 14 (1999), gaining inspiration from the ‘unfinished’ nature of jazz. Kris won a scholarship to study at the world renowned Royal College of Music Junior Department, London at 16 (2001) and went onto win a scholarship to study at the prestigious Royal Academy of Music, London when he was 18 (2003), studying Bass trombone under Bob Hughes FRAM in James Watson’s Brass Department at RAM. As a young professional trombonist Kris has circulated widely with global music icons and has performed alongside Jazz legends such as: Derek Watkins, Kenny Wheeler and Pat Thomas. Kris has performed across London at most of the major concert venues. Kris left the Royal Academy during the second year (2005), to focus on electronic and free jazz music recording.
In the summer of 2011 I traveled to Poland to visit the concentration camp Auschwitz-Birkenau. In my subjective perception the previously absorbed information on the Holocaust were henceforth subject to an emotional and discursive detachment. Where feelings prevail, there will be no room for words. Subsequently, I began producing a series of works entitled Nature morte (Still Life): a set of digital drawings and a sound piece. The latter reflects my personal and concrete memory of the sentiment I felt on the premises.
Confronted with the moral problem of using the Holocaust as an art theme, I wasn’t able to figure out how to represent something as extreme, when theoretically one cannot do so without in some way validating the culture that produced it. After considering the risk of trivializing the issue with my representation, I excluded the project from my artistic work. Not till 2015 I decided to resume the work on the series and to expand it’s concept in theorie on current political tendencies. The call addressed to sound artists for the project soundCOLLECTIVE comes my way at the right time and provides an ideal platform to present the sound piece. Sawtooth from the series Nature morte (2011-2015) is a two-channel, synthetic so-called sawtooth sound. The evolution of the piece is progressive but slow. The industrial, oppressive character is subject to a continuous pressure buildup. At its peak, it draws a fine line between distance and proximity. Designed for headphones, this sound piece was produced in Propellerhead Reason 8 with the plugin Thor and mastered in Pro Tools 11 using the plugins Izotope RX4, Slate Digital VRM, Fabfilter Pro Bundle, Waves Gold Bundle and Audioease Altiverb 7.
Pit Molling was born 1984 in Luxembourg. He started experimenting with sound and producing electronical pieces at the age of 14. In 2012 he graduated as “Meisterschüler” from the Freie Akademie der bildenden Künste, Essen. As a mixed media artist, he participated in several group exhibitions in Berlin, Essen and Luxembourg and was nominated in 2012 with his concept of Digital Drawings for the Essener Förderpreis. 2014 he began to include sound as a medium in his artistic work. After the premiere of 365 degree – a hand drawn digital movie realised in collaboration with his younger brother, Max Molling – which for the occasion was presented with a live performance of the Luxembourg Studio Orchestra at the Philharmonie Luxembourg in April 2014, Pit Molling was nominated for the international digital art award The Lumen Prize. In 2014 and 2015 the film was presented within the framework of The Lumen Prize Exhibition at the Onassis Cultural Centre in Athens, at the Institute of Technology on Broadway in New York as well as in Amsterdam, Cardiff and in London. During the Museum’s Night in October 2014, 365 degree was projected on the front of the Musée national d’histoire et d’art in Luxembourg City.
The composition created for the 25th anniversary of the Czechoslovak Velvet Revolution is concerned with the topic of “iron curtains” of today, and by means of free fiction it reflects upon the specific realities of the relationship between the Czech Republic and North Korea after 1989. Main inspiration were stories of North Korea refugees which were published in a lengthy article in the National Geographic, dated February 2009 – and especially the 2006 reports of the sociologist Marie Jelínková about North Korea women in the Czech Republic, as well as my own interview with Jelínková.
I have chosen the form of radiophonic fiction with a reduced amount of dialogue. My template for the form is the non-verbal sound cinematography, i.e. films in which the leading dramatic role is given to other means of film speech rather than to words – camera shots, the set-up of the scene, action and movement, cut, sound etc. The form is also inspired by a contemporary popular genre of docufiction (documentary fiction) in which the authorial aesthetics is achieved by the director’s purposeful manipulating or influencing the recorded reality without necessarily setting up a clear border between reality and fiction. Although the composition does contain dialogues, I endeavor to withdraw from the traditional verbal approach of a radio play, and by means of mere sound I try to convey the imagination of a film image and story.
In the composition, I work almost exclusively with sounds I recorded myself, some of which were grabbed at the true locations of North Korean laborers’ stories (Khabarovsk, a Russian far eastern city, or a Czech town Beroun).
Martin Klusák (b. 1987)
began to compose music in relation to his sound and music production for films. He has been involved in filmmaking since 2006 as a student of the Film and TV School of the Academy of Performing Arts (FAMU) in Prague. Later on he also started working as an independent sound designer. In 2010 he began to study composition at the Music and Dance Faculty of the Academy of Performing Arts (HAMU) with Professor Ivana Loudová and he gradually became focused on concert works as well. During his short time of working in this area, he has won a range of awards, such as the first prizes of the Prague Philharmonic Choir’s competition (Prague, 2012) and of the Generation Competition at the Janáček May Festival (Ostrava, 2014), the audience prize in the Berg Orchestra’s competition (Prague, 2013), the award for the best Czech electroacoustic composition in the Musica Nova Competition (Prague, 2011, 2014), etc. As the producer of the sound part he contributed to a feature film, The Great Night (Velká noc), which won the first prize at the International Documentary Film Festival in Jihlava in 2013.
’The hatred which had again erupted against the Jews in Hungary, is similar to the earthquake on the island, of which we had heard today; Like flames rising from the fires of Isavia, or the eruption of the volcanoes in the provinces of Java; For the anxiety of one’s spirit and essence! It is also beyond science and is also incomprehensible!’
Old Jerusalem, 1883. My great-great-grandfather, David Baumgarten, the Jewish correspondent of ‘Hamagid’ newspaper, writes an article about the famous blood libel of Tiszaeszlár, a small village in Hungary, which happened in 1882. Although the defendants were acquitted eventually, but the Tiszaeszlár affair, the trial and its consequences led to Pogroms throughout Hungary in 1882 and 1883. In this particular paragraph Baumgarten mentions the Krakatoa eruption which, along with the tsunami which followed, led to the death of at least 35,000 people in south-east Asia, in the Antisemitic context.
David Baumgarten’s linkage of the two events – a force majeure and a man-made disaster is
religious in essence: Man depends on the heavens, and Baumgarten, in his home in Jerusalem, watches without being able to do anything, but is probably able to find some consolation in his religious belief. The helplessness and the place of man in the face of cataclysm cry out when reading his text from 1883, but is a non-religious modern day man able to find a way to ease the fear, can he find reason in the unbelievable horror, while watching it unfold?
Cataclysm II/קטאקליזם II uses texts about the Tiszaesler blood libel from Hamagid as well as eye-witness accounts of the Krakatoa disaster as source materials.
Yaniv Kuris (b. 1973)
is a sound-artist and musician based in Jerusalem, Israel. His works involve various methods of composition, experiments in sound and music, soundscapes, sometimes involving the use of text and multi-media collaborations. He has also made some soundtracks, sound installations, and in 2013 released his debut album, titled ‘Works’.
One of the side-effects of abundant mass-media and social connection is the wide spreading of images and footage about people lost, on the run, in crisis. These social connections also make it possible to have a massive spread-out of lies, denial and insults countering these collective traumas. This contrast between reality and denial almost certainly can causes collective damage on the identity of these fugitives or prisoners of conflict. The connection with the submitted soundscape lies in this feeling of lost identity, this uncertainty of life and future, this pain of being alive.
MFI had a connection with individual trauma in earlier work. This music broadens the project into the collective plan. Originally this music is a part of a cycle of soundscapes influenced by nature sounds and effects. These are used, transformed and reinjected as drones. Let this track be a way of communication between this identity loss and the world standing around it, possibly ignoring or minimizing it.
Music For Installations (author: Pieter Gyselinck)
Music for installations has the purpose of seeking out the perpetuum mobile in music. The idea behind the music is to draw the listener completely into a sonic scape. The accent is more on the impact of the sound as a whole, as a provocation to get emotions or reactions out of the listener.
War is an extraordinary situation for societies. It creates collective traumas and the aftermath stays mainly for people who experienced it. War is always present, there are always wars. In countries of peace we are used to get information or at least opinions about some of the current wars. They seem to drop on and off the agenda without any influence of the consumer of news.
So many wars have been forgotten, so much distruction dropped out of our focus.
The piece forgotten is about a place where war has been, where several times collective traumas occurred. It is a place where is no peace until today.
In december 2011 I travelled with two french artists to Nagorno-Karabach, a non-recognised state in South Caucasus. The war about this territory has taken place after the end of the Soviet Union. For more then 20 years exists a cease-fire, but no peace treatment.
On the eastern border of Nagorno-Karabach is a buffer zone by the Armenian and Karabachian army. Officially territory of Azerbaijan, it is a no man’s land. Here are the remnants of the city of Agdam, which has been razed.
One of the artists and I decided to visit this former city. The piece forgotten is based on recordings I did from the moment we got up that morning, our breakfast with our host, the travel to the capital, in order to get a visa to be allowed to go to an archaelogical excavation close to the border, on the travel there, the talk with people in a museum who organised us a taxi to bring us into this devastated place until we got into the taxi again to go back to our host.
We stayed for approximately four hours at this place where has been a city before. It has been abandoned, controlled by the army.
We split up to be alone with this extraordinary situation.
After a while a dog tried to chase me. A young man accoured and asked me to follow him. He led me to one of the five houses I saw which still have a roof. He with two other man used it as a stable for their flock of sheep. They offered me tea, gave a lamb on my lap and even if we couldn’t talk to each other as we didn’t share any language we sat together for one hour.
It was a striking moment, to find life in the middle of a totally devastated place.
Afterwards I walked the streets again, tried to document the silence, the absence of the former city life.
There are several information about the population figure of Agdam when it got destroyed. 50.000 is the number that circulates regulary. 50.000 people had to flee or died. Everyone who survived got traumatised.
The title of this piece is forgotten, because the conflict is forgotten, the people are forgotten. It is not a particular piece about the conflict between Armenia and Azerbaijan. It is not a statement towards or against any party of conflict. Agdam is in this moment a synonym for all forgotten places of violent conflicts, of war situations, of destruction caused by humans.
was born in 1968 in Wuppertal, Germany. Sound artist and composer of electro acoustic music. Journeys through Europe, Iran, Pakistan, Laos, Vietnam, India, Indonesia, Gambia, Senegal, USA, Georgia, Armenia. Co-founder of fragmentrecordings. Sound installations, electroacoustic compositions, free improvisation. Member of Cooperativa Neue Musik and part of the head of DEGEM. Several Ensembles – e.g. TATUNTAT and Ensemble Stationen NRW – and collaboration with musicians and artists of different genres. Liveperformances: in Armenia, Germany, France, Greece, Iran, Italy, Croatia, Macedonia, Netherlands, Romania, Slovenia, Serbia, Czech Republic, Turkey, Hungary. Artist residencies: Art and Cultural Studies Laboratory, Armenia, 2011/2012 AKOS, Armenia, 2013 Divadelni noviny, Czech Republic, 2014 Workshops: listening and voice improvisation with Laureline Koenig 2013, Armenia, Nagorno-Karabach; 2014, Iran field recording 2013, Slovenia; 2015, Germany listening 2013, Bosnia-Herzegowina; 2014, MARTa Germany Sound installations, fixed media (excerpt): schmerz, 2014 the quest, 2013 in the building, 2013 track, 2012 little hums of bangladesh, 2012 sound lines, 2011/12 auguries of innocence, 2011 sitting in a glass house – skimming stones, 2011 rhethororio, 2011 Organisation of festivals and social art: bielefelder SCHWÄRME, 2014 5. Diagonale, 2013 Festivals (excerpt): Fest i Nova’13, Georgia, 2013 Organism of sound – sound of organism, Slovenia, 2013 PNEM Sound Art Festival, NL, 2012 Le Off Avignon, France, 2012 NoiseFloor Festival, Staffordshire, England , 2011
Panagiotis Kokoras, Nigal Tan, Erizonte, Lucas Norer, Christine Renaudat, Edmar Soria, Wonderfeel & Antonio Tesla, Mr. Arnont, Ayse Kucuk, Francois Dumeaux
Panayiotis Kokoras (Greece) – , Paths of Fear, 2011, 10 minutes
Nigel Tan (Singapore) – The Train of Thought, 2013, 3:56
ERIZONTE (Spain)- “The Sleep of Reason Produces Monsters”, 2015, 06:33
Lucas Norer (Austria) – The Lisbon Rote Project, 2013, 15:39
Christine Renaudat (France) – Bloody Spring, 2013, 9’52
Edmar Soria (Mexico) – Morphic Babylonia, 2015, 7’ 05”
Wonderfeel (Australia) & Antonio Testa (Italy) – Goldness, 2015, 8:58
Mr.Arnont (Thailand) – Nongyao –SkyDrink, 2014, 20
Ayse Kucuk (Turkey) – Cannibalism, 2013, 7:12
François Dumeaux (France) – Ikarusu, 2011, 10′
Paths of Fear for electroacoustic sounds was composed during summer 2011. The piece creates a surreal soundscape which toward the end slowly is developing into a heavy industrial delirium, which collapses under own forces. The reality is amplified and the concrète sound is transformed into an abstract sound object. Complex rhythms introduce archaic soundscapes with powerful gestures. Ecological patterns determine the compositional structure and become resources for further development.
Panayiotis Kokoras (Greece, 1974)
studied composition with Yannis Ioannides, Henri Kergomard, and classical guitar with Evangelos Asimakopoulos in Athens, Greece. In 1999 he moved to England for postgraduate study at the University of York where he completed his MA and PhD in composition with Tony Myatt. His works have been commissioned by institutes and festivals such as the Fromm Music Foundation (Harvard), IRCAM (France), MATA (New York), Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), Siemens Musikstiftung (Germany) and have been performed in over 500 concerts around the world. His compositions have received 60 distinctions and prizes in international competitions, and have been selected by juries in more than 200 international calls for scores. He is founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and from 2004 to 2012 he was board member and president. As an educator, he has taught at the Technological and Educational Institute of Crete, and, the Aristotle University of Thessaloniki (Greece). Since fall 2012 he has been appointed Assistant Professor at the University of North Texas. Kokoras’s sound compositions use timbre as the main element of form. His concept of “holophony” describes his goal that each independent sound (phonos), contributes equally into the synthesis of the total (holos). In both instrumental and electroacoustic writing, his music calls upon a “virtuosity of sound,” emphasizing the precise production of variable sound possibilities and the correct distinction between one timbre and another to convey the musical ideas and structure of the piece. His compositional output is also informed by musical research in Music Information Retrieval compositional strategies, Extended techniques, Tactile sound, Augmented reality, Robotics, Spatial Sound, Synesthesia. More information at http://www.panayiotiskokoras.com
The Train of Thought is a personal reflection on trauma through the recollection of the past. Made up solely of found sound and field recordings recorded in Japan and Singapore, this piece juxtaposes a dialogue with my grandmother in Chinese dialect on the horrifying events during the Japanese occupation of Singapore in World War II. Paired with the subtle sound of a moving train, I seek to connect these events linearly in real time.
I wanted to create a collage that well represented the way we think, abstract and discombobulated, creating a tense and uncomfortable space allowing you to fully understand the devastation of war. Even though you might not understand the monologue, there is still a sense of displacement and uneasiness that lingers eerily within my grandmothers’ words.
Memories stand the test of time, unwavered and deeply etched within our subconscious. The Train of Thought represents torment and pain not just of the past but also serves as a constant reminder of the suffering and anguish bestowed upon the innocent. Trauma is universal and one that cannot be reversed.
is a composer, sound and video artist who works conceptually with various mediums bearing the weight of unorthodox structure with the blend of electroacoustic aberrant sound. He explores the basis of music through different styles and history bearing in mind the importance of the process within layers of texture. Influenced by experimentalist of film and music from both the eastern and western culture, the pieces churned out are intertwined randomly to reflect change which in turn motivates a purpose. He engages in various forms of mixed media, primarily in the film and visual aspect marrying sight with sound through the blend of the abstract and narrative.
Nigel graduated with a diploma in Film, Sound and Video from Singapore’s Ngee Ann Polytechnic in 2009 and Bachelor of Fine Arts in Contemporary Music majoring in Interactive Composition from University Of Melbourne’s Victorian College of the Arts in 2014. He is currently doing his Master of Fine Art at RMIT University, Melbourne. His work includes audiovisual installations and site-specific compositions that have been exhibited at the Ian Potter Museum of Art, Instinc Gallery Singapore, The Arts Centre Melbourne, Brunswick Street Gallery, Melbourne Zoo, Andy R Salon and The George Paton Gallery. In addition to this, he actively writes music for film/television, mixed media and performance art.
The”Los Caprichos” suite is a music, video and dance performance created by the company ERIZONTE. The piece was created by Erizonte and Scud Hero, and is inspired by the series of 80 prints
“The Caprichos ” by the renown Spanish painter and print maker Francisco de Goya, always modern in his art and incredibly current in themes chosen.
It is shaped in seven movements. Symphonic timbres are used, as are electro acoustic instruments and other sound elements created especially for this work .
The titles of the movements take the name of each of the themes Goya dealt with in this series of engravings: abuse of power; vices of the clergy; love and prostitution; the lack of education in the village and superstitions, bestiary, witches and fantastic creatures.
Being an ERIZONTE project, we can say that the experimental work is in this case the search to overcome the limitations of physical properties of the classical instruments or own technical implementations thanks the possibilities given to us by the new tools in electronic music.
This is to further the limits of some instruments, while respecting the original personality. For example, the notes a violin can give as if it had six strings, or a classical guitar may sound a tremolo unreachable by a human. The result is a relatively formal work, in keeping with the time of Goya, and where experimental is more than ever at the service of the public, interwoven between
elements of the composition.
is an experimental rock band founded in 2002 by the composer, producer and multi-instrumentalist Julian Sanz Escalona, linked to the rock and experimental music scene in Spain since 1982.
In 2003 he published his first album under the name Erizonte, entitled “… I heard rain and paid attention” that includes collaborations with important musicians.
In 2010 his second album “Work in Progress” was nominated for a Latin Grammy Award.
In 2011 he created and produced a multidisciplinary show called “Project Amazon” about the world of water from a philosophical perspective, which premiered that year at the Casa de America in Madrid.
In 2012 the label Munster Records published worldwide a collection entitled “Tension” Experimental Spanish Underground 1980-1985” which includes, along with others of similar characteristics, most of his early bands. Julian Sanz is also curator of this album that has received excellent international reviews.
In 2014, together with Scud Hero he composed a contemporary electro-acoustic suite, divided into seven movements to accompany the exhibition of 80 prints that comprise the series “Los Caprichos” by Francisco de Goya, in 5.1 audio format.
In that year found the Company ERIZONTE to premiere in Berlin “Suite Los Caprichos de Goya” in june.
The Lisbon Route Project“ sound-installation traces the acoustic paths of one of World War II’s main Jewish escape routes, on which thousands of people fled to Lisbon from the Nazi-terror via Marseille, hoping for a passage over the Atlantic. Lucas Norer visited the historical sites of the escape route and documented his journey through field recordings, literary references and interviews from Shoah archives. The Lisbon Route Project creates awareness of the historic fugitive stories, allowing conclusions on the ongoing situation of migrants in Europe.
Due to the regulations of the soundCOLLECTIVE open call I’ve added only one file which consists purely of interview fragments from the Shoah archives. In case you’re interested I can present the piece as an installation with more sound files (description of installation above).
The sound-installation uses traffic cones and converts them into acoustic horns. In this case, however, the traffic cones highlight not only a place but rather set an acoustic focus. The set-up creates a specific content-related and sonic effect: for the listener the historically distanced events are transferred to the here and now via the amplification and focus of the acoustic horns. Therefore the ephemeral episodes of “The Lisbon Route” bridge the historical and temporal distance in an acoustical way.
*1982 in Innsbruck/Austria, lives and works in Vienna and Linz. Lucas Norers works are characterised by an interdisciplinary approach and refer to auditory contents such as production and consumption of music, sound, noise, silence and its relation to social, political, architectural and artistic issues. As part of an extended research and manufacturing process Lucas Norer creates audio-visual installations, objects and projects in the public realm. Lucas Norer works solo and together with the artistcollective FAXEN.
In 2011 he graduated from The University of Art & Design Linz. Since then he has shown his work in gallery spaces, contemporary art museums and festivals including: Sound Development City Lisbon & Marseille, Moscow International Biennale for Young Art, Manifesta8 – Parallel Events Murcia, Museo d’Arte Contemporanea Villa Groce Genoa, EX3 Centro Per L’Arte Contemporanea Florence, Sterischer Herbst Graz, Skulpturenmuseum Marl, The Banff Centre Canada, Steim Amsterdam, Das Weisse Haus Vienna, Kunstpavillon Innsbruck, Galerie 5020 Salzburg.
Winner of European-Soundart-Award 2014.
Bloody Spring is a soundscape of the Syrian civil war. It was made with sounds extracted from videos posted on Youtube by civilians and armed groups since 2011 and mixed with parts of french composer Olivier Messiaen’s Oraison (1937). This musical piece is one of the eight movements of his masterpiece Quartet for the end of time, first performed in the Stalag during the Second World War, in 1941. This Quartet became a symbol of one the worst destruction and the symbol of human resistance.
Bloody spring portrays a Syrian revolution systematically and brutally repressed, mostly forgotten by the mass media today. The four parts of this sound piece- Protest, Run, Pray and Die- were made with the voices of the victims: protesters shouting against Assad’s regime, members of the Free Syrian army praying for their dead or injured companions, the voice of the british journalist Mary Colvin killed in Homs in 2012, a little boy singing during his sister burial…This composition draws us to empathize with the millions of persons who have fled Syria since the beginning of the war and those who still live there. Sound has the ability to connect the auditor with this traumatic reality, almost physically. As the composer Pauline Oliveiros wrote: “hearing seems to take place in my stomach”. Listening, in this way, is also sharing burdens.
Bloody Spring, (Maldita primavera in Spanish, Fichu printemps, in French) received in a longer version (22 minutes) a Special mention of the Phonurgia Award jury in january 2015 in Paris, and and the first Honorable mention of The Radio International Biennal of Mexico in october 2014.
It was exhibited as a sound installation in November 2013 in Colombia.
French journalist, writer and sound artist. I’ve been living and working for 12 years in Latin America. Since 2012, I’ve been exploring the sounds of violence. My work has been listened in six countries in Latin America, in Spain, France and Belgium It was awarded in Mexico and Paris (Radio International Biennal 2014: second prize for Memorial de voces, and Phonurgia Awards 2015: special mention for Maldita Primavera). In 2013, my piece Memorial de Voces, a sound immersion into Colombia civil war, has been selected, by the Artraker Fund jury (London) to be part of their catalogue (http://www.artraker.org/home/4586150813). In 2011, I published a book against the war on drugs in Latin America (translated to spanish). I also wrote about Human Rights abuses against the migrants and violence in Central America.
Morphic Babylonia is a sonic art piece made of three connected movements directly influenced by the concept of abduction of human awareness through an everlasting and ever changing form of slavery: technological alienation. This idea is allegorically represented by the objet sonore of a tape. The movements create in conjunction a metaphoric cycle of destruction and reconfiguration of certain and specific media formats. There is a huge difference between physical and digital formats; while the last one can be infinitely reproduced and there is no significative difference between each one of the copies of a single file, the physical case is completely opposite and so, it´s destruction means a specific lost in the specie of that format, in this case
the tape; reflecting with that two specific ideas about technological alienation:
* the rational thinking stagnation which produces indistinguishable human beings (the digital format).
* the irrecoverable part of humanity we lost each time we bind ourselves to the technological machinery (destruction of analog format). These both factors produce one of the most dangerous actual weapons: passive misinformation through extremely massive sensorial digital stimulation… And so, we seat comfortably behind the screen of our computer or mobile device and turn ourselves
in cyberactivists “liking”, “sharing” and “commenting” the drug cartels massive killing in Mexico, the israelipalestinian war, the big corporations human exploitation or the civil wars in middle East. And so we turn ourselves into digital puppets hungry for judging and expressing our point of view about a world we are already completely isolated from. That is the tragedy that this piece underlines.
The primary o bjet sonore is fiery manipulated until it is completely destroyed and this whole event is digital recorded and used as raw material for composition. This raw material is processed using programming language Supercollider t hrough algorithmic parametric control based on author´s own research development on those areas.
born in 1983, he is a mexican Composer an director.
We approached the psyche-shattering experience of collective trauma. Tuning into the coldness, isolation and bewilderment that dominates people in such terrible times. Sinking, drowning, being beaten, and gradually finding solace, finding that thread of human dignity and compassion. A few golden rays warm us as survival and grief become healing.
The organo-industrial groove is created by Wonderfeel, finding music within non-musical sound. Antonio Testa richly layers the piece with sounds cultivated from stones, stalagmites and other organic sources. ‘Goldness’ is a collaboration between Wonderfeel (Australia) and Antonio Testa (Italy).
WONDERFEEL: Wonderfeel creates music to awaken the primal soul. Working with unique organic sounds, building deep immersive grooves. Delivering something to resonate with and enliven unknown parts of our being. With 26 years experience, Wonderfeel sculpts musical journeys. Journeys to take us beyond the fragmentation of modern life, into a space that is experiential and connected. Wonderfeel provides music for sacred dance, Labyrinth rituals, festivals, film, television and creative performance.
ANTONIO TESTA: Producer, composer, musician, percussionist, music tutor, and music therapist. I specialise in organic soundscapes and the creation of musical atmospheres through the use of a vast array of mostly native and shamanic instruments, together with my own instrumental creations made from organic and recycled materials.
I have been active in the field of contemporary music since early 80’s working as a percussionist specialising in tribal and Afro-Caribbean rhythms, ethno-ambient and world music. I am an artist constantly working to expand my knowledge of ethnomusicology and the curative powers of sound, my music (both performed live and recorded) is used widely for healing and various types of therapy sessions, as well as also being used for documentaries, films, exhibitions, TV ads and dance-theatre plays.
Despite being essentially an organic ethno-ambient artist I have through the course of my career, also performed regularly with artists within the contemporary, and dance music scene to create memorable synergies of organic and electronic.
What I make is DIY (Destroy It Yourself). I started out with the ‘Do It Yourself’ ethos, which encouraged me to make something, instead of buying something. Or to make something that you actually
can’t even buy or that is too expensive. When you adapt things around you and you create something yourself and it works, it is very unique.
For me that very process destroys the way we think about perfection and it also undermines the capitalist system. Hence you destroy it yourself by doing it yourself. And that is in itself an experimental process. I made and used DIY instruments that for acoustic sound vibrations for tough an audiences also some of vibrations related supernatural life an audience’s feel.
Arnont is interested in and does research into sound with concentration on vibration, so most of his works are differently experimental and relative to vibration in order to search for the value of
vibration derived from connected things, such as human beings, objects and society. His works are involved in a speciSic space and audience’s participation. They are also connected with the mode
of listening/hearing in a social situation, and with how people interact with and participate in sound. Some of his selected exhibitions include 16th Media Art Biennale WRO 2015: Test Exposure, Wroclaw, Poland, TRANCE at Gallery VER, Bangkok, Thailand (2014),
I heard many stories from my grandparents who lived in USSR during the Stalinist era from which they tried to escape. Some of the relatives were sent to forced labor camps in Siberia. Most of these stories were wrapped with an undefined fear and loneliness faced to which you could easily find yourself lost in silence. It is obviously true that the Stalinist era was one of the bloodiest periods and a major example of human horror in the history. Living in constant fear and routine, almost rhythmic noises associated with the daily horrors made people more perceptive to such noises and sounds, which made them further anxious and brought a closely related sense of annihilation. There was noises of marching, bombs, guns, screams, sirens and many industrial equipment that people got used to hearing throughout their daily lives. I then choose some of these memories and experiences to mix and manipulate, such that the image aspiring to emerge onto the surface is immediately forgotten. Consequently, these recordings allow me to create a space in a different time with a sound that I’ve never physically experienced before. In a sense, this gives me the opportunity to recreate an alternative past in the present in a recurrent fashion. In contrast, if I am in a different space or I look directly at (any) object, then they remind me the sound or the imagination of the sound. It is like a hallucinatory experience or what may be like the voices that the schizophrenics hear from an undefined source.
b.1983,Istanbul, Turkey, lives and works in London
EDUCATION: 2014 MFA Fine Art Painting ( Distinction ), Slade School of Fine Art, UCL, UK
2005 BFA Fine Art, Yeditepe University, Istanbul
A piece composed to exorcise stupefaction, hebetude and morbid fascination induced by the infinite video loops broadcasted after the earthquake in Japan. A time to think about this human madness : build a huge energy and destruction power. Dedicated to nuclear victims from the past, today and the future. Composition work from 2011/03/19 to 2011/04/24. World creation for the Los Angeles Sonic Odyssey (US) by 2012, march 27.
François Dumeaux (Rodez/France, 1978)
won the SACEM prize and have been graduated by the Bordeaux Conservatory in the Christian Eloy and Christophe Havel’s electroacoustic composition class. Finalist for the acousmatic composition competition Métamorphoses 2008, his piece have been released on the eponym V.A. Annette Vande Gorne invited him to compose « SRA » for the Bernard Parmegiani‘s 80th anniversary.
Since 2011 he is teaching in the Bordeaux Conservatory electroacoustic composition class. In the free improvisation and the live electronic fields, he played with Joan Francés Tisnèr, Alain Cadeillan, Jakes Aymonino, Christian Vieussens, Peìre Boissière and in a few bands : [alveol], la familha Artús, Shapeless, la Theory du Reptil, etc. He also realises radio art, documentaries, sonography for museums and soundtracks for plays, choreographies and movies.
Yuko Katori, Luigi Console, Perre-Luc Senéchal, Mark Richard Vernon, Dario Lazzaretto, Caroline de Lannoy, Stasis73, Theme Bannenberg & NOK Snel, Adrian Zalewski
Yuko Katori (Japan) – Les oiseaux de Lémurie, 2014, 13:15
Luigi Console (Italy) – Resettlement, 2014, 4:53
Pierre-Luc Senécal (France) – Schrei, 2014, 9:40
Mark Richard Vernon (UK)- The Disappearing Sea, 2014, 10:00
Dario Lazzaretto (Italy) Loopers”, 2015, 06:12
Caroline de Lannoy (Belgium) – ‘Dark Crimson’, 2015, 04:54
Stasis73 (UK) – Threshold, 2015, 5:41
Theme Bannenberg & Nok Snel (NL) – SLOPES TO DWELL ON, 2015, 09:53
Adrian Zalewski (zheimeer) (Poland) – I will, 2015, 6:41
The birds of the lost continent is sending their poems to us in our dream. Lemuria is said to be one of the hypothetical ‘lost lands’ which sank in the sea, like Atlantis. It is often said that these ‘lost continents’ disappeared because there was a nuclear war, a natural disaster, a meteor fell etc. Or, it is also said that people in these civilisations did have a high level of technology, but the level of their spirituality did not match up with it, therefore, their own technology destroyed themselves, and so on.
Of course, there is no way to prove things like this, and all of these might be just ‘stories’ which someone created. However, we realise that these things can happen to us in this civilisation too. Even if we only look at the matter of ‘nuclear’, not only ‘nuclear war’ but also the situation of nuclear energy, we could think that the world as we know it can realistically disappear in similar ways as the lost continents. We have created nuclear energy and bombs that can destroy ourselves. Is there anything more traumatic than this?In this piece ‘Les oiseaux de Lémurie’ (The birds of Lemuria), the birds in our dream ask questions in the form of poetry. Such as; Where have you left your song? Why have you stop to dance? Why do you no longer pray? What is your highest value? What are you going to do with your energy? What are you going to do with the energy of the earth? Are you going to continue contaminating the sea? What is your real feeling towards the civilization that you live with? And what about beauty? What about philosophy???
She has been creating acousmatic pieces since 2014. Recent projects include a concert ‘Géophonies Acousmatiques’ at Atelier de l’étoile in Besançon (November 2014) with Jean Voguet and a creation of sound poetry with Sandrine Deumier for the exhibition in CRANE lab, Burgundy, France. (November 2014) She has also been selected to participate in Audioblast Festival by APO33, Nantes, France. (February 2015)
Before this, she was one of the creative teams in residence at OperaGenesis , Royal Opera House in London, UK from 2006 to 2009, where she developed two Theatre pieces. :The Lily of the Valley (libretto:R. Millner) / Sea of Souls: She was also commissioned for the Royal Ballet’s new works programme, held at the Linbury Studio Theatre, ROH (2009). Prior to this, there was a creation of an opera ‘The Nightingale and the Rose’ (2002/03), as well as other smaller pieces in collaboration with the writer Robert Millner. In 2013, she was accepted to participate in a residential workshop for opera composition held by Peter Eotvos in Budapest.
Today we see many trips representing collective dramas. Who escape by war or economic crises, who cross the sea to reach a place called hope, Those who can not make it in the attempt. These are some of our daily collective drama Resettlement is a drama track about a trip. The principal theme of Resettlement is the conversion in harmony interview with Waltier Stier of director
Claude Lazmann. Walter Stier, a Nazi bureaucrat, is responsible for the transport trains during the deportation, without which none of the death trains would arrive at their destination stations like Treblika, Auschwitz or Belzec. Although he has always insisted that he did not know the “Final Solution”, but is one of the main responsible for this collective drama known as the Holocaust.
Using as a working basis the audio interview with Walter Stier and through the conversion of words in harmony, i want to recreate a sound ambient, in the virtual space, of harmony obtained. Through the sound in the virtual space, i want to emphasize the drama of the trip, the departure station, the long journey, the ambient in the train, the past, and the final arrival station. Pain and suffering are lost in space, wandering in the compartments dedicated to transport stuff now destined to pain, leading the listener to experience the trip, normally an occasion for pleasure, as a distressing painful feeling. An old collective trauma but always present. All of today there are several trips that represent the collective drama, changing only the means of transport and the era in which they
Class 1986 from Ostuni – South Italy – with an education self-taught, Luigi Console studied at ILAS in Naples and in the Scuola Politecnica di Design in Milan like visual designer. In the years, he directs his research on the connection between visual communication techniques analog and digital in the video and audio fields. In 2012 he joined the study gloWArp, multimedia communication , with which furthered his research in new technologies applied to communication. His main activity is in the fields of new media art, audio and experimental video fields, and he is also currently teacher for workshops related to New Technologies for Arts. Love to experiment with different media and its connection, without losing the main Objectives and the needs of the project.
Schrei, “scream” in German, is my attempt to transfer into music the horrors of World War, a representation of the extent the Horror can take. Based on a number of historical documents as well as Jonathan Littell’s Kindly Ones, this piece places itself along the countless studies and novelists’ work which attempt to have us look closer at the reality that the executioners were alarmingly ordinary. It is meant as a dissent to the idea we might have of mankind, confronting us to its darker sides as well as the ocean of shades of grey that separates Good from Evil. In the end, it questions us on the true nature of humanity and our identity as human beings.
You will hear the voices of men and women, both victims and executioners, telling their tales as they bring you through the mass murders in the East, the propaganda campaign of the Third Reich and the gas chambers. Voices where suffering and brutal dehumanization blends with the reports of SS officers, giving in to nervous breakdowns and sadism. Voices from beyond the grave, urging us to listen and to remember, that pain is universal, a thread that connects us all as members of the human race, even when Evil is done.
The murders of this war, of any war for that matter, often committed with barbaric and senseless cruelty, remain the product of human beings. In that, we remain somewhat, human brothers.
Creation of the work and tools
Long before I started composing this piece, it had been decided voice would be a key element. Being a nearly impossible material to work without being instantly recognized, the voice would be preserved “as is”, without any treatment, and used both as a guideline to maintain the audience’s attention and as a melody, both musical and of timber.
This process was in great part respected for all the other sound materials. Using mostly the recordings of two imposing metal objets (a thunder sheet and a tam tam), those sounds were only treated with basic tools (transposition, reverb, editing, EQ) before being “written” with volume and pan curves, as if they were contrapuntal melodies in a Baroque piece.
While the piece’s structure can be heard as 4 large sections of a French Suite (Toccata, Allemande, Courante and Sarabande), this discourse also borrows from the orchestral’s, as the metallic sounds have been orchestrated like instruments supporting the choir of recorded voices. In the end, both materials somewhat sing in harmony, keeping a trace of what was to be a contrast between voice and metal, between flesh and bullets.
Constantly fueled by additional readings and overall research, this project is an ongoing one. Even though this project mostly deals with death, it also has to talk to the survivors of this war. In the end, life did go on, and hope has yet to be fully addressed in this current version of the piece, as of now only evoked in the final segment, where the evanescent voices of a choir are singing through the dying breaths of gassed victims.
I am 12 when I tell my father I want to learn guitar. It’s the start of thousands of hours listening to Pink Floyd, Iron Maiden, Metallica, Sigur Rós, Godspeed You! Black Emperor, practicing technical death metal on guitar and whatnot.
At 19, my musical studies begin with electroacoustic music under the wing of Michel Tétreault and Pierre-Marc Beaudoin in Cégep de Saint-Laurent, Montréal
Today, I am 23 and I keep learning with great teachers and composers such as Georges Forget, Martin Bédard, Robert Normandeau and Nicolas Bernier in Université de Montréal.
To me, music is everywhere: in organized and disorganized sounds, in progressive death metal, electronica, post-rock and even in pornogrind.
I hope I’ll keep finding it in live performances, acousmatic music, music for theater, as well as in the other numerous projects I always lead.
This composed soundscape alludes to the events of the tragic 2004 Indian Ocean Tsunami that devastated the coast of many parts of Indonesia, Sri Lanka, India and Thailand killing over 230,000 people. Over 40,000 Sri Lankans died on that day. The small town of Hikkaduwa, the location of the majority of these recordings, was particularly badly hit. Many people drowned simply because they could not swim. If an early warning system had been in place it could have saved the lives of thousands.
Whilst the majority of the composition does not refer to the Tsunami explicitly (with the exception of the voice at the end) it is constructed in four phases or movements that could be interpreted as chaos, submersion, mourning and reflection.
Components of the piece include:
· A fishing boat captain trying to communicate by radio with other fishing boats in the Hikkaduwa area.
· Chanting over a PA and waves on the shore at the Seenigama temple – an island temple that miraculously was untouched by the Tsunami. Many locals believe it was spared because it is a sacred place.
· Processed sounds of crows and other birds.
· Distorted radio and PA announcements.
· Performance artist, Sita Pieraccini, singing a duet with a boat engine.
· The clatter of bobbins used in lace making recorded in Welligama, another coastal town that was badly affected.
· Kamani Di Silva describing the sound of the Tsunami and how villagers heard it differently as the sound of thunder or a bomb blast – Mrs Di Silva, herself a victim of the disaster, is the proprietress of the Telwatta Tsunami Photo Museum. The museum is housed within the ruins of her old family home. She managed to survive by running two kilometres inland. Nearby is the site where a train with over 1,000 passengers on board was swept away, the engine itself ending up 5 kilometres inland.
· Waves breaking on the shore in Hikkaduwa and the distant the hammering of boat repairs in the harbour – Almost the entire fishing fleet of the town was destroyed. In the wake of the Tsunami relief aid helped to rebuild the fleet, an essential cog in the local economy that also provides the livelihood of many of the town’s residents.
All sounds used in the creation of this piece were recorded during an artist’s residency based at Sura Medura in Hikkaduwa on the South West Coast of Sri Lanka in 2013. The residency was supported by UZ Arts and Creative Scotland.
is a sound artist and radio producer based in Glasgow. His radiophonic creations range from documentaries and radio plays to experimental audio collage and soundscape pieces. He has produced programmes and features internationally for radio stations including RADIA, Resonance FM, Wave Farm, CKUT, VPRO and the BBC and has also been directly involved in the creation of the UK art radio stations; Radiophrenia, Hairwaves, Radio Tuesday and Nowhere Island Radio.
Together with Monica Brown he runs Lights Out Listening Group, a monthly listening event focused on creative uses of sound and radio that takes place in complete darkness. He also records and performs in a number of collaborative and solo music projects with record releases on Staalplaat, Ultra Eczema, Entr’acte, Staubgold and Gagarin Records.
A sound art work inspired by the primary need for the conception of a work of art: it is mandatory to question myself about the meaning and necessity of my artistic expression. Most of the time I could say of my work that “everything makes sense, but it has no justification.” The tragedy of the Holocaust but also, more generally, every atrocity committed by humanity open wide doubts about the true nature of man. We were able to do everything and its opposite without learning from the horrors, as in a vicious circle. So I decided that this inner dispute had to be voiced in the form of dialogue, which would express the overlapping of antithetical tensions. So two imaginary interlocutors – in two different languages – chase themselves without ever reaching themselves in a round of sense-nonsense: What is the point – here, now, and especially for me – in doing an audio-work on a collective drama? While in the background, the sound of a broken violin, slowed and distorted, painful and insistent. The sound of the subtext of the history of man
Dario Lazzaretto (Padua, 1975)
work with a practice and a relational approach. He’s interested in the social, political and cultural aspects of contemporary life; his works often use the sound element as the main vehicle of meaning, while maintaining a visual component. He has participated in numerous international residency programs (Italy,Iceland, Cyprus, the Netherlands, United States). Among the venues that have proposed its work within museums and prestigious Italian and international private institutions, among which: Dortyart Museum (Dordrecht-NL); Macro (Rome), Museum Les Abbattoirs (Toulouse), Italian Institute of Culture (Barcelona), Palace of Arts (Naples); and many more.
The work ‘Dark Crimson’ involves structured sounds with an implicit concept of time, associated emotions, pitch, and energy. The presence of these elements is organized into units with interrelated rhythm, harmony, and melody. Variations of the same chord sequence are mixed, repeated, manipulated and superimposed. The loop circulates and re-circulates like the same adventure over and over again, but somehow different each time. By playing the same chord at different points, I emphasize different overtones and produce subtle variations of colour. The work takes a dramatic form, gradually working up to a climactic point.
Software used: Logic Studio Pro.
Caroline de Lannoy
was born in Brussels and lives and works in London. She studied at Athens School of Fine Arts, Central St Martins College of Art and the Slade School of Fine Art. She lectures at the Slade School of Fine Art, University College London.
She works across painting, drawing, sound, video and composition. She has exhibited internationally including: The Collection Lincoln Museum, La Verriere, Art In General, Huddersfield Art Gallery, MASS MoCA, Tate Britain, Royal Academy, Arnolfini, Sainsbury Centre for Visual Arts, Whitworth Art Gallery, MONA Museum, Kunst Museum Hollfeld, Mamco Museum, Mondriaanhuis, Sint-Lukas Galerij, Cheltenham Art Gallery & Museum, Kettle’s Yard, South London Gallery. She has completed major commissions across UK as well as a number overseas. She has been an artist in residence at Stiftung Insel Hombroich Museum, Cité Internationale des Arts and recently at The Josef & Anni Albers Foundation. Her work is in public and private collections in the UK and abroad.
Throughout history into the present, for reasons of war, politics or disaster, all those removed from their homes, land, work, and culture reveal a common human experience of lost homeland and community ripped apart: the experience of not knowing where ‘home’ is.
It wasn’t easy, because you leave your home,
your possessions, your memories, your youth,
you leave your dead there………
and carry their memories.
Ali Oney removed from Rethymno Crete to Ayvalik Turkey
Population Exchange 1923
Sometimes the memories are too much: words turn into empty veneers, gestures and nightmares. Sometimes they turn into silent trauma because there are simply no words to describe the suffering, which Freud defines as an indelible imprint on the mind.
Continuing a practice that has explored through live sound-art performance, film and spoken word, issues of deracination and alienation, Tim Riley and Georgia Elizey have created Threshold as a direct emotional aural experience. Utilising atonal instruments and objects chosen for their disturbing qualities, original field recordings, spoken word, whisperings and group voice, Threshold evokes a distressing and painful internalized landscape of the forced mass movement of a people. Primary instruments are the waterphone, hammers, metal sheets and wooden blocks, together with field recordings have been mixed live through electronic effects and edited in Logic.
STASIS 73 – Tim Riley & Georgia Elizey
live & work on the South Coast of England. Working mostly collaboratively for the last 15 years & exhibiting nationally & internationally, their practise involves video, sound, text & spoken word, performance & installation; together with curatorial projects, & co-ownership of an experimental art space: STONEsquid.
SLOPES TO DWELL ON is a road movie with a series of photos of landscapes. We show you a peaceful piece of northeastern France, where 100 years ago the First World War was raging. The violin parts and various guitar solos drag your light hearted and dramatically along the four seasons. The audio is taken with a digital piano and a regular music program.
Dutch artist duo Theme Bannenberg (1953) and Nok Snel (1961)
are adventurers down to the bone. Where ever they roam the direct environment is the set for inspiration. The concept of T&NOK is opposite en spitting images. Confrontation is their drive. They produce sensible and nonsensical work. The result is photography, objects, words, installations, paintings and since 2008, also videos.
Collective trauma can have many faces. In my sound work I attempt to depict its casual dimension- mundane, everyday trauma that can appear at any moment of our lives, without śbig reasons, such as wars or natural disasters. This is existential trauma that is inherent and immanent part of our daily experience. As the basis for my work serves pop song by Whitney Huston, which deepens the sense of grotesque that is often associated with the notion of trauma. The work has been created by means of synthesizer and sampler. Samples used in the work are the sounds of my voice, electronically processed.
zheimeer is the solo project of Adrian Zalewski; he says: I’m not a musician, I’m just a sound maker, I don’t consider myself to be experimental artist, I am inspired by atonal music as well as disco, I don’t want to perceive music according to rules or stereotypes that are imposed on us by clever critics.” In his works zheimeer uses mainly the synthesizer, sampler and sequencer. As for the music, it could be described by
contradictions: whimsical, schizophrenic, stuttering vs. continuous, drone, ambient…zheimeer comes from Toruń in Poland. zheimeer took part in 2010 edition of Atomino, an international art festival in Crimmitschau, Germany as well as in many projects curated by Wilfried Agricola de Cologne.
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SIP – SoundLab Interview Project
selected interviews 01
Timo Kahlen (Germany) – http://sip.newmediafest.org/?page_id=300
Le Tuang Hung (Vietnam) – http://sip.newmediafest.org/?page_id=58
Scott Hall (USA) – http://sip.newmediafest.org/?page_id=54
Meri Nikula (Finland) – http://sip.newmediafest.org/?page_id=375
Adrian Zalewski (Poland) – http://sip.newmediafest.org/?page_id=172
Dario Lazzaretto (Italy) – http://sip.newmediafest.org/?page_id=456
Wonderfeel (Australia) – http://sip.newmediafest.org/?page_id=117
Marcus Beuter (Germany) – http://sip.newmediafest.org/?page_id=472
Pieter Gyselinck (Belgium) – http://sip.newmediafest.org/?page_id=343