Due to the lockdown starting on the 22nd of November, the exhibition can only be visited until the 19th of November. All persons must wear an FFP2 face mask and the 2G rule applys (recovered or vaccinated).

This series of works explores themes of corporeality, in relation to sound production and audition, touch, and loss. The loudspeakers, microphones, enclosures, and membranes presented in this exhibition are in varying states of disrepair; most are no longer capable of producing sound and thus are poignant objects for meditation on impermanence, bodily frailty, and death. Each of these corpses bear visible marks of violence, traces of past collisions and other wounds which emphatetically encourage viewers to visualize this encounter and the consequential loss of capacity.

Davide Tidoni is an artist and researcher working with sound and listening. With a particular focus on direct experience, observation, and action, he creates live works of different formats that include performance, intervention, walk, and workshop. Bound to the performativity of the recording act, he realises videos and sound recordings which function as pieces and/or as documentation material.

www.davidetidoni.name

Special thanks to: Marzia Dalfini, Josh Octaviani, Brian Shabaglian,
Time’s Up – Laboratory for the construction of experimental situations
(Tina, Stefan, Andreas), Potato Publishing, Maria Giovanna Cicciari,
Hans Ostapenko, Talia Mukmel, Clemens Mairhofer.

Exhibition Opening: October 12th, 2021, 7pm
Opening Hours: October 13th – 20th 2021, 3 – 6pm; Sunday closed
Please refer to the current Covid19 Regulations!

a nonsequential sound installation in three parts

On his first visit to the Ghetto Biennale in Haiti, Belgian artist Tom Bogaert heard something familiar in the rara marching music that was being played in the streets of Port-au-Prince. Already doing work exploring the legendary interplanetary jazz legend Sun Ra’s visit to Egypt in the early 1970s, Bogaert read in the dog-eared pages of
an old copy of the Lonely Planet that Sun Ra was also rumoured to have visited Haiti, perhaps ten years earlier, during his so-called ‘lost years.’

It was even said that Sun Ra might have composed his masterpiece, Rocket Number Nine, in Port-au-Prince. What Bogaert heard in
the streets made him believe this could be true and, even more so, he later found out that Rocket Number Nine has its roots in the traditional rara song Fize nimewo nèf.

Bogaert collaborated with the local rara band Kod Kreyòl to study and rehearse the somewhat forgotten Fize nimewo nèf, and a Clocktower Radio sound engineer recorded some of the early morning practice sessions that took place in the garden of the Oloffson Hotel. A while later, Kod Kreyòl performed Fize nimewo nèf at a now legendary concert in downtown Port-au-Prince featuring Masha Dabelka and her Rakete Nummer Neun.

https://www.tombogaert.org/

bb15_TomBogaert_SunRaRa_©LB04_web

Exhibition Opening September 23rd, 2021, 6 pm
Opening Hours 
September 24rd – 30th, 3 – 6 pm
Please refer to the current Covid19 Regulations! 

As a breeze runs over my skin, as a being caresses me, as I reach aesthetic heights, little muscles are pulling my hair erect. What do these mute gestures mean when I experience a subtle sound or a word in a poem? 
Goosebumps are a mysterious bodily reaction to a variety of phenomena, a rarely controllable prickle running through my skin. They signal towards a body that is responsive and at the same time withdrawn, even from myself.
Stripped of a function and not yet owned by science, goosebumps are a ruin to play in. What Will Hughes and Amanda Burzić built in this ruin is an exhibition on touch, desire and the seductive nature of materials. They produced artworks that stimulate the tactile imagination, that instil desires to explore and authenticate what we see with our hands. Yet, these desires can’t be fulfilled, these surfaces must not be touched. 
Like goosebumps, their artworks offer, but don’t give away. They invite us to sense erotism without sex, seduction without intention and a touch so delicate it becomes a metaphor.
text by Yorick Josua Berta    

Amanda Burzić is a painter. Abstraction and language are essential parts of her process. Through online communication, virtual, public and intimate spaces overlap. She is looking for symbolism of her influences and alienates their context.

Will Hughes is a Multi-Disciplinary artist. Their work is conceptually driven by lived experiences as a queer, non binary person. Mixing pop culture references with material language to construct moments. They wish to seduce the viewer through often using repetitive mechanical movement, the use of glossy/shiny surfaces and the lens of glamour as a means of storytelling.

Goosebumps