Exhibition Opening: May 17th 2022, 7pm
Opening Hours: May 18th – 24th, 3 – 6pm; Sunday closed
Please refer to the current Covid19 Regulations!

The more harmony spreads, the less we notice cacophony – it becomes pleasing to listen to sounds come after sounds slower as a gradually unwound sentence loses the weight of its substance. This gives room for skewing the meaning, to the denial and refusal of an unpleasant thought.

Repeating something multiple times gives reassurance, it becomes a mantra like the lyric: „I’m not here/ this isn’t happening,“ from Radiohead’s How to disappear completely on Kid A (2000), written as a reverse affirmation for stress relief. We might also feel reassured by multiple voices saying the same thing, like choruses leading us through the rites of mass or Baltic choirs summoning freedom from under the Soviet regime.

Thinking of such notions, Kristin Reiman is building a choir piece that starts from a tight dissonant cluster and dissolves into a consonance of easy, satisfying harmonies; the lyrics gradually dissolve their initial impulse, unfocusing on why anything was sung at all.

Kristin Reiman (*1992, Estonia) predominantly works with sound and writing, mostly in the shape of recorded monologues and mock-forms of larger musical pieces like operas or choir laments. They studied Fine Arts at the Estonian Academy of Arts, Royal Academy of Fine Arts Antwerp and Städelschule in Frankfurt am Main, Germany, where they are currently based. In addition to art, Reiman makes music as Man Rei.


How to unfocus completely - Kristin Reiman

Coral, Colectivo, Tectónico is a sound project by artist Constanza Alarcón Tennen. It is an evolving audio piece archiving the acoustic experience of earthquakes.

The archive compiles and layers recordings of human voices reproducing their impressions of how an earthquake sounded. As more recordings are integrated, Coral, Colectivo, Tectónico, metabolizes each into a larger communal memory of tectonic experience. As of today, the archive includes over 60 voices and has been shared in different iterations and in many contexts.

Between May and October 2022 it will be exhibited as a sound installation as part of bb15’s project Elementarereignisse commissioned by BIG ART at the Campus of Universität für Bodenkultur Vienna. It will be placed in the BOKU Garden at Gregor-Mendel-House close to Türkenschanzpark.

To participate read the following questions and guide, and send your recollection.

Do you remember Do you remember the sound of an earthquake that you have experienced? Could you try to sing it or reproduce it with your voice only?

~ It does not matter the type of sound or the duration, only that it is produced by your own voice.
~ You can record it with a cell phone, audio device or computer.
~ Try to make your recording as spontaneous as possible, without thinking too much about the answer.
~ Only record your sound once, otherwise it’s very easy to try to “improve” it.

Send your audio file to coralcolectivotectonico@gmail.com you can also use platforms like wetransfer in case the file is too big. If you have any questions, you can write to us at the same email mentioned above. 

More information about the project and the different versions here: www.alarcon-tennen.com/work#/coralcolectivotectonico/

Supported by:

Exhibition Opening: June 21st 2022, 7pm
Opening Hours: June 22nd – 30th, 3 – 6pm
Please refer to the current Covid19 Regulations!

The exhibition Blake fruid presents a multi-channel video and sound work, evoking the body of the vocalic chorus in relation to the swirl of text-based language. Various parallel and intersecting narratives unfold, presenting a figure of an unreliable or unstable narrator, a narrator who is always in motion. The weaving narrative treats language as raw material through the voice and through text, borrowing and reconfiguring language from a variety of sources, including YouTube instructional videos, online self-help forums, motivational status updates, linguistic textbooks, car maintenance manuals and cowboy song lyrics. 

Samuel Brzeski’s current work deals with the situation of language within the post-digital context, particularly in relation to articulations of affect. His predominantly text-based projects search for the place and presence of the emotive body within the post-digital excess of language. This involves exploring the inherent malleability of language to create and/or question meaning, narrative and experience. Samuel is based in Bergen, Norway.


This project is supported by the Norwegian Arts Council and Office for Contemporary Art Norway and part of the Oscillations: Exercises in Resilience project. Co-funded by the Creative Europe Programme of the European Union.