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 They signal towards a body that is responsive and at the same time withdrawn, even from myself.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

Performance and Presentation
September 3rd, at 7pm

The current Covid regulations will apply!

Minute/Year is a durational, process-based work by Kata Kovács and Tom O’Doherty. The installation creates a new, one-minute-long layered audio recording every day. It has been ongoing since January 1st, 2016, and alternates its location each year. Throughout 2020, Minute/Year was installed at bb15, recording and playing one minute of sound, each day at 20:20, for 366 days.

During this period, incidental events and collaborations around the work took place at the gallery space, contributing to its layered archive of hums and drones. Listening back to these recordings, we discover a narrative of this passing time, that like memory, re-arranges of multiple readings.

As a retrospective, the sound artists Daphne Xanthopoulou and Blazej Kotowski are invited to explore the archive of the work towards alternative narratives, accompanying the presentation of the artists Kata Kovács and Tom O’Doherty about the process of Minute/Year in 2020.

A tape compilation of Minute/Year in bb15, was realized by Gabriela Gordillo and Sebastian Six, to be presented on the same evening. You can buy the tape at the event and also here:

Kata Kovács and Tom O’Doherty
Kata Kovács and Tom O’Doherty have worked as a collaborative duo since 2011. Their work combines elements of durational and time-based art, minimalist movement, and electroacoustic music and sound. They are interested in processes, sounds, and movements that come close to imperceptibility, and the ways in which this material can be transformed through repetition, patterning, layering, and archiving.

They have exhibited and presented work at Los Angeles County Museum of Art, California; Serralves Museum, Porto; National Museum of Contemporary Art (Chiado), Lisbon; Kunstquartier Bethanien, Berlin; Kunstkraftwerk, Leipzig; and Digital in Berlin’s Kiezsalon series, Berlin, among others. They have been recipients of the LACMA Art + Technology Lab Award, and of the Tanzstipendium award of the Berlin Senatsverwaltung für Kultur und Europa. They live and work in Berlin, Germany.
http://www.minuteyear.com/

Daphne Xanthopoulou (GR)
Daphne X is a Greek sound artist, based between Barcelona and Linz. Equally infatuated with mundane and virtual objects, she uses collected, amplified, and synthesized sounds, and voice, to explore and expose chimeric and unconventional forms and textures.Her music has been broadcasted on BBC3 Radio, Noods, and Tuskio.se, and written about by publications such as A Closer Listen and the Quietus. 
She’s currently hosting a collaborative show on Athens‘ Movement radio called Sonic Utopias, participates in the Linz-based label and residency program Wirtshaus Secrets, co-runs the curating platform Cachichi, and studies in the Interface Cultures MA, Linz.
Her work discusses the relationships between human and non-human agencies, emerging technologies and spirituality, mundane life, and fiction. Through a variety of formats, she explores economies of collective composition, environmental listening, and communal healing.
https://linktr.ee/wawrzyn_wawrzyn

Błażej Kotowski (PL)
Błażej Kotowski is a sound artist, an independent curator, a researcher, and a programmer, originally from Poland, but currently based in Linz, Austria. A significant part of his creative output is solely devoted to producing music. Through different monikers, he explores its various aesthetic forms. Apart from that, he enjoys creating interactive physical artifacts that relate to sonic phenomena. As a sound/music researcher he has recently finished his master studies in Sound and Music Computing at MTG, Barcelona. In that field, he is mostly interested in the intersection of music and AI and all the outcomes that arise from the synthesis of these fields. He has released his music in various formats in Audile Snow (PL), Vaknar (DE), Trust Collective (US) and Audio. Visuals. Atmosphere. (BE). His works were written about, among others, in Toneglow, Igloomag and in Noise Receptor Journal.
https://blazejkotowski.com

Listening Back: Minute Year 2020