Residency Archive
Performance: 22.07.2022, 7pm-8pm (sharp)
Starting in Linz, Stephanie Quirola & Caroline Profanter will draw out a map, turned into a score, based on their daily explorations of the immediate surroundings of bb15. This map will focus on the accumulation/density and evanescence of real and possible events within a perceptual experience.
Where do sounds dis-appear? The score, based on drawings as well as audio recordings, will be translated into the gallery space as a kind of listening „parcours“, where sound-objects travel between materials, through ears and bodies. The space will be transformed acoustically using simple means, found material and improvised instruments, exploring the symbiotic aspects between materials, feeding back into each other constantly. What is transforming, resonating with what?
As a second part of the residency they will continue the working process at a distance, from 63.1000 48.3000 and 21.6167 14.2833, their combinations multiplying. While Stephanie will be in Vaasa/Finland, they will continue working on the gathered material, seeking ways of experiencing distant proximity. The process will lead into a live transmitted radio creation, happening in situ at bb15, broadcast online and on air on local fm radio stations.
Following their first collaboration, the sound walk „woanders währenddessen“, Stephanie Quirola & Caroline Profanter work with sonic and visual symbols that open up whimsical situations where the uncanny meets the absurd.
Listen to the audio stream online: Radio Player (Live from bb15 during the performance)
The performance will be broadcast on radio fro, radio orange 94.0 and Radio Shirley and Spinoza. Listen in!
The project is part of the Oscillations: Exercises in Resilience project.
Co-funded by the Creative Europe Programme of the European Union.
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.
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.
- Elisabeth Molin
- 22.6.2021 – 30.6.2021
Opening Hours: June 22nd – 30th, 3 – 6pm
Please refer to the current Covid19 Regulations!
For several years, Elisabeth Molin has been collecting materials and making auditory interviews related to the edges of vision and perception. In her solo exhibition a click, a wink, a nod or the blink of an eye, Molin will assemble and disassemble fragments from these stories, making a temporary installation in the space.
She explores the world through an associative, process driven approach to storytelling. Writing and stories – in one form or another – are always part of her method of working, which materializes itself as printed matter, installations, sculptures and video works. Molin‘s work often responds to an accelerated yet fragmented feeling for time, and through them she attempts to suggest new intersections, new temporal materialities and new modes of belonging.
Elisabeth Molin (b.1985, Denmark) studied Fine Art at Chelsea College of Art and MA Photography at Royal College of Art in London. She has recently shown work at Wiels in Brussels, Sundy in London, Six- ty Eight Institute in Copenhagen, Austrian Cultural Forum in London and MAW, ISCP and Columbia University in New York.
http://elisabethmolin.com
Opening Hours
May 18th-20th, 3 – 6pm
Performance
May 19th and 20th, at 6pm
Access to space will be regulated following current measurements, visitors are asked to wear a FFP2 Mask when visiting the show. For attending the performance the new 3G rule applies. Please bring a valid rest result or proof that you are already vaccinated or recovered.
Airbag/14Holes is a hybrid sound sculpture somewhere between a bagpipe, an organ, and a children’s toy. To create sound, it uses abandoned recorder flutes that, following forced musical exploration during adolescence, were never played again.
Through a collecting campaign, a nomadic group of recorders are conscripted into the Linz Recorder Flute Asylum. Airbag/14Holes will provide air to this group of flutes. A heavy, continuous interaction between the flutes produces the emergent sound, like a dysfunctional organ finally finding its voice after a long period of silence.
In his residency at bb15, Lukas De Clerck will use Airbag/14Holes as his instrument by manipulating the air flows, to be performed during the closing exhibition.
www.lukasdeclerck.com
The project is part of the Oscillations: Exercises in Resilience project.
Co-funded by the Creative Europe Programme of the European Union.
During the second wave of lockdowns and cultural stop spread all around Europe in late 2020, bb15 invited sound artist Michele Spanghero in a process of “remote residency” for the creation of a compositional work dealing with silence and the emptyness of the cultural spaces.
In times when the current condition could not be imagined, the artist explored acoustically empty theaters in his long-term project “Monologue”, an audio-visual work inspired by the Italian theatrical architectural heritage. Since 2014 Spanghero collects images and resonant frequencies from some of the most important Italian theaters and opera houses, such as Teatro Regio in Parma, Gran Teatro La Fenice in Venice, or Teatro di San Carlo in Naples.
Due to the pandemic limitations all across Europe, theaters – places with a long tradition of social and political relevance – are currently closed. Spanghero re-worked his archive of recordings and he celebrated the Gran Teatro La Fenice in Venice by filling its emptiness and silence through an orchestral composition that blends with the recording of the resonance frequencies of the theater he made there in 2015.
Monologue Exhibition
The video installation was streamed online from December 28th to 31th on this website.
Michele Spanghero (Gorizia, Italy 1979) sound and visual artist
Michele Spanghero’s artistic activity ranges from the field of sound art, to sculpture and photography. He’s research is versatile, yet consistent enough to receive the mention as “Best young Italian artist in 2016” according to Artribune magazine. Spanghero exhibited his works in various international venues such as School of the Art Institute (Chicago), Hyundai Motorstudio (Beijing), Tuileries Garden (Paris), Museum of Modern Art (Istanbul), Ars Electronica festival (Linz), Klangraum (Krems), Mart Museum (Rovereto), Bevilacqua La Masa Foundation (Venice), Palazzo Te (Mantua) and 16th Art Quadriennale (Rome).
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Exhibition Opening
Tuesday, October 20th 2020, 7:00pm
The phrase „out of touch“ or „out of touch with reality“ stands for a feeling of incapacity to understand, or to feel/touch something anymore: a symptom that may also describe our current relationship to technology. In the seemingly dematerializing world, we engage more and more with immaterial and territorially unbound spaces behind mirror-smooth screens, that are not tangibly accessible.
Susanna Flock’s solo exhibition „how to turn a man into a melon“ brings together works that explore traces that the interweaving of technologies with all aspects of our lives leaves behind.
https://susannaflock.net/
Opening Hours
October 21th – 30th, 3 – 6pm
Saturday and Sunday closed
Also open by appointment.
Last September, bb15 hosted the artist Nieves de la Fuente in the course of an artist residence. During her stay, de la Fuente worked on a long-term project of hers entiteled “Reliquia de las disciplinas geograficas”, initiated in 2014 and based on a short story by Argentinian writer Jorge Luis Borges. In collaboration with „Grand Garage Linz“ Nieves produced a new sculptural work embodying a possible inhabitant of Borges‘ narrated territory. The work will be presented in a collective exhibition at bb15 at the end of the year. Here is a video interview made during her residency.
Exhibition & Performance
Opening hours
June 16th – 23rd, 3 – 6 pm
Also open by appointment.
Performance (with GrainField)
On the 16th and 17th of June at 4 pm and 6 pm
Limited to a maximum of 15 people. Registration is requested (office@bb15.at).
Please bring a fully charged smartphone, it will be part of the performance.
Please be aware that the Covid Regulations now in force will apply to your visit to the exhibition.
Sascha Brosamers new work „TRANSOCEANIC“ deals with the cultural imagination of dematerialisation, historical sound carriers and digital colonialism.
The worldwide distribution of shellac records started around 1925 with an unprecedented electrical recording boom. It was also the beginning of the music industry as we know it today. The trade networks were run via the old colonial ports and slave shipping routes on the Black Atlantic, the Mediterranean Sea and the Polynesian Pacific. The contemporary music industry is predominantly digital and online. The internet has emerged as a „global jukebox“ of digital sounds. However, the network infrastructures remain resolutely material and are entangled with the colonial and militaristic histories of the western world. This materiality exists deep under the ocean. Undersea cables are the critical infrastructures that currently support over 95 percent of transoceanic internet traffic.
„GrainField touch“ is a web-based application used to network the audience and create an immersive listening experience. It was designed by Benjamin Matuszewski and Norbert Schnell as part of the CoSiMa research project developed at the IRCAM Center Pompidou.
https://www.saschabrosamer.com/
Edition with Giulia Currá
Limited edition of 32 music sheets
in collaboration with Traslochi Emotivi
and Vegetal Import Festival | Milan | Italy
New EP Release
Digital via Bandcamp and 12″ Vinyl (pre-order).
/ / /
Exhibition Opening
November 21st 2019, 7:30pm
Opening Hours
November 22nd – 28th, 3 – 6pm
Saturday and Sunday close.
Also open by appointment.
Tunnel Boring Machine is a performance-film shot on an action camera fixed to the artist’s chest, while she walks twice and in opposite direction the entire length of a train crossing the Euro Tunnel, during a return trip from Brussels to London on the weekend of the last European elections. At bb15 it is presented for the first time as a multi-channel video installation surrounded by a sound composition, where the recordings of contact microphones applied to the window of her passenger seat are modulated along the geological cross-section of the Euro Tunnel.
“Both the action and the video installation revolve around a meticulous calculation of the different temporalities at play in the situation and serve to write the almost imperceptible score of the piece: the ‘Tunnel-time’ or ‘underwater-time’; the pace of the artist’s walk; the time that materialises in the gestures of the passengers; the gap between the first and the second passage of the camera on the same spot; the reduced speed of the video; the reverse motion; the time of two different time-zones that the train crosses. In its apparently linear and naked visual language, Tunnel Boring Machine thickens and gives exposure to the almost apathetic sameness and alienated atmosphere in which the trains passengers are all immersed. Like in other works, Tunnel Boring Machine brings together the chronopolitical dimension of the worlds and ways of living that Teresa Cos inhabits, observes and constructs.” (Beatrice Forchini)
Teresa Cos makes use of improvisation and reiteration techniques to create audiovisual works which investigate the active and passive forms of repetition at the bases of human emotional and social processes. Her work offers a multi-scaled re-reading of history through an embodied experience of cultural and political landscapes, reflecting the tension between situated conditions of birth and forms of displaced nomadic becoming. Often permeated by a sense of tragicomedy, her work ultimately questions notions of proximity and distance, time (ir)reversibility and memory accumulation, as they emerge from the intersection of multiple converging time-lines.
www.teresacos.com
Exhibition Opening
September 3rd 2019, 7:30pm
Opening Hours
September 4th – 10th, 3 – 6pm
Saturday and Sunday close.
Also open by appointment.
As I live in a city I sometimes crave to live within a naturally wild environment. I wonder if it is some kind of nature romanticism typical to city dwellers? When I have stayed in the countryside for longer periods I have found that natural processes can feel quite hostile and that my instincts for survival awaken. I have tried to keep making artworks in a way that does not oppose nature so that the artwork will be completed by creating conditions for nature to take its course. Working like this, my artistic life can be described as something like a symbiosis between my being a collector of natural items, a witness to natural processes and becoming an animal myself.
https://ukusepsivart.wordpress.com
Supported by:
Exhibition Opening and Performance
June 26th, 19:30
Opening Hours
June 27th – July 3rd, 15:00 – 18:00
Saturday / Sunday closed
Steve Bates is an artist and musician living in Montréal. His work listens to boundaries and borders, points of contact and conflict. Thresholds are explored, stretched and, at times, completely broken. Information and signal feed back onto themselves creating new situations and events. The sonic is the starting point for his projects which are evocations of communication networks and systems, or expressions of spatial and temporal experience. He frequently uses sound material that is site specific in an attempt to uncover place and how the sonic effects our experience of site. His work has been exhibited in Canada, Chile, Europe and Senegal. He works in the field, on the air, in museological/gallery and performance contexts. These shifting territories reflect the content of his practice.
Black Seas is an ongoing project influenced by historical and contemporary experiences of auditory hallucination. This growing body of work includes performance, installation, video, transmission, objects and materials. It consults documents from literature, cognitive science, early experimental psychiatry, philosophy and religious studies, telecommunications and sound studies, 18th century psychic journals, horror films, and shared stories and oral histories. It is a project about listening to noise through desire, agency and otherness.
For the exhibition at bb15, Bates will install an assemblage of some of the work produced to date. With Black Seas I became fascinated with how a sound could exist and simultaneously not exist. Of a radical interiority and how it meets an exterior. Of all the hearers, is a project about a weird listening. A listening, as Mark Fisher described it when theorizing the weird and the eerie via H.P. Lovecraft, where two worlds are brought together; the external and the internal. A weird listening is one that “lies beyond standard perception, cognition, and experience.”
http://www.stevebates.info/
https://vimeo.com/225275550
Kristen Roos is a Vancouver based artist whose practice includes site-specific installations, performance, and sound design for dance. Kristen holds a BFA from Concordia University and an MFA from the University of Victoria. His writing on sound and radio art appears in the Radius GRIDS booklet published by Half Letter Press (Chicago), the Errant Bodies publication Radio Territories (Berlin) and the New Star Books publication Islands of Resistance: Pirate Radio in Canada (Vancouver).
Anti-Wave examines the silent electromagnetic transmissions that are ubiquitous today. These inaudible frequencies are received with devices that recognize them not as information, but as something similar to the unwanted sounds that were heard in early radio reception. A hidden infrastructure is revealed by translating these frequencies into audible sounds – a process that dissects the wireless devices that embody our lives and examines the relationships between people and the objects that inhabit their daily rituals. The installation allows new daily rituals to be created, through the use of textiles which block the frequencies emitted by wireless devices, drawing attention to possible health effects and emf hypersensitivity.
http://www.kristenroos.com/
‘It started from being a night owl.’
Sleep is, naturally, incompatible with what the world of uninterrupted operation demands and promotes as an ideal norm. It is overlooked and everyday, to such a degree that it could be presented as banal and sinful. Yet this biological banality common to all living animals has an intrinsic potential. It defies being logically understood and utilized. It is a quiet, unnoticed form of resistance that happens individually but is shared in its universality. It remains as a sign of shared time, participating in the world by its mere being there. A sleeping body, a sleeping being, is vulnerable and intimate. And very present.
What does a sleeping being become against the backdrop of a world that is lit 24 hours? What does this state of repose mean when there is no time to pause? How can one exist as a sleeping thing? Can one dream of hibernation and its potentialities? What does it mean to have an asynchronous biological clock? What lullaby could one sing?
Based on her publication As long as there is time to sleep (2016),
Yoojin Lee composed a body of works that takes its chapters as points of
entry into the fluctuating textures of sleep:
0.. Lie down: a prelude
1.. Introduction
2.. Artificial stars
3.. SLEEPY’S
4.. I like to stay horizontal
5.. Who falls asleep?
6.. To sleep in a world without lullaby
Intermission..
7.. While there’s still time
8.. Dormant buds on twigs
9.. Ostriches are diurnal but may be active on moonlit nights
Yoojin Lee is interested in ways of being set against the ways of being we are given. She likes to sleep a lot and take long walks in the nighttime. She graduated from Gerrit Rietveld Academie, Amsterdam, in 2016 and is currently based in London.
http://www.nijooy.com/
As a part and an extension of the show, radio broadcasts will take place on Ja Ja Ja Nee Nee Nee (Amsterdam), Radio Fro (Linz) and Rounded Radio (London).
Susannah Stark focuses on the mystical qualities of the voice and its placement in urban spaces, to question how images are used in a technology-driven, digital and capitalist culture. She has an interest in the mouth as modulator which shapes and organises culture, both as a bodily organ and a machine. With many works questioning how voices function and are conventionally used within the context of public space, she re-inhabits popular narrative and song to challenge material hierarchies. Often involving collaboration and inspired by writings on the ancient greek Cynics – she merges the economic, cultural, spiritual and personal into a narration of the contradictions of contemporary living, using digital media, sound, and song.
http://susannahstark.com/
- Jan Adriaans, Monique Hendriksen, Marie-Andrée Pellerin, FAXEN
- 23.09.2017 14:00, 26.09.2017 19:30
Public Working Session
September 23rd, starting at 14:00
Final Event
September 26th, 19:30
In the framework of a group residency at bb15, Jan Adriaans (NL), Monique Hendriksen (NL), Marie-Andrée Pellerin (CA) and FAXEN collective (AT) develop a multi-event project in Linz that approaches the notion of noise and randomness on a conceptual level. Communication is considered as an interplay of pattern and randomness, a deterministic network infiltrated with errors, scratches and hiccups. These unpredictabilities shape the pattern again, in a constant process of adaptation. Noise keeps us from predicting the future. There is no blueprint we can draw conclusions from.
Exhibition Opening:
September 5th, 19:30
Opening Hours:
September 6th – 12th, 15:00 – 18:00
Saturday/Sunday closed
Pio Rahner was born in Offenburg. He lives and works in Bremen. Pio Rahner’s works oscillate between conceptual photography and installation-sculpture. One of the main focuses of his practice is balancing his concentration on a specific object with the realization, production and positioning of the object in its surroundings. At bb15 he is preparing a new series that examines the architecture of the space and explores themes of protection and cosiness.
http://www.piorahner.de
Sound Performance
July 18th, 19:30
Tin cans, whistles, locomotive suspension springs, porcelain bowls, compressor top bells, ping pong balls, agave dry leaves, sponges, steel wires, branches, paper foils, plastic bags, silver papers, pink gloves, piano, balloons, buckets, feathers, water, scraps, peebles, flower pots, guitar, metal tubes, paulownia tree seeds, pearls, bamboo sticks, logs, bones, stones, filter queens…
Pierre Berthet & Rie Nakajima have been creating various ways to vibrate things so that their acoustic shadows dance around: invisible air volumes that reshape constantly, move in the space, enter in the most secret places and inside ourselves. A way to get closer to things inherent in spirits is to listen to them. Eventually encouraging them to produce sounds and resonate by various means: to hit, caress, shake, beat, scrape, scratch, claw, boil, clap, rattle, rock, throw, move, magnetize, clamp, cook, pinch, galvanize, motorize, bow, blow, pluck, heath up, let flow, freeze, drop, drip, connect, roll, mix, extend, sing…
Rie Nakajima is a Japanese artist working with installations and performances that produce sound. Her works are most often composed in direct response to unique architectural spaces using a combination of kinetic devices and found objects. She has exhibited and performed widely both in the UK and overseas and has produced ‘Sculpture’ with David Toop since 2013. With Keiko Yamamoto she has a music project ‚O YAMA O‘ which explores music with no genre. She also has a collaborative project ‘Dead Plants/Living Objects’ with Pierre Berthet.
http://www.rienakajima.com/
Pierre Berthet studied percussion at Brussels Conservatory and spent a lot of times in a bell tower, learning carillon and listening to the sounds. Studying with Garrett List (improvisation), Frederic Rzewski (composition) and Henri Pousseur (music theory) at Liège Conservatory in the nineties encouraged him to continue various things he did since his early childhood like throwing objects on the ground, shake them, hit them, caress them to hear what sounds come out ot them. Sounds of water drops falling on various materials always interested him a lot. Slowly slowly he started to prolounge various objects and instruments with long steel wires connected to can resonators suspended in the space, probably influenced by the works of people like Alvin Lucier, Terry Fox, Paul Panhuysen… Learned a lot also by playing several years with Arnold Dreyblatt’s Orchestra of Exited Strings and also by dueting with Frederic Le Junter. Since the nineties he realize and exhibits indoor and outdoor sound and visual installations. Adapted to the place where they are exhibited, they are also materials for live performance.
http://pierre.berthet.be
Realised with the support of:
Exhibition Opening and Soundwalk
April 4th, 19:00
Opening Hours
April 5th – 7th, 15:00 – 18:00
This work will be presented in two parts, a soundwalk and installation. The soundwalk will explore the diverse soundscapes of Linz through walking and listening. Participants are invited to join on an intuitive walk through the city whist attending to the everyday sounds that occur around us. The journey will conclude with a performance within the installation space at the bb15 gallery. The installation will be composed of an ecology of bells and speakers playing field recordings, sense data and analogue sound synthesis.
Tim Shaw is concerned with listening, specifically how complex listening environments can be constructed using a diverse range of techniques and technologies. Employing extended field recording techniques, DIY electronics, self-constructed software, networked systems and acoustic spaces his practice supports heterogeneous approaches to listening, making work that attends to the diverse forms listening can take through digital media. From presenting soundwalks through ‘naturally occurring’ environments to creating highly technical listening experiences, his artistic practice spans environmental sound art, digital media and performance making. He is interested in extended thinking around what the digital is and how this relates to all forms of artistic practice.
https://tim-shaw.net/
Exhibition Opening
January 31st, 19:00
Opening Hours
February 1st – 7th, 15:00 – 18:00
Sa/Su closed
Three video-works explore human selfhood in its evolutionary context. By drawing a parallel with the animal, the set of constraints we are subjected to become more apparent. If we take these constraints into account, how can we redefine human agency, will, and control?
“Selfhood is tyrannical precisely insofar as it is merely a congerie of drives.The act supplants the tyranny of the impulsive self with the rule of the subject. But it is the act itself that is subject. It is no-one’s.” Brassier
http://janadriaans.com
Exhibition Opening and Sound Performance
December 13th, 19:00
live stream: https://www.awdio.com/live-stream-bb15-linz-13th-dec-2016/3996qzrr3b-the-beheading-of-the-fruitfly-initialized-/players
Book Presentation
‚What if a counter proof makes any proof an illusion?‘
The artist in conversation with curator Marijana Schneider
December 16th, 19:00
Opening Hours
December 14th – 21st, 15:00 – 18:00
Sa/Su closed
In July 2015, the United States publicised their plans to gain the number one position in supercomputing, which was held by the Chinese supercomputer Thiane-2. To achieve this aim, the U.S. imposed an export ban on high-end computer chips. As announced in June 2016, China has maintained its number one position with the Sunway TaihuLight, a supercomputer not only twice as fast as Thiane-2, but based exclusively on home- grown microprocessors. Thiane-2, however, was already much underutilised due to a lack of suitable software.
November 2016: as sound recordings indicate, a super- computer, underwhelmed by its repetitive neural network simulation, started to allow other computational tasks to disrupt and interfere.
www.aguenth.de
Exhibition Opening
September 20th, 19:30
Finissage with Artist Lecture
September 27th, 19:30
Opening Hours
September 21st – 27th 15:00 – 18:00
Sa/Su closed
Losing Chorus is the title of the residency and exhibition project by London based artist Rachael Finney for BB15. Throughout the residency the artist aims to explore the ways in which the audition of more than one voice can work to destabilize the sense of a definitive subject. As an extension of the artist’s current doctoral research in the departmentof Visual Cultures at Goldsmiths (London) the work considers the organization of voice and use of non-linguistic or symbolic utterances of female-based vocal ensembles from 1957 to 1967. By using those parts of the original recordings where an unrecognizable, non-symbolic utterance is articulated the work aims to create an on-going collection of abstract choruses that belong to an always already out of reach and invisible body. The extracted material will form the base of a set of new compositions to be constructed as large audiotape loops and played in the space via a series of reel-to-reel tape players.
Folly 2 / Igman Hotel addresses the failure and collapse of political systems and the subsequent human tragedies that today are increasingly present.
The new-media installation is inspired by a hotel, originally built for the Olympic Winter Games of 1984, near Sarajevo. During the acts of aggression within the war of 1992 – 1995, the hotel was heavily damaged and blackened. Now, as a silent witness, the concrete structure still offers a glimpse into the optimism of Yugoslavian modernist architecture.
In the installation, by means of power-driven mechanics, a mock-up of the Igman Hotel is subjected to a composed movement: it slowly collapses and after a certain time, rises again automatically. This programmed choreography, among the other experiences of the installation, is created within the intimacy of the spaces of bb15 and links to a changing reality.
The work of Paul Devens is interdisciplinary, linking the fields of composed sound, architecture, video and performance. He exhibits installations in museums, art-spaces and galleries, makes interventions in public space, performs concerts in clubs, art-spaces and festivals and occasionally releases CD- and vinyl-albums.
The possible manifestations of physical space and its social context define the site-specific qualities of his work. To make a unique work in a given space necessitates that Devens engage a custom strategy to fit the specific situation, in order to unfold the distinctive qualities of that space.
Field-recordings of common sounds are lifted from their original context into installation based settings. These architectonic constructions, made specifically for the physical experience of sound, feature soundtracks or compositions consisting of the previously recorded sounds. The presence of an audience is an integral as part of the work.
Paul Devens studied at the ABK and the Jan van Eyck Academy in Maastricht. His work has been installed, performed and screened at: Jerusalem Show, EMAA Nicosia, Galerija Umjetnina Split (Hr), Museum Z33, Hasselt (B), Marres, Maastricht, Ctrl_Alt_Del, Istanbul, OCA/ISP, Oslo, Kunsthal Charlottenborg, Copenhagen, Diapason Gallery, New York, Radio Art Festival, Tallinn, D-0 ARK Biennial of Bosnia – Herzegovina, etc.
Paul Devens lives and works in Maastricht (NL)
‚Breaking Point‘ explores the fragile limits of sound and visual perception by establishing a dialogue between the light conditions of spaces, the resonance of their near materials, and the limits of representation.
For this exhibition, the space is used as an acoustic chamber, activated by a sculpture that reproduces sounds just beyond the limits of audible perception. In so doing, the inaudible element becomes an instrument that reveals its surroundings, without revealing itself. The vibrating sounds of bodies and surfaces, cast shadows and distorted reflections that it causes, resonate with the element that can’t be experienced and thus allow it, itself, to remain hidden.
http://lorenamal.com/
Vowels are spoken
To be broken
Feelings are intense
Words are trivial
(Depeche Mode – Enjoy the Silence)
Game and Performance is a multi-media exhibition that probes the orifices of language — getting sucked in, chewed upon and spat out in the process…. Spptttt!
From office to club, from the demands of the workweek to ‚living for the weekend‘, the works in this exhibition explore the moments in which social behaviour and the need to express oneself to others turn into games – of which the rules remain unknown. Awkward manoeuvres, ceaseless mouthing, diverted gazes, repetitive utterances and disorientating language are used to communicate. Something, anything.
www.helenflanaganphotography.co.uk
Supported by CBK Rotterdam and Mondrian Fund
From an enquiry into the relation of the fabrication of sounds and their reception, considering smooth and cold, or conversely, complex and swarming sounds, a relation between the production of a sound and what you hear is staged. a reconstructed scenario amongst other possible ones.
Complex and simple sounds are generated in such a way that the distinction is not always clear. The work is presented together with a visual installation whose form echoes various processes of sound production using a computer.
Exhibition Opening
January 13th, 7.30 pm
Opening Hours
14th – 20th of January, 3 – 6 pm
Sa/Su closed
Question of superficial affection (extended) has developed from a similarly titled video piece of Moravec’s from 2012. The work focuses on the physical change of a material exposed to the effects of implosion. An object collapses inwards without visible cause and thus we witness the “natural” transformation of inanimate matter. A prefabricated metal container changes from a cubic shape into something both more organic and expressive. This natural phenomenon could be perceived as “associative physics” and accentuates questions of ostensible stability, repetitive failure, and progressive change over time.
Tomáš Moravec (*1985 in Prague, Czech Republic) gained his Master in Arts (MgA.) at the Intermedia Department of the Academy of Fine Arts in Prague, Czech Republic, 2012. His works can be described as „spatial situations“, mostly realized by means of object, video and installation. Interventional gestures, altered dispositions of surroundings, deflecting the viewers perspective, temporary objects and subtle installations mark the most significant points of his output. The production of „change“, perceived both as a natural quality and as a striving need, conceptually underlies his previous work.
www.tomasmoravec.cz
Silicon, salt, crystals and volts are the primary elements of this ‚initiatic‘ journey into the paranormal, where geologies manifest as occult waveforms from the earth. Cryptic crystals from the Salzburgian salt-mines were collected in the misty mountains and are displayed on unique plinths synthesising and amplifying their ‚immemorial din from below‘. Waveforms of the Earth explores the emergence of Nature cultures, presenting a macrocosm wherein crystalline matter manifests, oscillates, de-phases, transduces, and modulates itself as the reverberations of a hypnotic state of flux; an etheric mattering of waveforms: 12-bit geodes.
www.gauthiier.info
www.jacobsikkerremin.com
www.vsionhairies.info
CONSENSUS explores the idea of sonic unity.
When identical objects or people sound together they reinforce and compromise each other, amplifying similarity while emphasising difference. Two performers attempting to copy each other spark a negative feedback loop. As a blindfolded amateur choir sings the same note together for one hour the pitch bends, swoops and disintegrates. Without a clear reference point the differences between bodies – their proximity, communicative precision and physical limits – become apparent.
Australian artist Julian Day has spent the past five years investigating this concept through a body of installations and performances. His ongoing collaborative sound project Super Critical Mass, for instance, brings together temporary communities of participants who disperse identical sounds (50 bells, 80 voices, 100 flutes) within parks, galleries, laneways and malls, following simple memorized instructions that articulate the sonic, social and spatial aspects of each situation.
Similarly, his installation Lovers features pairs of identical synthesizers pinned apart between wall and ceiling by long metal rods. The rods trigger identical notes on each instrument that sound perpetually throughout the space, creating complex energy fields that agitate territory. As with La Monte Young and Marian Zazeela’s Dream House, the perpetual sameness (a sonic ‘ganzfeld’ of unchanging information) leads to a dynamic yet ambient neutrality in which the listener is simultaneously activated (their body immersed in energy) and decentred (lacking depth of field).
His work with fellow artist Luke Jaaniste, Turning The Tables On, involves multiple turntables playing copies of the same record: Hooked On Classics, Tubular Bells, Oxygene, Chariots Of Fire. The styli are compromised by foreign objects such as coins placed on the vinyl so that the records stagger across time, creating a disorienting maze of self-similar information.
CONSENSUS presents new work within this arc, comprising sculpture, video and performance. It is the result of a current two-week residency at bb15.
www.supercriticalmass.com
www.aninfinityroom.com
www.julianday.com
No Patent Pending # 6
Friday, March 28th, 7:30 pm
iiiinsight
Wednesday, April 2nd, 7:30 pm
Instrument Inventors Initiative explores the relations between sound, image, space and the body, through self-made performative media. During a one week residency, the Dutch artist collective developed new projects related to the theme of non database technologies, embodied knowledge and returning to the senses. ‚No Patent Pending‘ featured a program of performances that combined intimate body interfaces, optical-sound performances, murmuring sounds from liquid projections and forays into the acoustics of the city.
www.iiinitiative.org
Exhibition Opening
Tuesday, November 19th, 7:30 pm
Opening Hours
November 20th – 26th, 3-6 pm
Sa/Su, closed
In this work Francesco Fonassi creates opportunities to test out the dynamics of sound reception and the mechanisms of aural perception. Fonassi has chosen the universe of sound for its lucidly suicidal nature, the sense of loss and removal embedded in its very essence and its intrusive propagation, clarity and incorrigibility. The phenomena of echo, resonance, reverberation and filtering each resemble and activate relational issues, dynamics of resistance and reciprocal neutralisation.
http://www.francescofonassi.com/
curated by: Clemens Mairhofer, Lucas Norer, Sebastian Six
Opening
Tuesday, March 19th, 2013, 7:30 pm
Opening hours
20th – 25th of March, 3:00 – 6:00 pm
One must search for the focus of Roman Štětina’s most recent works in the space between sound and image. It is precisely in this space that he demonstrates the discontinuity of supposedly interconnected perceptions. Not only does Roman Štětina let us consider how sound is implied by images, but at the same time he makes us uncertain about the perceptual stability of our world.
Text by Karel Císař
Links
http://www.romanstetina.com/
https://vimeo.com
Thanks to Atelierhaus Salzamt for the support.