EXHIBITION #12: KLANG RAUM SKULPTUR
• Friday 22 September
18:00 | Exhibition Opening
21:30 | Spatial Sound Intervention by Frank Bretschneider
• Saturday 23 September
16:00 | Installation opens
21:00 | Spatial Sound Intervention by Richard Scott & Julius Holtz
• Sunday 24 September
16:00 | Installation opens
21:00 | Spatial Sound Intervention by Sven König & Fabien Artal
• Monday/Tuesday 25-26 September | 2 days workshop, 10:00 - 17:00 each day (module I & II) (on registration) - more information below
ticket installation: 5-10euro up to your offer
ticket performance: 10-15euro up to your offer (max 20 people)
CONCEPT OF THE AMBISONICS DOME
The collaborative project Klang-Raum-Skulptur is a dome-shaped sound installation that utilizes an immersive 3-dimensional sound system, premiered at Spektrum Berlin at the 22nd of September as part of the festival "Monat der zeitgenössischen Musik". The installation was originated by Paul Deme who developed the initial spatial concept. Attracted by the sculpture’s ideal form for the use of Ambisonics spatialization, Sven König (sCrAmBled?HaCkZ!), joined the project and installed the Ambisonics system inside the dome.
The composers Frank Bretschneider, Marisol Jimenez and Julius Holtz employ this technique to create 3-dimensional sound pieces. The resulting entity explores the relationship between musical composition, space and immersive listening.
• Frank Bretschneider is a musician, composer and video artist in Berlin. His work is known for precise sound placement, complex, interwoven rhythm structures and its minimal, flowing approach. Bretschneider’s subtle and detailed music is echoed by his visuals: perfect translated realizations of the qualities found in music within visual phenomena.
Bretschneider (1956) was raised in Karl-Marx-Stadt (Chemnitz since 1990), where his aesthetic developed as he listened to pirate radio and smuggled Beastie Boys tapes in the former East Germany. After studying fine arts and inspired by science fiction radio plays and films he began experimenting with tape machines, synthesizers, and modified guitars in 1984, as well as exploring the possibilities of exchange between visual art and music by various means such as film, video and computer graphics. In 1986, after establishing his cassette label klangFarBe, Bretschneider founded AG Geige, a successful and influential East German underground band. Though limited to the East before the wall came down, they were invited to perform across Germany and internationally after 1989 and released three albums before splitting in 1993.
In 1995, Bretschneider and fellow AG Geige member Olaf Bender founded the Rastermusic record label which eventually merged with Carsten Nicolai’s noton to form raster-noton in 1999. Most of Bretschneider’s early solo albums - about half a dozen - were under the alias Komet, the first, SAAT, appearing in 1996. Since then Bretschneider has released his work (in addition to raster noton) on various labels including 12k, Line, Mille Plateaux or Shitkatapult, and contributed to some well-known compilations like CLICKS & CUTS on Mille Plateaux and raster-noton’s 20' TO 2000 series. 2001’s CURVE, his second album for Mille Plateaux, was critically acclaimed and brought Bretschneider international attention. Followed 2003 by GOLD, raster-noton’s most blatantly pop album by then. GOLD, however, was topped by the percussive masterpiece released in late 2007, RHYTHM, an album that was rated very highly by several major electronic music publications, notably »The Wire« magazine, who put the album among their top releases of 2007.
2010 saw the release of EXP, a rather complex and abstract audio-visual work and his 2012 album KIPPSCHWINGUNGEN explores the sound of the Subharchord, a unique electronic instrument based on subharmonic sound generation. SUPER.TRIGGER, his 2013 album for raster-noton, is an absolute trove of percussive tension. And his newest, SINN + FORM, is all about improvisation and analog modular synth chaos.
• Richard Scott is a free improvising sound artist and electroacoustic composer, working with electronics including modular synthesizers and controllers such as the Buchla Thunder and Lightning and his own self-designed WiGi infrared controller developed at STEIM. He has been composing and performing for over 25 years, recently working with Evan Parker, Jon Rose, Richard Barrett, Kazuhisa Uchihashi, Shelley Hirsch, Ute Wasserman, Michael Vorfeld, Frank Gratkowski and his own Lightning Ensemble. He studied free improvisation in the 1980s with John Stevens, saxophone with Elton Dean and Steve Lacy, and electroacoustic composition with David Berezan and Ricardo Climent. He has released many albums, for example with Grutronic and Evan Parker for PSI records, The Magnificence of Stereo (sruti BOX) and has a solo double modular synthesizer LP, Several Circles, and an album with Sidsel Endreson, Debris in Lower Earth Orbit, released on CUSP Editions in 2016.
• Julius Holtz is a Berlin based composer, musician and multidisciplinary artist. His work combines contemporary music composition, sound installation, video and performance. Through recontextualisation of aesthetic language of various formats and media, Holtz develops new fields of artistic experiments. After receiving a Master of Arts degree in Sound Studies from the Berlin University of the Arts, Holtz became an active member of Berlin`s experimental music scene. He performed at venues such as Ausland Berlin, Quiet Cue and Acker Stadt Palast.
As Klangregisseur Holtz has worked with choreographers Ian Kaler and Adam Linder. He is the author of multiple film scores for experimental films and big German cinema productions. His music has been released on experimental music labels and broadcasted on Deutschland Radio. Beyond his appearance in Germany Holtz `s work has been presented in a large amplitude of locations: From rural areas in Portugal and Alaska to festivals and institutions in the USA, Mexico, Argentina, Scandinavia and Europe. These include New Fest Filmfestival (Jay, New York, 2008), Haus der Kulturen der Welt (Transformationen, Berlin, 2009), Wet Sounds Festival (Paraconsistent Invention, London, 2011), Centro de Cultura Digital (Vakuum, Mexico City, 2014) and the Ultima Festival (Yuaríya Valcári with Marisol Jimenez, Oslo, 2016).
• Marisol Jimenez is a composer and multidisciplinary artist from Guadalajara, Mexico. Her output includes numerous chamber and electronic works, as well as sound & mixed media installations and collaborations with visual and video artists. As she has a deep fascination with the tactile process of creating sound, most of her electronic and mixed media works involve self made instruments, found objects, and collected sound materials from her own field recordings, improvisations and performances. Her music has been performed by ensembles including the Arditti String Quartet, Ensemble Surplus, Ensemble Recherche, Ensemble Intercontemporain, International Contemporary Ensemble, the Freiburger Barockorchester, Phoenix ensemble, SfSound, CEPROMUSIC,The London Sinfonietta.
• Sven König (a.k.a. sCrAmBlEd?HaCkZ!) studied philosophie and art. He was Artist in residence at SAT Montreal, exhibited and performed at Festivals and institutions like Moderna Museet (Stockholm), Museo Pecci (Florenz), HMKV (Dortmund), Museu da Imagem e do Som (São Paulo), Cabaret Voltaire (Zürich), STEIM (Amsterdam), Temps D'images (Istanbul), FutureSonic (Manchester), Sonorities (Belfast), Unsound (Krakau), Elevate (Graz), Transmediale (Berlin), Cimatics (Brüssel), MIT (Boston)
Monday 25 Sept (module I) and Tuesday 26 Sept (module II) - from 10:00 - 17:00 each day
The 1st half of the workshop will cover the historical and contemporary concepts of spatial audio in music and cinematic sounddesign. Sven will highlight the performative practice of spatial electro-acoustic music.
The 2nd half will be hands on: The participants are invited to create their own soundfield on the Ambisonics-system. This will be possible in all DAW`s.
The participants are asked to bring thier Laptop and an audiointerface if available.
Cost: €35 for module I only (max 25 participants)
€100 for modules I and II (max 10 participants)
About the workshop holder:
Sven Königs artistic practice is build around psychoacoustic, spatial hearing and perception of space. He developed and programmed the ambisonics system of the dome. He performed at Unsound, CTM, IRCAM, STEIM, SAT and SARC.
With kind support of Initiative Neue Musik Berlin, Monat der zeitgenössischen Musik, KEF, Reckhorn and Poltergeist by Koma Electronik