The fourth instalment of SONIC SPACE features an eight-channel sound installation by the New York based artist Elliott Sharp.
CHORALE – ELLIOTT SHARP (2019)
Chorale is an 8-channel audio installation that uses bird songs and sounds as a starting point. Electronically processed and layered, the bird songs are rarely heard in their original register but through transposition reveal previously unheard melodies. The 8 channels are asynchronous and looped thereby providing an aggregate sound that is always changing and never repeating in exactly the same way.
Photo: Henri Falk
Elliott Sharp is a composer, producer, and multi-instrumentalist who leads the projects Orchestra Carbon, SysOrk, Tectonics and Terraplane. His innovations have encompassed fractal geometry, chaos theory, algorithms, genetic metaphors, and new strategies for graphic notation to yield work that catalyzes a synesthetic approach to musicmaking as well as functioning as retinal art. In 2015, Sharp was awarded the Berlin Prize and the Jahrespreis from der Deutscher Schallplatten Kritiks. In 2014 he received a Guggenheim Fellowship and a Fellowship from the Center for Transformative Media. He has been featured in the Darmstadt and Huddersfield festivals, New Music Stockholm, Au Printemps-Paris, Hessischer Rundfunk Klangbiennale, and the Venice Biennale. He is the subject of the documentary Doing The Don’t and has been featured on NPR’s All Things Considered. Installations include Foliage, Fluvial, Chromatine, and Tag.
The third instalment of SONIC SPACE features a spatial eight-channel composition by Burkhard Beins based on an archive of audio samples recorded in 2016 with sound engineer Jean Szymczak.
EROSION – BURKHARD BEINS (2019)
The silences here are retreats of sound, like the retreat of the surf before a tidal wave: Sound draining away, down slopes of acoustic passages, to gather, someplace else, to a great surge of noise. (thomas pynchon, gravity’s rainbow)
It didn’t feel like I was screaming because the world was so loud
Eight-channel sound installation.
15 November – 13 December 2018.
The second installment of SONIC SPACE, a new exhibition series at Geoff Stern Art Space, features a sound installation by Natalie Sandtorv.
Sandtorv’s sound installation is a retrospective meditation on her own career choices and a comment on societies’ constant need for self-confirmation through imitation of the originality of others; the never-ending mirroring we do to ourselves. The human voice has no limitations, and Sandtorv builds a universe in this installation by using nothing but the voice itself. With sound artist Erik Havnes as producer and musician/husband Ole Mofjell as sound recordist, Santorv has compiled recordings of her voice as a multichannel, ambisonic piece, and Havnes has layered, edited and dug deep into the sonic material to create an intimate and immersive listening experience – eight individual tracks, improvised and made as a comment to each other.
Natalie Sandtorv. Photos: Raquel Olivas
The Norwegian voice artist Natalie Sandtorv has been working on improvisational music with different groups and the electro-acoustic solo project Pieces of Solitude. There she explored the voice in combination with electronics and created a new vibration within the avant-garde scene. With her comissioned works Freedom Nation and Nomadic Rhymes, she has established herself both as a strong composer and unique vocal artist. IT DIDN’T FEEL LIKE I WAS SCREAMING BECAUSE THE WORLD WAS SO LOUD is her first sound installation.
Nine-channel sound installation. Duration: 25′
12 October – 9 November 2018.
Short excerpt of the stereo mix, courtesy of the artists:
SONIC SPACE, an exhibition series at Geoff Stern Art Space, opens with a sound installation by Andrea Neumann and Mads Emil Nielsen.
Creepage Current, the artists’ three-part acousmatic work, is realised via a sound system involving eight high-fidelity, three-way speakers and a subwoofer. Each part of the work is derived from recordings of electronics by Nielsen and recordings of Neumann’s playing of her signature ‘inside piano’, a reduction of the piano to its strings, resonance board and cast-iron frame. Created by means of open improvisation, graphic scoring and multilayering, these recordings are remixed and spatialised through nine channels into a complex collage of sonic movement that elicits an impression of spatial texture and tactility.
Andrea Neumann (b. 1968), based in Berlin, studied classical piano at the Hochschule der Künste in Berlin. Through her exploration of the piano for new sound possibilities in the fields of new and experimental music, she has been significantly involved in the formation and development of the Echtzeitmusik scene in Berlin. She has co-organised ‘Labor Sonor’, a series for experimental music, film and performance in Berlin since 2000 and Labor Sonor Festivals since 2015.
Mads Emil Nielsen (b. 1989), based in Copenhagen, is a musician and composer who works with basic sound sources, often combined with short percussive and orchestral samples, real sounds and an amplification of machine produced errors. In 2014 he founded arbitrary, a label and artistic platform on which he has released a series of graphic scores and recordings. He has recently performed at Présences électronique 2018 (Ina GRM, Paris) and Phono & Wundergrund Festival (DK).
Photo: Raquel Olivas
Curated by Geoff Stern, SONIC SPACE consists of sound installations by artists who are active within the sound art scene in Berlin and internationally. The exhibition series explores sound’s materiality from a variety of artistic perspectives, reflecting the complex field of sound art in contemporary practice – from provocative noise manifestos and soundscapes of catastrophe to musical sculptures and conceptual critiques of social space.