Errant Sound

Errant Sound Sound Art project space
(4)

Errant Bodies opened its project space in 2010 in Prenzlauer Berg, Berlin, and since 2016 it operates under the title Errant Sound. Since that time is has been dedicated to experimental work in sound, including performance, fieldwork, voice, radio and spatial practices. Through residencies, workshops, events, and exhibitions, Errant Sound emphasizes an engagement with process and dialogue, encouraging a dynamic and diverse approach to the sound arts. As a project space, it also intends to foster social and public activities, contributing to the creative scene in Berlin and its artistic communities. Starting in 2013, the project space is managed and developed through a working group comprised of artists, researchers, curators, and writers focusing on sonic research and sound practices. The working group develops initiatives and an experimental program of presentations, events, and exhibitions.

Today live!! Errant Sound + Usmaradio
04/04/2020

Today live!! Errant Sound + Usmaradio

𝗖𝗥𝗢𝗪𝗡 - Episode XXV

☛ Today 4.4.2020
• Roberto Paci Dalò & Roberta Busechian (Errant Sound)

☞ Stream: usmaradio.org
Also streamed on Radio Papesse

🔴 LIVE every day at 5pm (CET) - usmaradio.org

Roberta plays from her home in Berlin.

Roberta Busechian (1990) – field recordings/ virtual ambiences sound artist and sound studies researcher. She works in the field of sound installations and interventions in the public space, with a focus on field recordings and generative listening tecniques. She is a professor for sound art in Milan, a lecturer in Venice, Trieste and Berlin. Roberta founded and directs the activities of spazio (T)Raum and is a member of ERRANT SOUND in Berlin. She works on live stream sound installations/performances.

robertabusechian.com

Today live at 5pm!!
04/04/2020

Today live at 5pm!!

𝗖𝗥𝗢𝗪𝗡 - Episode XXV

☛ Today 4.4.2020
• Roberto Paci Dalò & Roberta Busechian (Errant Sound)

☞ Stream: usmaradio.org
Also streamed on Radio Papesse

🔴 LIVE every day at 5pm (CET) - usmaradio.org

Roberta plays from her home in Berlin.

Roberta Busechian (1990) – field recordings/ virtual ambiences sound artist and sound studies researcher. She works in the field of sound installations and interventions in the public space, with a focus on field recordings and generative listening tecniques. She is a professor for sound art in Milan, a lecturer in Venice, Trieste and Berlin. Roberta founded and directs the activities of spazio (T)Raum and is a member of ERRANT SOUND in Berlin. She works on live stream sound installations/performances.

robertabusechian.com

“Touching the Void: A Conversation Between Clarissa Thieme, Jan Verwoert and Mario Asef.” This podcast was created on th...
10/03/2020

“Touching the Void: A Conversation Between Clarissa Thieme, Jan Verwoert and Mario Asef.” This podcast was created on the occasion of Clarissa Thieme’s solo show Can’t you see them? at Errant Sound Berlin, November 2019.
Can’t you see them? Presented, in a site-specific installation, the ongoing serial work Can’t you see them? By Berlin-based Clarissa Thieme, highlighting the artist’s engagement with the Library Hamdija Kreševljaković Video Arhiv in Sarajevo.
CYST investigates subjective testimony in the context of collective traumatic events (such as the Yugoslav wars) and their reconstruction through technical & juridical means. It attempts to trace the fissures that open up between the languages of individual memory and their translation into procedures of historical objectification.
At the core of CYST there is a 45′ video clip that Thieme found in the Library Hamdija Kreševljaković Video Arhiv, shot by Nedim Alikadic in Sarajevo at the beginning of the city’s siege in 1992.
Using motion tracking, Thieme performed a metadata analysis of the video’s shaky handheld camera that is facing an unforeseeable threat, calculating its position and movement. She then fed this data into a light-projecting motion control system. The resulting light signal moves, changes direction, and trembles, creating a sounding body full of fear and anxiety behind the moving images.
The podcast touches on various aspects of Thieme’s work and the problem of traumatic archives and their relation to art more generally. From ARTMargins Online.

https://artmargins.com/touching-the-void/

Follow us on Instagram: @artmarginsjournal

“Touching the Void: A Conversation Between Clarissa Thieme, Jan Verwoert and Mario Asef.” This podcast was created on the occasion of Clarissa Thieme’s solo show Can’t you see them? at Errant Sound Berlin, November 2019.
Can’t you see them? Presented, in a site-specific installation, the ongoing serial work Can’t you see them? By Berlin-based Clarissa Thieme, highlighting the artist’s engagement with the Library Hamdija Kreševljaković Video Arhiv in Sarajevo.
CYST investigates subjective testimony in the context of collective traumatic events (such as the Yugoslav wars) and their reconstruction through technical & juridical means. It attempts to trace the fissures that open up between the languages of individual memory and their translation into procedures of historical objectification.
At the core of CYST there is a 45′ video clip that Thieme found in the Library Hamdija Kreševljaković Video Arhiv, shot by Nedim Alikadic in Sarajevo at the beginning of the city’s siege in 1992.
Using motion tracking, Thieme performed a metadata analysis of the video’s shaky handheld camera that is facing an unforeseeable threat, calculating its position and movement. She then fed this data into a light-projecting motion control system. The resulting light signal moves, changes direction, and trembles, creating a sounding body full of fear and anxiety behind the moving images.
The podcast touches on various aspects of Thieme’s work and the problem of traumatic archives and their relation to art more generally. From ARTMargins Online.

https://artmargins.com/touching-the-void/

Follow us on Instagram: @artmarginsjournal

We are delighted to show Tao G. Vrhovec Sambolec's work Reading Reading at Errant Sound Berlin. Please join us for the o...
01/02/2020
Reading Reading – Errant Sound

We are delighted to show Tao G. Vrhovec Sambolec's work Reading Reading at Errant Sound Berlin. Please join us for the opening on Feb. 8th at 18:00h!

Reading Reading Posted on February 1, 2020February 1, 2020 by errantsound Tao G. Vrhovec SambolecReading Reading is about how the reader moves through the written text as the text moves through them, capturing and stretching the temporality just before the text is activated into meaning, and before....

Enttäuschend und fragwürdig, wie es bei der Senatverwaltung zu einem Umdenken und der Festlegung zugunsten einer Positio...
23/01/2020
Alte Münze - Initiative Neue Musik Berlin e. V.

Enttäuschend und fragwürdig, wie es bei der Senatverwaltung zu einem Umdenken und der Festlegung zugunsten einer Position kam, anstatt das im letzten Jahr entworfene Gesamtkonzept weiterzuentwickeln, das die Vielfalt und innovative Kraft der freien Musikszene abbilden würde!

Die Senatsverwaltung für Kultur und Europa veröffentlichte am Mo., 20. Januar 2020 eine Pressemitteilung, in der der überraschende Beschluss mitgeteilt wird, das die Nutzung der Alten Münze vor allem der freien Jazzszene und der improvisierten Musik obliegen wird.

Haus Mödrath
12/01/2020

Haus Mödrath

Please share ! English version below.

„Studio für elektronische Musik“ ohne Zukunft
WDR nimmt das Angebot von Haus Mödrath nicht an

Seit 20 Jahren sucht der WDR erfolglos in Köln einen geeigneten Ort zur Unterbringung und Fortführung des Studios für elektronische Musik, das sich eben so lang im Souterrain einer Kölner Vorort-Industrieimmobilie befindet.

Karlheinz Stockhausen, einer der bedeutendsten Komponisten des 20. Jahrhunderts, war prägende Figur des Studios und von 1963 bis 1989 dessen künstlerischer Leiter. Er kam 1928 in Haus Mödrath, Kerpen, zur Welt als dieses ein Wöchnerinnenheim war. Haus Mödrath ist heute eine Kultureinrichtung, in der vor allem in wechselnden Ausstellungen zeitgenössische Kunst der Öffentlichkeit präsentiert wird.

Da es für das Studio keine Zukunftsperspektive gab, bot die Stiftung Haus Mödrath Im Frühjahr 2015 dem WDR die dauerhafte und kostenfreie Überlassung von Räumlichkeiten zur Unterbringung des Studios für elektronische Musik unter der Bedingung an, dass die Räumlichkeiten entsprechend hergerichtet und das Studio dort betrieben wird. Nach fast 5 Jahren lässt der WDR nun die letzte Annahmefrist kommentarlos verstreichen. Der WDR sieht sich nicht in der Lage, das Studio in Haus Mödrath zu betreiben und zwar auch dann nicht, wenn es mehrere Betreiberpartner gäbe und es den WDR selbst keinen einzigen Cent kosten würde, so der verantwortliche Dr. Bilstein, der als Liquidator in der WDR Verwaltungsdirektion tätig ist.

Das SEM, dass manche Kenner im Range eines Weltkulturerbes sehen, war das weltweit (!) erste elektronische Studio seiner Art. Die globalen Standorte der dortigen Apparaturen werden bei Wikipedia vergleichbar den Geigen von Stradivari aufgeführt. Der Jahrhundertkomponist Karlheinz Stockhausen war von 1963 bis 1989 Künstlerischer Leiter des Studios, erschuf dort weltberühmte Kompositionen und hinterließ dabei dem Studio auch selbstgebaute Musikapparate. Unschätzbare Impulse gingen in diesen Jahren von Stockhausen, dem Studio und dem Rheinland (Kraftwerk, CAN) aus und beeinflussten die gesamte weltweite Musikgeschichte (Elektro/Tecno) bis heute nachhaltig. Google (!) schaltete weltweit (!) am 18.10.2018 ein Doodle (Überschrift über Suchzeile) anlässlich des Geburtstages des Elektronischen Studios, das mehrere 100 Mio. Mal aufgerufen wurde.

Please share. Imortant.

Cultural heritage "studio for electronic music" without any future
WDR does not accept the offer from Haus Mödrath

For 20 years, WDR has been looking unsuccessfully for a suitable location in Cologne to accommodate and continue the studio for electronic music, which has been located for just as long in the basement of a Cologne suburban industrial property.

Karlheinz Stockhausen, one of the most important composers of the 20th century, was the defining figure of the studio and its artistic director from 1963 to 1989. He was born in 1928 in Haus Mödrath, Kerpen, when it was a maternity home. Today, Haus Mödrath is a cultural institution in which contemporary art is presented to the public primarily in changing exhibitions.

Since there were no future prospects for the studio, the Haus Mödrath Foundation offered the WDR in spring 2015 the permanent and free provision of premises to accommodate the studio for electronic music on condition that the premises were suitably equipped and the studio was operated there. After almost 5 years, the WDR now allows the last acceptance period to pass without any comment. WDR does not consider itself capable of operating the studio in Haus Mödrath, even if there were several operating partners and it would not cost WDR itself a single cent, according to the responsible Dr. Bilstein, who works as a liquidator in the WDR administrative directorate.

The SEM, which some connoisseurs consider to be a world cultural heritage site, was the world's (!) first electronic studio of its kind. The global locations of the equipment there are listed on Wikipedia comparable to Stradivari's violins. The composer of the century, Karlheinz Stockhausen, was artistic director of the studio from 1963 to 1989, created world-famous compositions there and also left the studio with self-built musical apparatus. During these years, invaluable impulses emanated from Stockhausen, the studio and the Rhineland (Kraftwerk, CAN) and had a lasting influence on the entire worldwide history of music (electro/techno) up to the present day. Google (!) switched worldwide (!) on 18.10.2018 a Doodle (headline over search line) on the occasion of the birthday of the Electronic Studio, which was called several 100 million times.

15/12/2019
Alvax

Excerpt from yesterday:
the amazing work AGNUS DEI by Valeria Di Sabato
"Audiovisual Screenings" by Roberta Busechian

Great introduction about my work by Roberta Busechian and a little excerpt of "Agnus Dei".

Thanks to everyone!

Thank you everyone for showing up yesterday! We had a wonderful conversation with Clarissa Thieme and Jan Verwoert.
08/12/2019

Thank you everyone for showing up yesterday! We had a wonderful conversation with Clarissa Thieme and Jan Verwoert.

02/12/2019

Next Saturday December 7, 7pm

Clarissa Thieme
Artist Talk / Touching the void:
with Jan Verwoert (art critic & cultural theorist)

Don’t you see them?

Exhibition: November 28 – December 12, 2019
Opening Times: Thurs–Sat, 3–7pm and by appointment

Errant Sound e.V. , Rungestr. 20, D-10179 Berlin

Can’t you see them? presents the ongoing serial work CYST by Berlin-based artist Clarissa Thieme that highlight her intense engagement with the Library Hamdija Kreševljaković Video Arhiv in Sarajevo. Errant Sound will feature her newly produced works and the installation Can’t you see them? – Repeat. in site specific set up.

The serial CYST investigates the implications of subjective testimony in the context of collective traumatic events and their reconstruction through technical & juridical means. It attempts to trace the fissures that open up between the languages of individual memory and their translation into those of procedures of historical objectification. At the core of the CYST serials there is a single 45′ video clip that Thieme found in the Library Hamdija Kreševljaković Video Arhiv which was shot by Nedim Alikadic in Sarajevo at the beginning of the siege in 1992.
Using motion tracking, the artist performs a metadata analysis of the shaky handheld camera which is facing an unforeseeable threat, and calculates the camera’s position and movement. She then feeds this data into a light projecting motion control system: the light moves, changes direction, and trembles.
A resonance corpus is created – a sounding body full of fear and anxiety appears behind the moving images.

In referring to the historical destabilizing effect of the work Jan Verwoert asks ”Time and space are the very stuff that the writing of history – and reporting of events – whips into coherent shape. What if this was but a poor construct, and life’s changes left time knotted and space dented in peculiar ways? Then the search for lost time and deep listening to the reverberation of tangled spaces would pose a key challenge to historically critical thought: How to recalibrate the senses and learn from modes of heightened attentiveness to perceive the tangled temporalities and spatialities of transformative processes?(…) Exactitude and ephemerality: extremes meet. The closer ones gets to the traumatic real, it seems, the more strongly it will fracture and disperse over different planes of representation. Thieme enters the gap between them, widening it, while simultaneously pulling the fragments of reality together into one unsettling force-field.”



Clarissa Thieme is an artist and filmmaker. Working across film, photography, performance, installation and text, she combines documentary and fictional forms focussing on processes of memory, politics of identity and strategies of translation. Her practice is research-based and often takes a collaborative approach.

Her work includes Was bleibt/Sta Ostaje/What Remains (Film, 30′, 2010), The Place We Left (Film, 60′, 2012), Resort (Film, 15′, 2013), Die DDR hat es nie gegeben/Appell (Video, 4′, 2016), Izmedzu Nas/Between Us (Open archive project, ongoing), Weiter war nichts, ist nichts (Installation series, ongoing), Vremeplov/Time Machine (Installation & performance, 2017), Today is 11th June 1993 (Film, 13′, 2018), Can’t You See Them/POV (Installation 2018), Can’t You See Them? – Repeat. (Film, 8′ as well as Installation, 2019).

Thieme studied Media Art at the University of the Arts Berlin (UdK) and holds a MA in Cultural Studies And Aesthetic Practice, University Hildesheim. Furthermore she is research alumni of the Berlin Center for Advanced Studies in Arts and Sciences (BAS). Thieme lives and works in berlin.

This exhibition is the second in a series of exhibitions presented under the heading Visual Approach to Sound, which aims to reflect on sound from the perspective of visual art. For this series, visual artists are invited to present works that are based on the forms and methods of visual art but which are also defined by a central acoustic aspect.

Visual Approach to Sound is conceived and organized by Mario Asef for Errant Sound Berlin.

www.errantsound.net

Facebook event: https://www.facebook.com/events/582100369213834/

Thank you everyone for showing up yesterday! We had a wonderful opening!Don’t miss the talk on Dec. 7. at 7pm!!@clarissa...
29/11/2019

Thank you everyone for showing up yesterday! We had a wonderful opening!
Don’t miss the talk on Dec. 7. at 7pm!!
@clarissathieme #don‘tyouseethem? #errantsound #soloshow #visualaproachtosound #contemporaryart #berlin @ Errant Sound

27/11/2019

Tomorrow opening!!
Clarissa Thieme
Don‘t you see them?

28. Nov. 2019, 7pm

PLEASE SUBSCRIBE TO OUR NEWSLETTER HERE!https://errantsound.net/contact/
20/11/2019
Contact – Errant Sound

PLEASE SUBSCRIBE TO OUR NEWSLETTER HERE!

https://errantsound.net/contact/

Contact Errant Sound Project Space Rungestr. 20, 10179 Berlin (Mitte)(close S Jannowitzbrücke, U Heinrich-Heine-Str.) Vereinsadresse / Association address:Errant Sound e.V. , Rungestr. 20 / 4, D-10179 Berlin Subscribe * indicates required Email Address * First Name Last Name

Tomorrow we'll have a re-broadcast at 14:00 (Turkey time zone)www.radyomodyan.comThanks to Radyo Modyan for interviewing...
12/11/2019

Tomorrow we'll have a re-broadcast at 14:00 (Turkey time zone)
www.radyomodyan.com
Thanks to Radyo Modyan for interviewing us about Distopya Sound Art Festival Istanbul 2019

Distopya Sound Art Festival Istanbul 2019 visited Et Cetera - Radyo Modyan today @radyomodyan
Tomorrow we'll have a re-broadcast at 14:00
www.radyomodyan.com
Thanks to Radyo Modyan for having us, we felt like we're at home.

12/11/2019
Radyo Modyan

Istanbul radio interview tonight at 9pm IST about Distopya 2019

Radyo MODyAn, Stüdyo Mod-A'da yayın yapmaktadır.

24/10/2019
Touch Amplifiers #3 – Sound Performance

Sanding paper suits in action

by Özgür Erkök Moroder & Steffi Weismann DYSTOPIE – Sound Art Festival, Berlin Kleiner Wasserspeicher, 28. Sept. 2018 »How can smooth skin clutch onto the wo...

24/10/2019
24/10/2019
Distopya Sound Art Festival İstanbul 2019

Next week in Istanbul! Installations and concerts by Errant Sound members Kirsten Reese, Georg Klein, Mario Asef, Golo Föllmer, Jeremy Woodruff and Laura Mello

Distopya Sound Art Festival Istanbul

supported by Goethe-Institut Istanbul

Adresse

Rungestr. 20
Berlin
10179

U8

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