- Concerts in France, Hungary and Poland
- « Dock / Ancien Palais de Justice » 12/01 – 16/02, 2019
- Concerts Coming @ Germany and France
- “Glitchrs” Interview by Fiorella16 / Glitch by Gabriel Castillo
- Electromagnetic Detritus @ Radiophonic Spaces (Basel/Berlin/Weimar)
- Exhibition MEX / Künstlerhaus Dortmund, Dortmund
- Concerts coming @ Germany, Slovakia, Austria and The Netherlands
- Evamuss concerts in Germany and The Netherlands
- Electromagnetic Detritus Performaces in Germany & Denmark
I am participating in the sound exhibition “Dock-Ancient Palais de Justice” (Les Brasseurs – Liège, Belgium) curated by Paul Devens and Cedrik Fermont. I participate with a piece called “The Cochlea as a Place for Emancipation (OAE study)”. Below the description of my piece:
An OAE (Otoacoustic Emissions) is a “low-level sound emitted by the cochlea either spontaneously or evoked by an auditory stimulus” *
I consider the Inner Ear as a soundscape in itself that sometimes interacts with external acoustic stimulus. This soundscape is produced by Otoacoustic Emissions among other phenomenas.
With one tone of a 80s keyboard (Hohner PSK75), I recorded a piece that evoke Otoacoustic Emissions in the listener when it is played loud. I find my work with Otoacoustic Emissions as a way to reset our perception in order to wake up and to develope the attention to our inner soundscape.
In a contemporary world focussed in the design of external stimulus to direct our attention to a consumerist and spectacular way of live, the inner “landscape” is sometimes polluted, so we need to clean or to reset it from time to time. The political confrontations for territory are also “inside the ears”. I will publish the piece in http://Sajjra.net as soon as I can. If you are in Beligium try to visit the installation.
*Otoacoustic Emissions: Beyond Newborn Hearing Screening Rebekah F. Cunningham, PhD.
17.11 @ Dortmund, Mexappeal / Electromagnetics & Acoustic Detritus
25.11 @ Paris, Cmptrmtmtcs – Le Petit Cafe / Evamuss
26.11 @ Lille, CCL / Evamuss
This interview was donne the next day of the the event “Mata a Galarreta” (05/03/2012, El Wecco de Beaterio – Arequipa / Perú) Organized by ANFIBIO PRODUCCIONES. Video recorded by Gabriela Machicao, Glitch by Gabriel Castillo. Participants of the talk: Fabrizio Davila, Jose Maria Malaga and Chrs Galarreta.
My piece “Raw Field Recordings II : Electromagnetic Detritus” will be in the exhibition “Radiophonic Spaces” at Basel, Berlin and Weimar. Below the exhibition schedule:
Museum Tinguely, Basel: October 24, 2018 – January 27, 2019 link
Haus der Kulturen der Welt, Berlin: November 1, 2018 – January 6, 2019 link
Bauhaus-Universität Weimar, Weimar: Spring 2019 (as part of “Bauhaus 100”) link
To listen or to buy my release “Electromagnetic Detritus” you can visit this link
Download catalogue link
13 October – 18 November 2018
Exhibition mexhibition (Ist das weg? Oder kann das Musik?) in mex, Künstlerhaus Dortmund, Sunderweg 1, 44147 Dortmund (DE). Link FB. Link exhibition.
Me and Janneke van der Putten will participating in the “Sonic Chair” on this exhibition and we will perform on 17.11.
Crawling wires of metal, fluttering magnetic tapes, an automatic band, a whole chair full of speakers, small dithering umbrellas and quite a few things more. That isn’t music, is it? Works at the intersection between art and music tend to fall between the tracks. The ability to understand sounds as something musical, opens up space to experience another dimension with our senses. To experience spatiality. So why should we distinguish an old folk song from the tictac of traffic lights; or the recording of a rowing boat from trumpets on tape machines. They are all chances to grasp environment acoustically and to experience it sensuously. What could be more sensual than for example Rolf Julius’ composition „Old Piano Concert for the Weser“, in which he placed speakers along the river Weser. Sound art means to let yourself be surprised by ideas that manifest themselves affectionately through sound. In the exhibition one can observe the routes of different satellites whose tracks on the earth’s surface can be transformed into music. Or you can generate tones and pictures from your own skin by a special sensor. How would that sound? And even if works fall between the tracks at the intersection between art and music, at the mexhibition we will have a special sonic chair with built-in speakers, so you can sit right in the middle of several sound art compositions by different artists.
Nonprofit association mex has been organizing experimental and intermedia concerts at the Künstlerhaus for 26 years. From the beginning it has always been in love with sound art and installations, too.
, Bart Maris
, Tintin Patrone,
, Claudia Robles-Angel
, Anna Schimkat
, RaumZeit Piraten
, Sonic Chair
(*) and Tasos Stamou.
(*) Sonic Chair is curated by Georg Dietzler, Erhard Hirt, Till Kniola and Achim Zepezauer with recordings by: Andreas Oskar Hirsch // Achim Mohné // Janneke van der Putten & Chrs Galarreta // Miki Yui // Achim Zepezauer // Stan Pete // Ross Parfitt, Erhard Hirt & Florian Walter // Artificial Memory Trace // Colin Potter // N // Das Synthetische Mischgewebe // Claus van Bebber // Gailė Griciūtė // Peter Strickmann // Marta Zapparoli
09.10 @ Hamburg, Galerie 21
13.10 @ Dresden, TBC
14.10 @ Bratislava, Mikrōzvūk
16.10 @ Vienna, Velak-Gala
18.10 @ Graz, Interpenetration
19.10 @ Rotterdam, Worm Rotterdam
22.06 @ Rotterdam, De Player
25.06 @ Hamburg, MS Stubnitz
27.06 @ Aarhus, Udstillingsstedet Spanien19C
28.06 @ Svenborg, Ved siden af
30.06 @ Copenhagen, Floating City