The festival’s programme of concerts, performances, discourse, and more, is complemented by a special edition of the "Seismographic Sounds. Visions of a New World" exhibition, curated by Norient — the International Network for Local and Global Sounds and Media Culture with contributions from CTM. For the exhibition’s presentation within CTM 2016, Norient and CTM curated additional works by Pedro Reyes, Tianzhuo Chen, and Svetlana Maraš.
"Seismographic Sounds. Visions of a New World" is a multi-authored exhibition assembling distinct music, sound art and videos created, compiled and commented by 250 artists, musicians, academics and bloggers from 50 countries. Often produced in small studios from Jakarta to La Paz, Cape Town to Helsinki, these works experiment with the possibilities of the internet age and illuminate new spaces beyond the confines of commercialism, propaganda, and bigotry. Countering pessimistic views that globalisation and digitisation have led to cultural uniformity, they foresee a changing geography of multi-layered modernities, far beyond old ideas of North versus South, West versus East.
By diving into six topics — Money, Loneliness, War, Belonging, Exotica and Desire — visitors explore the exhibition as an audio-visual composition filled with music videos with subversive sounds and messages; experimental podcasts from local artists and journalists; a three-channel round table installation hosting controversial discussions between journalists, bloggers, artists and academics; and numerous other sound and video installations, experimental audio mixtapes and remixes.
While a seismograph measures and records force and duration of earthquakes, with "Seismographic Sounds", Norient aims to measure visions of a new world. In keeping with this mandate, all exhibition content comes from multiple perspectives of musicians, authors, journalists and photographers from all over the world.
Pedro Reyes (Mexico City, 1972) studied architecture but considers himself a sculptor, although his works integrate elements of theater, psychology and activism. His work takes on a great variety of forms, from penetrable sculptures (Capulas, 2002-08) to puppet productions (Baby Marx, 2008 and The Permanent Revolution, 2014).
Urs Hofer, born in Switzerland in 1976, holds a M.A. in media-, film- and computer science from the University of Zurich. He lives and works in Berlin and Zurich as a freelance programmer.
Svetlana Maraš (1985) is composer and sound artist from Serbia. She studied composition at the Faculty of Music of the University of Art in Belgrade. In 2010, she held a fellowship in composition at Bang on a Can Summer Institute. She received her MA at Helsinki Media Lab - Aalto University and she was employed at the same department as a research assistant.
Founded in 2009 in Berlin by architect Max Kullmann and sound designer Jan Paul Herzer, hands on sound develops projects for curators, scenographers, and architects, while also creating their own artistic works. Sound is their tool and architecture their medium to program acoustic spaces, and also to leave voids in their design.
The kitschy, neon grotesquerie of Chinese artist Tianzhuo Chen takes its cues from a sprawling range of influences—from LGBTQ hip hop to the London rave scene, Japanese Butoh, New York vogue, manga, and the fashion world.
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