Does emptiness have a voice? In sergey kasich’s expansive installation, Hollow Howl, a variety of objects distributed throughout the exhibition space serve as passively resonating, reflecting, and absorbing surfaces. Individual microphones attached to these objects capture air movements.
Amplified to audibility, kasich generates an algorithmic composition with these signals in real time. The audience can experience the composition with headphones, but also influences the tonalities in the room with its presence. The apparent emptiness is amplified, sensitising us to the invisible. At the same time, Hollow Howl reflects on the meaning of empty spaces and the drastic changes in Berlin in times of gentrification and housing shortages. The exhibition’s mostly hollow objects have been taken from various places that conflict with neoliberal property narratives: Berlin squats, unauthorized dumpsters, and homeless sleeping areas.
sergey kasich is a current music fellow of the DAAD Artists in-Berlin Program.
Co-presented with DAAD's Artists-in-Berlin program.
sergey kasich blurs the boundaries between artist and technologist into new forms of expression. His experimentation is heavily focused on installations, generative works, and demystifying and creating new musical tools, with specific interest in gesture and embodiment, urbanism, and architecture.
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