Taking Things Apart - Day 3 at ausland / Sunday, 21.10.2018

Specification enables further specification, eventually embodying inter-relational references necessary in understanding how one sub-genre arises and reacts to another. In this cyclical search for terminology and representation, the nature of a work often becomes obsolete. It is with this intention that the festival Taking Things Apart is focused on a broad range of what one could classify as Sound Art and, presenting microcosmic studies within a larger frame of a definition, thereby focusing on the making and doing of ones artistic practice.

The festival focuses on artists who understand music as a something made from materials and ideas, using both instruments and objects as the their contextual inspiration and as their sources of sound. Their presentation of their study and practice of Bioacoustics will close the festival with an emphasis on awareness, once again reminding us how sound influences the spaces and experiences we have in and throughout the world.

Heike Vester & Madita Zetzsche’s “Ocean sounds” focuses on the biology and vocal communication of whales and dolphins in different places of the world. Installation and talk about their work will be presented at ausland tonight.

“Funktion nicht ganz klar” from Christina Ertl-Shirley, Felicity Mangan and Gretchen Blegen – new constellation and new piece about “Lieberose Wüste” in Brandenburg.

Felicity Mangan is an Australian sound artist and composer based in Berlin, Germany since 2008. In different situations such as solo performance, collaborative projects with other musicians or installation, Felicity plays her found animal field recording archive, either through stereophonic system or often via hand-made speakers made from transducers and re-cycled or displaced objects.

Christina Ertl-Shirley works with sound in form of sound installation, radioplays, concerts, workshops and radiofeatures by putting experimental sound and sorytelling into a dialogue. In her project plants and empire she deals with soundsproduction with plants, utilizing this sounds to narrate cultural and colonial stories around plants and to engage with the entaglement of culture and nature. Together with Felicity Mangan she creates electro-acoustic compositions grafting field recordings, live and pre-recorded drones and pulses produced by remnants of plant biochemistry subterranean together with modified animal voices embedded in a bioacoustic sphere of synthetic and oscillating hybrids.

vimeo.com/240053377

Gretchen Blegen is a long time supporter of books in their peculiar form and in function. Works with words, light (& shadows), space and occassionally sounds. Occupies herself with the boarders of dance and performance. Recent interests are conversation, dreaming and the act of telling.

Mario de Vega’s work overlaps relations between stability, failure, simulation and ambiguity with site-specific interventions, sound events, process-oriented projects, sculpture, modified electronics and sound improvisation. As an improviser, his practice explores the value of fragility & in-determination involving a wide range of customized objects, analog and modified electronics, turntables and computer based interfaces in different combinations. He performs both solo and in collaborations with numerous other musicians exploring the tension between analog and digital media His work produces acoustic situations for specific spaces using the context to generate ambiguous relations through sound and has appeared in Galleries, Museums, Concert Halls & unconventional spaces throughout Europe, Mexico, United States, Canada, Russia, Korea and Japan.

A Festival with:
Sonoscopia (Gustavo Costa, Alberto Lopes and Tiago Angelo) (PT), Liz Kosack, Mieko Suzuki & Claudia Rohrmoser, Anne Historical (ZAF), Vinyl Terror & Horror, DJ Marcelle (NL), Christina Ertl-Shirley, Felicity Mangan & Gretchen Blegen and Mario de Vega. The Festival ends with an insight into the work of scientists Heike Vester and Madita Zetzsche from Ocean Sound.