Mark Fell and CM von Hausswolff

Thursday, 19 November 2015
Doors: 7pm, Concert: 8pm

FEED at KW, Institute for Contemporary Art
Auguststraße 69, 10117 Berlin
Facebook Event

Artists and composers Mark Fell and Carl Michael von Hausswolff present their first collaborative project featuring a piece for live electronics played through a seven channel surround system. Each speaker transmits a design-specific hardware oscillator, producing complex wave shapes and responding to preset parameters different for each unit. The parameters are then modulated and controlled constantly and in real time, at both distinctive and random intervals during the live performance. The aim is to create a unique, immersive, site specific and unrepeatable sound environment.

In cooperation with STUK Arts Centre, Leuven, Image and Sound, FEED and KW, Institute for Contemporary Art. Instruments designed by Derek Holzer/

Since the end of the 1970s, CM von Hausswolff has worked as a composer using the tape recorder as his main instrument, further aids are the sine-wave generators, oscillators and radar transmitters. His audio compositions are pure, intuitive studies of electricity, frequency functions and tonal autism within the framework of a conceptual stringent cryption. Lately he has also developed a more conceptual form of audio art overlooking subjects such as architecture and urbanism, rats and maggots.

Hausswolff is also active as concept artist in the fields of performance art, light and sound installations and photography. Collaborators include Graham Lewis, Jean-Louis Huhta, Pan sonic, Russell Haswell, Zbigniew Karkowski, Erik Pauser, The Hafler Trio and John Duncan. His music and sound art can be found on labels such as Touch, Ash International, Laton, Oral, RasterNoton, Firework Edition, SubRosa and Die Stadt. His work has been featured at numerous exhibitions including the Documenta X in Kassel, the Johannesburg Biennial, the Venice Biennale, and the Portikus in Frankfurt.

Mark Fell is an electronic musician based in the UK, and one half of the experimental music duo SND. His work is created from variations on algorithmic and pattern-generating systems, producing non-repetitive structures that are equally influenced by house and techno music of the late 80s and early 90s. Fell received an honorary mention in the digital music category at Prix ARS Electronica, and was shortlisted for the Quartz award for his contributions to research in digital music.

Inner_Spaces #5: R/S, Oren Ambarchi & Thomas Brinkmann

May 2nd, 2016
Auditorium San Fedele
Via Hoepli 3B, Milan

In collaboration with S/V/N and San Fedele Musica

R/S is the experimental electronic music duo featuring Peter Rehberg and Marcus Schmickler, two of the most dominant and original figures of experimental electronic music. In 2011 they released USA, their second album, follow up to their 2007 One (Snow Mud Rain) on Erstwhile Records.

Peter Rehberg is the founder of the influential Editions Mego family of labels. Perceived as one of the pioneers of synthetic music, Rehberg (aka PITA) ushers now the next phase of his sonic exploration. His approach is the ongoing search of a radical maniac driving us to the shores of experimental electronics, maybe best to be described as visceral synthesis, fishing in the ambient depths of techno. He is fusing distorted electricity with abstract beat patterns and glitches to some form of extreme computer music.

Marcus Schmickler is a Cologne-based researching composer and has produced numerous electronic works, pieces for ensembles, choirs and orchestra. Many of his works are informed by scientific subjects as well as methods. A multi-faceted composer and producer, his interests revolve around the brain and its adaptation to multiple auditory stimuli. Schmickler has written music for ensembles, installations, theater, and radio, meanwhile also producing under multiple pseudonyms like Pluramon, and Wabi Sabi. A recipient of multiple prizes and scholarships, including the Ars Electronica; Schmickler held a lengthy seat as a member of the jury for the German Music Council, and is a co-creator of the eclectic A-Musik record distributor, known for its avant-garde and experimental releases.

Oren Ambarchi and Thomas Brinkmann‘s first collaborative work as a duo is The Mortimer Trap, an epic 77-minute “variation” of Morton Feldman’s For Bunita Marcus released in 2012. The two collaborated again on Ambarchi‘s album Quixotism which was listed in The Wire magazine’s top 50 releases of 2014.

Oren Ambarchi‘s works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal. From the late 90’s his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Charlemagne Palestine, Sunn 0)), Thomas Brinkmann, Keiji Haino, Alvin Lucier, John Zorn, Merzbow, Jim O’Rourke, Keith Rowe, and many more.

German artist Thomas Brinkmann (b.1959) is an innovator and iconic producer of experimental minimal techno music. After leaving the Art Academy of Düsseldorf in the eighties he began experimenting with vinyl records. Through the mid-90’s Brinkmann became known for his unique techniques utilizing customized dual-tone-arm turntables and generating live beats and patterns by cutting directly into prepared vinyl with razors. He gained a wide reputation with his re-workings of material by fellow artists Mike Ink and Richie Hawtin, released in the second half of the 90s. Brinkmann later founded the Ernst record label and introduced his own productions on a series of 12″ records taking their titles from female names. He has since expanded his extensive production catalog on his own Max Ernst label, as well as other highly respected labels such as Traum Schallplatten, Raster-Noton, Mute Records (under the Soul Center alias) and Editions Mego.

Cover Photo: Thomas Brinkmann, Antonio Rasi Caldogno

Inner_Spaces #4: Valerio Tricoli, François Bonnet (GRM), Mats Lindström (EMS)

In collaboration with S/V/N/, San Fedele Musica, FAM – Festival Archivi Musicali and Archivio Storico Ricordi. All the pieces are played through the SATOR acousmonium consisting of 50 speakers and 32 channels to offer the audience a unique immersive aural experience.

François Bonnet, artistic director of Ina-GRM, plays a selection of seminal electroacoustic works from the GRM archives. GRM was formed in Paris in the late 1950s by Pierre Schaeffer, out of the Groupe de Recherche de Musique Concrète. Through the studio Schaeffer was able to continue his practical and conceptual investigations into concrète, electro-acoustic and electronic sound, alongside the likes of Luc Ferrari, Bernard Parmegiani and Iannis Xenakis. Out of this research centre would emerge some of the most distinctive and  pioneering electronic music of all time. 

Selected pieces
Beatriz Ferreyra, L’Orvietan (1970)
Luc Ferrari, J’ai été coupé (1969)
Philip Carson, Turmac (1961)

François Bonnet is also the curator of the Recollection GRM series on Editions Mego label. He has published books about sound and listening and regularly contributes articles to publications such as The Other Music, Books Arts and Sciences of Art, and Le Cahiers Louis Lumière. He teaches at the Université Paris 1 Panthéon-Sorbonne. He produces music under his Kassel Jaeger pseudonym on various labels including Editions Mego and Senufo Editions. Discogs + Soundcloud Continue “Inner_Spaces #4: Valerio Tricoli, François Bonnet (GRM), Mats Lindström (EMS)”

Knots by Oren Ambarchi and Will Guthrie, Bill Orcutt, Thomas Ankersmit

Knots by Oren Ambarchi and Will Guthrie, Bill Orcutt, Thomas Ankersmit

Oren Ambarchi presents the live version of KNOTS, the epic centrepiece of his 2012 release on Touch Audience Of One, described by Mojo as the “undoubted standout on the Australian guitarist’s stunning new album – nothing can prepare you for its awesome power“. Since then he has presented the piece around the world in various configurations (documented on the recent acclaimed Live Knots release on PAN). This version will feature a special collaboration with Will Guthrie on drums.

Oren Ambarchi is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, „re-routing the instrument into a zone of alien abstraction where it’s no longer easily identifiable as itself“. Ambarchi was chosen as experimental artist of the year by Pitchfork magazine.

Will Guthrie is an Australian drummer and percussionist. He works in many different settings of music: live performance, improvisation and studio composition using various combinations of drums, percussion, objects, amplification and electronics.

Bill Orcutt
Miami, Florida, US

Official Website + Discogs + Soundcloud

Born in Miami in the year of the Cuban missile crisis and educated in Florida’s finest institutions, Bill Orcutt is usually recognised as the co-founder of the band Harry Pussy. Formed in 1991 and featuring Orcutt on 4-string guitar – a practice carried over, developed, and refined from circumstantial adolescent experiements in working around absent strings – and Adris Hoyos on drums and vocals, with a second auxiliary guitarist added in later years, the groups sound centred on its completely unhinged ferociousness. With those furious eruptions, Harry Pussy drafted the blueprint – combining hardcore punk’s brutish speed blended with the art school caterwaul of No Wave – for the next two decades of Noise-rock. In five years, they toured the US and Canada with the likes of Sonic Youth, Dead C, Charalambides and Pelt and produced over twenty different releases on record labels of varying degrees of accessibility, most regularly for the Philadelphia-based experimental music imprint, Slitbreeze.

Twenty years later, Bill Orcutt still only plays four strings, but now they are attached to a vintage acoustic Kay that has withstood enough damage an repair that it requires custom tuning to stay in one piece. Sometimes clanging and ominous, other times mournful and slight, strangely alienating, but simultaneously vunerable and cathartic, his music is compared with equal frequency to avant-garde composers and rural bluesman.

Photo: Körber-Stiftung /
Claudia Höhne
Photo: Körber-Stiftung / Claudia Höhne
Thomas Ankersmit
Lives and works in Berlin

Official WebsiteDiscogs + Soundcloud

Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound have been an important part of Ankersmit’s work since the early 2000’s. His music is also characterized by a deliberate misuse of the equipment, using feedback and disruptions to the signal, and the extremes of frequency and dynamics, to create visceral but finely detailed swarms of sound.

Since 2006 his main instrument, both live and in the studio, has been the Serge analogue modular synthesizer.

Ankersmit collaborated with Valerio Tricoli on Forma II, a series of electroacoustic pieces released on the PAN label, and on music based on the acoustics of abandoned radar domes. Both projects were honoured by Ars Electronica.

Ankersmit´s music is released on the Touch, Ash International and PAN labels. His sound and installation work have been presented at venue, galleries and festivals for experimental and contemporary music all over the world.

Wave Field Synthesis Special Program

Monday. 10.11 – 19h30

In addition to the German premiere of Filarium at Villa Elisabeth on Nov. 11th 2014, Michel Chion, Lionel Marchetti and Jérôme Noetinger play a selection of their works through the largest wave field synthesis/WFS system: Installed around the entire hall, over 2000 speakers, controlled by a computer cluster with 832 audio channels, allowing creation of sound sources anywhere in the space and providing a near-complete degree of immersion for the listener.

In collaboration with the Electronic Studio of TU, Faculty of Audio Communication, Berlin.


Jerome Noetinger and Lionel Marchetti
Jerome Noetinger and Lionel Marchetti

Selected pieces:

Michel Chion, Gloria (1994)
Lionel Marchetti, Natura morta (2007)
Jérôme Noetinger, L’epaisseur de la nuit (2014)
Lionel Marchetti, L’incandescence de l’etoile (1991)
Michel Chion, Blanche (1971)

Editions Mego 20th Anniversary

In May 1995 the first releases from a new label from Vienna came out. The label was called Mego. Over the years, Mego has become a synonymous with the finest experimental electronics, noise, post-industrial and improvisation. To celebrate 20 successful years of label history, there will be a number of showcases around the world. In Berlin on 14 October at Kantine am Berghain featuring Markus Schmickler, EVOL, and a rare live show by Thomas Brinkmann.

Marcus Schmickler
Cologne, Germany

Piethopraxis is Marcus Schmickler’s sound production facility operating from Cologne.

Marcus Schmickler has written numerous pieces for electronic music, chamber ensemble, choir and orchestra, which have been premiered by renowned ensembles and musicicans. Next to his musical work, he has also worked on installations and radioplays as well as collaborating vastly in the field of theatre and film. Lately, he has been interested in the epistemic dimensions of music/sound.

Thoman Brinkmann
Cologne, Germany

Max ErnstDiscogs

German artist Thomas Brinkmann (b.1959) is an innovator and iconic producer of experimental minimal techno music. After leaving the Art Academy of Düsseldorf in the eighties he began experimenting with vinyl records. Through the mid-90’s Brinkmann became known for his unique techniques utilizing customized dual-tone-arm turntables and generating live beats and patterns by cutting directly into prepared vinyl with razors. He gained a wide reputation with his re-workings of material by fellow artists Mike Ink and Richie Hawtin, released in the second half of the 90s.

Brinkmann later founded the Ernst record label and introduced his own productions on a series of 12″ records taking their titles from female names. He has since expanded his extensive production catalog on his own Max Ernst label, as well as other highly respected labels such as Traum Schallplatten, Raster-Noton, Mute Records (under the Soul Center alias) and Editions Mego.

Barcelona, Spain

Official WebsiteDiscogs + RWM

Roc Jimenez de Cisneros and Stephen Sharp make computer music for hooligans and deconstructed rave objects. Their music has been published on record labels like Editions Mego, Diagonal, Entr’acte, Presto!?, or their very own Alku, and showcased at festivals, clubs, galleries and museums throughout the world. EVOL recordings, installations and performances have a unique approach to sound matter, full of upward spirals, trance inducing patterns and challenging temporal structures.

A musique concrète composition by Michel Chion, Lionel Marchetti and Jérôme Noetinger

German première

In 1998, the Cultural Centre André Malraux of Vandoeuvre-lès-Nancy commissioned Michel Chion, Lionel Marchetti and Jérôme Noetinger to collaborate on a work of musique concrete. “Les 120 jours” was the result — a fresco for which the composers exchanged a mass of sounds from multiple origins, that each had worked, transformed and recomposed in their own style.

For this new commission, the work was realised in two stages. Firstly, during several recording sessions at the CFMI of Lyon (Université Lumière Lyon 2), the three musicians improvised to create some raw materials and sequences. From this large reservoir of sounds, they composed six pieces of musique concrète : one each independently, and three organised according to set rules of chance as chosen by the trio to create a series of sonic events.

The overall structure of “Filarium” is to be appreciated as a vivarium where just as many sound beings of different species cohabit — originating from varying lineages and junctions at porous borders, real, or imagined — as material and open poetics, antagonists, dissidents even, nevertheless connected here by a deliberate strangeness.”

Supported by Initiative Neue Musik Berlin. In partnership with Deutschlandradio Kultur and Elektronisches Studio, TU Berlin.

Listen on Deutschlandradio Kultur

Damaged Particulates

With Damaged Particulates the experimental musician and composer Ben Vida delves into the enveloping world of “direct bass”. Utilising a four-channel, twin-sub sound system and 25 individual SubPacs, a tactile audio system placed on each audience members seatback, which directly transfers low frequencies to the body, this highly detailed and immersive piece for electronics examines the dimensional and spatial qualities of analog and digital synthesis.

Damaged Particulates is a work that oscillates between performance, installation and sculpture, and is experienced as much by touch as by hearing. Originally commissioned for Unsound Festival NYC, this new version explores further the possibilities of multi sensory sonic reception.

Commissioned for Unsound Festival New York 2014. In partnership with Unsound, Subpac, the Electronic Studio of TU, Faculty of Audio Communication, Berlin. In collaboration with LEAP.

Ben Vida Interview – Unsound at LEAP Gallery Berlin

It’s one of those archetypal expressions that has lost some of its initial weight over time: “Anything and everything can be music.” The kind of saying that nowadays results in a shrug from those who have been subjected to it. Luckily for us, Brooklyn-based composer and experimental producer Ben Vida is lending the expression new significance. His work is quantitative in its uniqueness, its otherworldly weirdness, its experimentalist nature. If his critically acclaimed sound poem Tztztztzt Î Í Í, his 2013 multi-media project Slipping Control, or his performance-based collaborative effort with Sara Magenheimer and Michael Bell Smith, Bloopers #o have anything to say about it, anything and everything really can be music. And where Ben is concerned, we’re so glad that that’s a fact.

It’s with this mindset that we embark upon Damaged Particulates, Ben’s latest venture that balances performance art with immersive music listening. An eleven-movement solo composition for fixed and live electronics presented in four channel expanded stereo, Damaged Particulates explores the space between musical representation and sonic abstraction through speech, music, and body. Presented in collaboration with SubPac, Ben’s audience will not only hear the music, they’ll feel it too,  benefitting from his performance on three levels: mind, body, soul. Ahead of the Damaged Particulates’ show in Berlin this weekend, we caught up with Ben to talk sound poetry, experimentalism, SubPac, and the story behind this project. – Read more

Cellule d’Intervention Metamkine

An immersive live audio-visual performance, using mirrors, multiple projectors, live editing, tape loops and analogue synthesizers, by French filmmakers Christophe Auger and Xavier Quérel and musique concrète from electroacoustic composer Jérôme Noetinger.

Christophe Auger and Xavier Quérel manipulate film with 16mm projectors; accelerating, stopping, rewinding and burning the film during the projections. They apply chemicals to the films on stage, use colour filters and place prisms in front of the lens. Projected images are overlapped and layered on the screen, composing an ephemeral image out of individual light flashes, which are accompanied by sudden explosions of noise.

Jérôme Noetinger’s performances proceed from the sound potential of Revox magnetic tape recorders and Korg synthesizers, creating disparate electroacoustic sounds that mirror the dreamlike, evocative film images produced by his two associates. It is possible to hear fragments of sound and music recorded on tape, but also the sounds of the recorder itself; retroaction, tape echoes and other noise manifestations typical of analogue electronics.

Gordon Monahan’s Speaker Swinging

Gordon Monahan sees this concert performance as a hybrid with sculptural, installative, and performative, athletic aspects ‘due to the corporeality of the swinging boxes and because sweat, heavy labor, and stubbornness are required’.

The close connection to the tradition of the Fluxus performances, which were also based on a simple concept, here the swinging of the loudspeakers, has to do with Monahan’s interest in ‘the live staging of technical situations in which people concentrate their attention on things like the movement of sound in the room and on how physical gestures produce the sounds’.  – Rudolf Frieling

Speaker Swinging, from 1982, is a rite in which three performers swing loudspeakers over their heads. To this primitive ritual is added an electronic dimension, as each of the speakers relays a series of tones generated by nine sinewave or sawtooth oscillators, their rapid motion through the air creating complex overlays of effects, including phasing, vibrato, and tremolo. Speaker Swinging was first performed in Toronto in 1982, and has since been presented in many varied venues at festivals and museums worldwide.

In collaboration with Elektronisches Studio der TU, Berlin. Supported by Initiative Neue Musik, e.V. In cooperation with LUFF and Spazio Aereo.

Mika Vainio
Kuopio, Finland. Lives and works in Oslo, Finland.

Official WebsiteDiscogs

Mika Vainio, based in Oslo/Norway, has published solo recordings under his birth name and under a series of pseudonyms including Ø and Philus and, together with Ilpo Väisänen, as Pan Sonic (formerly Panasonic).

In the beginning of the 80’s Mika Vainio has played electronics and drums as part of the early Finnish industrial and noise scene.

Nowadays, his solo works are known for their analogue warmth and electronic harshness. Be it abstract drone works or minimal avant techno, Vainio is always creating unique, physical sounds.

He has released on labels like Editions Mego, Touch, Wavetrap and Sähkö and has been producing among others with Alan Vega of Suicide, Haino Keji, John Duncan, Stephen O’Malley, Merzbow and Bruce Gilbert.