Russian Sound Art Showcase in BERLIN 2020
LIMINAL (in frames of Vorspiel / CTM & transmediale)
Russian Sound Art Showcase (RSAS) – is a standardized exhibition of multichannel works of Russian sound artists, who are currently active in scene of mainly Moscow and Saint-Petersburg. Most of them are centered around the SoundArtist.ru ( aka SA)) ) community. The first version of RSAS was shown in 2015 at Ars Electronica festival in Linz Austria. It became the first ever collective exhibition of Russian sound artists abroad. The RSAS in New York – was the second one. It was shown at New York Electronic Arts Festival (USA) in 2019 and was supported by Harvestworks CDA.
We are glad to open third version of RSAS as an exhibition in Berlin (Germany) in 2020 in frames of Vorspiel / CTM & transmediale.
It is supported by Singuhr, Petersburg Art Space, DAAD Artist in Berlin program and SA)).
Open to Public: from January 18 to January 24 2020
Time: everyday from 2 pm till 8 pm
Entrance: FREE
ADDRESS: Petersburg Art Space: Kaiserin Augusta Allee 101, 10553 Berlin \ Atelier HH, aufgang II
This time we bring to Berlin more than 20 multichannel sound pieces from Russia. Some of them are produced specifically for the show. We encouraged the participants to explore the topic of CTM 2020 “Liminal”. Besides the spatial sound exposition, we invite you for two days of events at Petersburg Art Space, which include live concerts and lectures, provided by artists, who will come to Berlin just for this occasion.
Curators: sergey kasich, boris shershenkov
The Showcase is supported by: Vorspiel / CTM & transmediale, Singuhr, DAAD Kunstler in Berlin.
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RSAS BERLIN => schedule
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17.01.20 at ACUD
- Jam session of Russian artists at the opening of CTM Vorspiel at ACUD club
address: Veteranenstraße 21, 10119 Berlin
event link: Vorspiel Opening Night
18.01.20 at PAS (Petersburg Art Space)
- 14-00 - 20-00: multichannel show
19.01.20 at PAS: Live Day #1
- 14-00 - 20-00: multichannel show
- 20-00: presentation of modular synths makers Keen Association
- 21-00: live concert: Nikolay Golikov, Alex Pleninger, Anastasia Koroleva
(event in FaceBook)
20.01.20 at PAS
- 14-00 - 20-00: multichannel show
21.01.20 at PAS: Live Day #2
- 14-00 - 20-00: multichannel show
- 20-00: lecture "Thirty-Three Sounds. The history of sonic experiments in Saint-Petersburg" by Boris Shershenkov
- 21-00: live concert: Boris Shershenkov, Roman Golovko, Alexey Kokhanov
(event in FaceBook)
22.01.20 at PAS
- 14-00 - 20-00: multichannel show
23.01.20 at PAS
- 14-00 - 20-00: multichannel show
24.01.20 at PAS
- 14-00 - 20-00: multichannel show
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RSAS BERLIN => [multichannel pieces for the show] listing start:
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[
Oleg Makarov
Composer, sound-artist, media-artist, hardware/ software interactive systems and instruments maker.
Author of music of various kinds: chamber, instrumental, vocal, electroacoustic. Since 2006 composes music for radio drama. Since 2004 participates in international festivals and exhibitions of modern art as a composer, author of multimedia interactive installations and performances, multi-channel algorithmic audio installations.
Regularly performs his electroacoustic music, both composed and improvised, in various concert places. Makes experiments in cross-media fields of arts, electronics, programming etc. Researches algorithms of sound, movement and video interactions using interactive graphical programming environments.
Works in theaters as a sound and media artist, composer.
www.olegmakarov.ru
Translucency: Tranquillo. Sculpture (2019 - 2020)
Multichannel sound sculpture, created using mixed technics including field recordings, traditionnaly composed music, randomized Markov chains and neural network audio synthesis algorythms. Part of a Translucency project, that includes improvised live sets, composed music, algorithmic installations and sound sculptures.
Calmness is one of the most important condition for surviving liminality.
]
[
Sergey Filatov
Sound-artist, musician, developer of electro-acoustic musical instruments
and sound sculptures.
www.sergeyfilatov.com
suspended question (2019)
The multichannel sound piece consists of field recordings of the exhibition halls, factories, urban environment and recordings of DIY sound devices.
Many options appear at the time of determining the rotation of the line. There is no other solution to check the vector, how to get a foothold for one and go through to the end.
]
[
Sergey Kostyrko
Associate Professor of St. Petersburg State University with an expertise in solid mechanics. He is also active as a musician and sound artist. His recent interests focus on the design of sound algorithms based on techniques of mathematical and physical modelling as well as on the data sonification principles. As a musician, he works in the area of improvisational and noise music.
www.facebook.com/kostyrko.sergey
Maggot cheese (2019)
Spatial sound composition based on the field recordings and data sonification principles.
Nowadays, a number of bio-inspired computational techniques such as artificial neural networks, genetic and evolutionary algorithms are applied in many engineering systems for information processing. One of the current trends in this field is swarm intelligence which is simulated by the behavior of insect colonies or group of animals to solve nonlinear design problems. In this model systems, the populations of ants, birds, fish, cats or wolfs, for example, are interacting with one another resulting in use of their environment and resources. Each in the group is responsible for a specific task individually, and sometimes they work together to find an optimal solution of a given task. Common applications include navigation control, interferometry, motion sensing and image processing. There are numerous examples of using swarm algorithms in music composition. However, it must be understood that the computational models of natural phenomena are only mathematical abstractions and lose in complexity presented in the original systems. In this work, another approach is suggested where the artificial agents are replaced by biological ones. Here, the behavior of maggot swarm is mapped on the parameters of sound synthesis algorithms through the video microscopy analyses in real-time. In addition to the synthesized sounds, the close-up recordings made with the different types of microphones are used.
]
[
Sergei Komarov
Born in 1980, Kaluga. Works in international media art lab Cyland, intermedia artist, Cyland Audio Archive curator.
cyland.bandcamp.com
Eight by eight (2019)
Slow down 8 channel recording of two instrumentation tape machines daisy chained in closed loop audio circuit.
(supported by CYLAND Media Lab, idea, concept and recording by Sergei Komarov)
“Eight by eight” is exploratory sound piece researching pre-feedback and feedback phenomena, and even important liminal between this states when circuits goes to self-oscillation. Artwork done using two four-channels instrumentation tape machines by Brüel & Kjær.
Feedback and noise is beloved medium by the artist in many ways either audio, video or network artworks. And in this research eight channels of two tape machines were daisy-chained in closed loop and signals accurately attenuated from gentle dubby train effect thru extreme self-oscillation into total distorted state during recording session on 381mm/sec speed and play back result on 38.1mm/sec. Very usual for multi-channel tape machines that output of each channel is reproduces just recorded sound and chained channels making shift in time and causes natural self-rotating sound localization. 10x slowdown playback gives opportunity to observe experiment like under magnification, so feedback that usually rises very fast to self oscillation can be contemplated by listener.
]
[
Nikolay Golikov
Experimental musician, artist, engineer. Main interests are: sound art, science art, tech art. In his setups he often uses chemical, physical and other non-music processes. For example: processes inside human body or explosions of gas inside a gas-holder tank.
He graduated SA))_studio educational course ""Experimental sound and multimedia technologies"" in 2016.
As part of Keen Assosiation Moscow collective he developes software for Buchla-modules, stand alone synthesizers and other sound gear.
www.soundcloud.com/decaprox
Imago (2019-2020)
Musique concrète piece for Buchla-combartible modular synthesiser.
The view of a social processes through metamorphosis of insect development.
]
[
holohz
holohz - is a project of Yulia Glukhova, Moscow-based sound artist with the background of sound design and mix for movies, field recording and media installations.
www.holohz.com
ci(r)cadian rhythm (2018)
This is time-compressed day-cycle heard through sounds of crickets, katydids and cicadas recorded in Crimea peninsula during my solo field trip in summer 2018. The sound activity of these insects is related to the ambient temperature and in my opinion it is able to easily form a sensory understanding of the state of the environment and time of day.
]
[
Masha Molokova
(b.1993) - artist, composer. Her artistic activity is in the field of sound, photography, installations, video, graphics, performances and teaching contemporary art. In her works and performances she uses diy-optical and sound devices, field recordings, and graphics. She examines offbeat sound and body contexts as well as ""time"" — historic, human, politic, and medial.
soundcloud.com/masha-molokova
Song for the voice (2019)
A multichannel composition in which only the author’s voice recordings are used.
An electroacoustic song in which the main part is lost among the multitude. The only instrument used is voice. Creating multi-channel space, where each channel / voice is unique, but falls into the general. The search for "your voice" is becoming an obsession. But what if it does not exist?
]
[
Alexander Senko and Polina Dronyaeva
Alexander Senko - sound artist , composer, sound engineer, programmer
Polina Dronyaeva - sound artist, anthropological philosopher
They exhibit together with various soundscapes and interactive projects.
Main interests: interplay of inner and outer worlds of human beings in the interactive environments.
www.acousticimages.net
Garbage Sound (2009)
The piece consists of algorithmically sequenced short sounds of garbage dumping, a field recording of a huge garbage truck and synthesized electronic sounds. This is a new version of the sound installation adapted for the 8 channel sound system.
Created with visual programming language Pure Data.
"Quotidian sounds of flies, garbage dumping and garbage trucks trigger dual emotions of revolt and deliverance.
It is not a simple representation of the garbage dump but rather evoking of emotions connected to quotidian sounds. While we stay neutral and don’t want to attach any additional meanings, we want listeners to contemplate on what these sounds might mean to them.
For example one can be annoyed by the appearance and noises of garbage trucks, especially when they come to collect garbage in the early morning. But for someone this awful noise may be a signal that life goes on and whatever you throw away there is still someone out there who comes to tidy up after you.
The overpowering and methodical noise of the garbage truck is the most obvious expression of the city taking care of its dwellers, of each one of us, and it seems to be symbolical that this noise is heard in the hours, which are statistically considered the most dangerous for suicides. Who knows how many lives it has saved!
""Garbage Sound"" soundscape stimulates people to re-evaluate meanings of everyday experiences and create their own soundscapes in their imagination."
]
[
Acousmatist (Victor Chernenko)
composer, programmer. Styles: experimental electronic, contemporary composition for symphonic and chamber orchestra. Graduated from Theremin Center of the Moscow State Conservatory. Assistant professor in Moscow Studio for Experimental Sound and Multimedia Technologies. Member of the Laptop Orchestra "CybOrk".
Youtube Channel
(transgression]U(delimitation) (2019)
Generative algorithms, stochastic, physical modeling.
Music guarded its borders from the invasion of other arts and sciences. Sound art canceled the boundaries and was lost in the number series. Or became the object of sociological descriptions. The attempt to return to abstract art is as utopian as the rationalism of the Enlightenment. Sound passes close by and through theory and anthropology, creating boundaries from oneself and dissolving them in oneself.
]
[
Yerofeyev
Yerofeyev Ivan is a Russian composer and musician. Ivan's main interest is searching for different techniques for creating tracks, include playing on musical instruments and on other things and recording this in different ways. Last couple of years, Ivan working with multichannel composition and programming for algorithmic composition
soundcloud.com/yerofeyev
Stuck (2019)
Recorded and mixed at studio with saxophone (Pablo Cocs), percussion instruments, voice, computer, and stuff. The main tools are a programming language "supercollider" and the concept of granular synthesis.
]
[
DARKBLACK
A constantly changing position of current embodiment given through sound. From Russia, located in Den Haag, exploring the interference of the sound and flesh.
www.instagram.com/darkblackcrew
field (2019)
It’s an 8 channel sine wave soundscape where listener itself composing unique sonic experience by interacting (moving/listening/moving) with the sound field.
Sine waves forming a field of the still time/space without an observer that you can watch from a side, but once the observer/listener it’s entering the field sound start reflects that existence, as far as it’s almost impossible to receive a pure sine wave the soundscape is constantly changing due the frictions of the body tissues , location/position of a listener, speed that he/she/it moves with
]
[
Anastasia Koroleva
2018-2021 - student of Moscow Rodchenko art school,
interactive, communication and mixed media, active video and media artist, participant of Prepared Wednesdays 2018 and 2019.
FB
Cueva Hermano Pedro (2019)
8 channel composition based on Musique Concrete technics, some field recordings.
Cueva hermano Pedro is the quintessential beauty and identity of the Canary Archipelago, which is a completely unique place.
For my soundscape I used the author's sound material, recorded while traveling around the island of Tenerife. This composition reflects on the contradictory relationship between man and nature, very natural, but constantly changing its vector of development.
]
[
Rushaniya Nizamutdinova
instructor of «Digital technologies in music» course. Graduated from the Moscow State Conservatory as a composer. She is a participant of international festivals, exhibitions, radioshows and concerts (Sound Thought (UK), Oscilliscope (UK), Resonance FM (UK), OUA-EMF (Japan), ZKM (Germany), Syntposium 5, MusikMesse (Russia), Zeppelin (Spain), Music by women (USA), Mixtape # IWD (Ireland), Women Composers Festival (USA), etc.), participant of master classes T. Gorbach (Austria) and GRM (France) (Acousmonium), has publications about CIME-ICEM, light and music scores, machine learning etc. Rushaniya writes music on commission for various projects.
soundcloud.com/rushania-nizamutdinova
Immersion (2013-2019)
The idea for my composition: maintaining rational thinking in complex emotional situations,immersion in a sadness and going out of it. The desire for monotimbral music is a consequence of the idea of composition. This is one of two pieces about the adaptation of a certain person to a new environment.
]
[
Alexey Kokhanov
A singer, sound artist and performer based in Berlin and Moscow. Singing studies at the University Mozarteum Salzburg and Flanders Operastudio in Gent, Belgium. Alexey’s activity includes the performance of contemporary music, creation of sound performances and master classes on vocal improvisation.
www.kokhanov.com
mimesis state (2019)
Field-recording reproduced by voice allows to create a founded soundscape. Imitation of sounds of nature reminds of the adaptive mechanism of mimicry, a defence strategy of many organisms. This work invites listeners to immerse into state of uncertainity and doubt, as well to try to imitate sounds what they hear in the moment.
]
[
Roman Golovko
Interdisciplinary artist, sound-artist and experimental musician. Focused on sound sculpture and spatial installations, improvised electro-acoustic music, sound-art performances, experiments with sound deformation and deconstruction, concrete music and field recordings. Resident of the Moscow label Kotä Records.
www.kotaerecords.com/artists/wolffflow
May Decree (2018)
A typical metal shopping basket from a supermarket was used as an instrument, object and main source of sound. The work consists of layers of sound created from records falling into a basket of bread and the interaction of an object with space. Subsequently, the sounds were processed using processing and granular synthesis.
The project explores the aspects of combining sound and the socio-political surrounding reality of the current moment, searching for artifacts and new resonances of familiar things.
]
[
Egor Ananko \ поташ
An artist, studied at Sonology faculty in The Hague. In his work, he uses sound as medium to explore reality from time, ecological and acoustic perspectives.
www.soundcloud.com/pot_ash
Pho (2019)
According to Bardo Thodol or The Tibetan Book of the Dead, pho means transfer.
Totality of karmic inclinations that form personality and consciousness. No individuality, being is the sum of experiences, life stream, mental principle. Energy fluxes through time, dimensions and organisms, it's heterogeneous, iterative.
]
[
danil tcytkin, tikhon filatov
Danil Tcytkin, MSOU, engineering, BHSAD interactive design, Soundart studio student.
Tikhon Filatov, VGIK AV-faculty, SPUFT Sound Production of Audio-Visual Arts
www.behance.com/danilalala
www.soundwizards.pro
Bells (2019)
Bell chime for an 8-channel sound setup synthesized in PureData. Bells in the world of liminal.
]
[
Aleksandr Iliashenko, Sofya Zamanskaya
We are students currently studying on BA Fine Art and Photography at BHSAD, Moscow. Our practice is mainly centered around sound art, intersecting with other medias such as video and photography.
www.aleksanderiliashenko.bandcamp.com
Space Piercing (2019)
An 8-channel recording of bypassing train was made with microphones on each side of the railway. As the result of spectral analysis, we cut off the resonant frequencies from the recoding, leaving the sound without its relation to space (location). Then, the sound is played back in a new space, resonating again.
]
[
Ekaterina Trubina
A contemporary artist, she works with a variety of media, including sound. Born in 1987 in Perm, Russia. Education (Moscow, Russia): Rodchenko art school of multimedia and photography/ Andrey Smirnov's soundlab, video-art, Institute of contemporary art, Academy of painting, sculpture and architecture/faculty of sculpture. In artistic practices, she explores ways to identify, exit or re-use various structures that are the product of public policy, social interaction, language systems.
www.soundcloud.com/katerina-trubina-sculpture
ceiiinosssttuv (2019)
The composition was created with standard music software.
The recordings of daily life and the famous music hits were used. The aim was to trace how in one key the melody flows into daily imperceptible sounds. Blurring the line between sound documentary and stylization-imaginary form. This may reflect the impossibility of a clear definition of reality by each individual.
]
[
Emma Bayer
(born in 1995, Moscow, Russian Federation) is a beginner media artist and sound artist.
www.readymag.com/u12745905/1620154/
Soundhunter (2019)
Multichannel sound sculpture assembled from the sounds found in different spaces. Processing of sound is minimal. There's also a natural reverberation of spaces that we can hear in this work.
I've transformed from a man that grumbles at every noise to a sound hunter over the course of a year. In this work I am creating a chain of events that made me hear differently through sonic evidences.
The way I perceive the environment has changed radically. And still there is an intangible and sophisticated world of waves and frequencies to discover.
]
[
Yakunichev Aleksandr
A programmer and sound artist, interested in live-coding as a performance and self-expression technique.
www.ya.codes/
systematic sabbats (2019)
The piece was live-programmed via SuperCollider, TidalCycles and Ambisonics Toolkit software and a couple of MIDI controllers.
Investigation of the errors and inaccuracies of algorithms and systems leading to an irreversible changes - the composition's program code is constructed in such a way that any action performed at the current moment in time changes the general composition without the possibility of returning to the previous state (for the most part using stochastic methods).
]
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RSAS BERLIN <= listing end
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