The next Tuned City will take place in June 2018 in Ancient Messene / Greece in collaboration with the Onassis Cultural Centre Athens in the frame of the Creative Europe cooperation project ‘Interfaces’. In spring 2017 we’ll kick-start the project with a series of residencies and workshops.
We will announce a call soon, please stay tuned!
Phantom – something, what exists only in your imagination or fantasy, something not real, an illusion, a confusion of the senses. Stage, gallery, institution – Konrad Smole?ski utilises the icons, artefacts, spatial determinations, codes and social syntax of contemporary culture production and presentation and undercuts their conventions and formats.
PHANTOM POWER plays with symbolic assignments, presence and absence and shows, how Foucault formulated so spot on “[…] that we do not live in a homogeneous and empty space, but on the contrary in a space thoroughly imbued with quantities and perhaps is full of phantoms as well.”
Konrad Smolenski (1977) works with sound, film, object in-between installation, performance and situation. In 2013 the internationally successful artists represented Poland at the 55th Venice-Biennale. http://www.konradsmolenski.com
Just contributed an article (Acoustic Knowing – Formats of Mediation between City and Sound) to this book.
This publication on the theory and history of artistic practice in the field of sound art illustrates themes and debates concerning the homonymic meeting that was held last summer at the University of Fine Arts in Braunschweig. In the field of sculptural art that uses sound, interventions using sound have developed since the 1980s into an area of their own, to which practice, artistic application, and theory are matched within the context of teaching at the UFA. Ingo Schulz, Ulrich Eller, and Christoph Metzger motivated renowned curators, artists, and theorists of sound art to take their inventory of the resonant art form. The book reflects the status of university teaching across Germany as well as curatorial practice and is so designed as to further the aesthetic debate in this field beyond music.
Editor: Christoph Metzger, Ulrich Eller
Authors: Andreas Oldörp, Anne Müller von der Haegen, Annette Tietenberg, Antimo Sorgente, Bärbel Schlüter, Carsten Seiffarth, Carsten Stabenow, Christoph Metzger, Dennis Graef, Franz Martin Olbrisch, Fraucke Stiller, Ingo Schulz, Jens Brand, Johannes Meinhardt, Julia Gerlach, Maija Julius, Robin Minard, Sebastian Pralle, Ulrich Eller
Hinting at notions of temporality, event-situations, and electronic interactions, the auditory contours the built with flexibility and multiplicity, bending spatiality through acoustical additions and sonorous perceptions. While manifest readily in acoustics, such as concert hall and sound studio design, sound and space also interweave within a legacy of sound art and installation projects, electronic music works and a general consideration of the soundscape as integral to the built environment. From the tonality of spaces and the musicalizing of built environments to transmissions and invisible wavelengths, approaching space through sound suggests other dimensions to the experience of architecture. Exploring such dimensions, the sonic arts functions as an ongoing experimentation onto the spatiality of sound, while providing an important platform for social, participatory, and sensory experimental modes for building place.
Three evenings of public events are planned, including a sound walk by artist Nicolas Dion Buteau, presentations by curators Carsten Seiffarth and Carsten Stabenow on artistic platforms in Germany promoting the research, presentation and creation of sound works and the urban environment (bonn hoeren and Tuned City), the presentation of a listening map of Bonn by sonic artist Sam Auinger, a performance by Ernst Karel of a composition integrating both human and non-human voices emanating from an urban environment, and finally a roundtable on the transformation of urban sounds in the built environment. Details >>>
In collaboration with the Goethe-Instituts of New York, Boston, Mexico, Sao Paolo and Montevideo.
In November/December 2014 we had the chance to do a research trip to Valparaiso. On invitation of the Tsonami Festival and Goethe Institut Chile we spent 2 weeks at this highly interesting place and carried out a workshop and a seminar under the Tsonami’s 2014 topic “GEOGRAFÍAS AUDIBLES”. We hope to develop that collaboration further…
in the fifth year of bonn hoeren a large FESTIVAL project will take place from the 12th to the 22nd of june 2014, in which the results of the fundamental thematic research of the first four years will be condensed and developed further both artistically and discursively. around two concentrated weekends, bonn will be transformed into a vast platform for artistic production and presentation, discussion and intermediation of sound art and music in public spaces through a variety of formats. the city-wide event will present a series of newly commissioned site-specific works by renowned sound artists and an international symposium (18.-22.6.2014) extending the theoretical and practical discourse. students of architecture, music and sound art from diverse institutions will conduct investigations in various parts of the city and develop projects and perform on-site interventions. next to a series of concerts and site-specific performances, a big city symphony with hundreds of participants will be premiered in the city center of bonn on the 20th of june.
Symposium: Sound and public space
30.10.2013 / 11:00 – 17:00
[…] Urban space and sound: John Grzinich will introduce Tuned City, which has been held in different cities of Europe since 2008 and in Tallinn in 2011. Mapping connections between the built environment and sound, it pays attention to sounds that we usually do not consider to be important, sounds that don’t seem “interesting” or seem to be just background noise. But once they are noticed we actually sense our surroundings differently. Besides “amplifying”, the project experiments with what kind of sounds can be added, and how we can use the city as an instrument. Besides raising the awareness of city soundscapes, it explores how other fields can use the outcomes of such projects as Tuned City, and what the sound artist’s point of view offers to urbanists, architects etc. […]
MUTEK_LAB – CREATIVITY IN THE PUBLIC SPACE
international symposium in the frame of MUTEK_MX at Centro de Cultura Digital, Mexico City
Monday 30th Sept 2013
SOUND & SPACE/CITY/URBAN ENVIRONMENT 3.30 – 3.45pm
Introduction by Carsten Stabenow, initiator and artistic director, Tuned City, Berlin
CASE STUDY 3: TUNED CITY (3.45-4.15pm)
Presentation of the Tuned City platform & projects – the relation between sound & space/city/urban environment, the research and methods of mediation, how to translate to an audience and into the design of public policies.
PANEL 1: Architecture, sound & new technologies in the future city (4.15-5.30pm)
Building audiences, mediating, mixing fields, and blurring the limits of the art fields. How to collaborate with local institutions, with their infrastructures, to try to make things change from the very inside?
Modetator: Carsten Stabenow, Tuned City, Berlin / Speakers: Martin Craciun, Soco Festival, University Montevideo / Abel Perles, Productora, Mexico DF / Natalia Britos, Museo universitario el Chopo
Felicity Ford and Valeria Merlini explored the sonorities of the city focusing on the sounds of the festival and how they intersect with previously documented sounds of the city itself. During the festival aural “refreshers” of the previous day were played at the start of each subsequent day.
During Tuned City Brussels, Udo Noll followed the course of the festival with his experimental radio device bx (bROADCAST BOx), a hybrid assembly of tools and techniques for entering and exploring different media spaces more or less simultaneously and delivered a daily sound stream in between documentation and artistic radio practice, embedded into the city’s urban atmospheres. A documentation is online on his blog and the audio archives can be found here on archive.org >>>
is born 1985 in Karlsruhe and studies Aesthetics and Art History and Media Studies at the Braunschweig University of Art (HBK) since 2007.
She is focussing on contemporary art in the field of performance, sound art and public interventions and on art mediaton.
Since 2012, she is organizing and curating exhibitions as an active member of the art society Kunstverein Jahnstrasse e.V., a young institution for contemporary art in Braunschweig.
Exhibition „I Have a Dream“, secondhome projects, Berlin
Exhibition „It´s all about music“, HBK Gallery, Braunschweig
Art Education project „Artists in School“, CJD Christophorusschool, Braunschweig
The public intervention Liaison evokes the question about our personal behaviour towards urban soundscapes. It provides a nomadic space within the city to perceive the acoustics from an unknown perspective and it labels distinctive spots for sound in urban space as alternative points of interest.
Several Tents will be set up in the city centre of Brussels at locations chosen by their characteristic and specific urban sound atmosphere. They will be accessible for the visitors and labeled in reference to the Festival TUNED CITY with a distinctive pictogram.
Inside each tent the visitor will find a site-specific note with simple listening instructions. The tents are not anchored firmly in the ground to maintain their mobility and to enable visitors to interact with them.
The tents offer a secluded place for the visitors within the public space to experience the surrounding sounds in an intimate situation. They both channel the focus towards one moment of urban soundscape and question the valuation of sounds in terms of harmony.
Labeled and distributed in urban space as one part of the festival TUNED CITY, the tents turn into an iconic sign. They communicate the idea of exploring and discovering sounds within the „urban jungle“ and sanitize the public image of street
noises eventually. This intervention questions our notions, what sounds are worth listening to and opens up the possibility of a change of perspective. liaisonwithsoundsofbrussels.blogspot.de/
sound installation with interaction at the city.
no determined time frame and place megaphone, millimeter paper
The first sound I heard in Brussels was the traffic lights sound, the monotonous ticking on occasion faster or slower, swelling or ebbing away.
Seen in an abstract way, these 24 hours periodic appearing, penetrative signals symbolise regulations, unities, certain frames and pattern.
The „red“ / „green“ phase act itself as loops, of course together,too.
The periodic and circular feature is what you can call my main interest; the little pips in progression are absolutely engrossing: if you once noticed them you‘ll never achieve to dissociate yourself again.
Concerning my artistic way of working with recorded audio material:I am always dealing with little loops in combination.
Typically I search for little rhytmic conspicuous or characteristic events in my collected material, cut these events out and arrange them in a multi-laned new way…
Student presentations @ Galerie Rivolimap >>>
opening June 27, 14:00h
opening times: June 27, 14:00 – 18:00h, June 29, 12:00 – 19:00h
Working with Brussels art schools has been particularly important in the context of Tuned City Brussels. Sint Lucas Architectuur (“Resonances of a blind spot”), Erasmus Hogeschool RITS/Radio (sound atelier), Sint Lukas Transmedia (“Inner/Outer”) and La Cambre (ENSAV) option Espace Urbain (“Inouïr Space Exploration”) worked in parallel threads on semester projects in the first half of 2013. Four public workshops in relation to the festival topics were led by external tutors.
Q-O2 hosted two international workshop groups from the Masters of Artistic Research program (MAR) from the Royal Academy of Art (KABK), The Hague, Netherlands and The Sound Art Class from The Braunschweig University of Art (HBK), Germany working on the topics ‘Modes of Listening’ and ‘Interpretation of Noise’.
Results of the semester projects and the workshops will be shown at Galerie Rivoli – a very charming 70s building in the south of Brussels.
Séverine Champeaux – Boxlife –
Sofie De Schrijver – Polanoise
Eva De Roo and Maarten Coosemans – De Opera Zingt
Lucas Derycke and Misha Koole – Achter De Stilte
Joke Sluydts – City Beat
Yazgi Demirbas – variations of acoustic hats
Louise Frateur – rooftops on bxl
Lyssa Giots – arrange to build
Charlotte Legouhy – building with the void
Liesbet Neesen – try to make the invisible visible
Ligia Papoi – the voice of the microcosmos
Rina Pohlmann – boundary zones
Birgit Sterckx – film-travel experience into a house
Students St. Lukas Transmedia
Amanda Andersen – The Traveling Backrest
Petar Kufner – The void between visual and aural
Patrick Farmer is an artist currently living in Oxford. Often highlighting discarded means, he attempts to make a supposed nothing of performance audible with the help of prepared drums, acoustic turntable, electronics or natural objects. He has performed at the National Galleriet in Stockholm, The Red Room
in Baltimore and the I.c.a. in London and has been working together with – amongst others – Ryu Hankil, Will Guthrie, Robert Curgenven and Dominic Lash. Patrick Farmer has published recordings with labels as Cathnor, Another Timbre, and Psykick Dancehall and currently co-runs the Compost and Height label.