Exhibition / 52-Hour-Lab
Bernhardt Herbordt, Melanie Mohren
Promise, Practice, Protocol—
Performing Future Presences

Are You Meaning Company
The Ten People No. 3

Matthias Böttger
Garden Without Us

Corinne May Botz
Haunted Houses

Marcelo Cardoso Gama
Unvisible Singing III: A Souvenir

Jonathan Garfinkel
Manufactured Soundscapes

Javier Hinojosa
Emphemeral Traps

Eunjung Hwang
Creature Feature Animation

Alicja Karska, Aleksandra Went
From the Cycle

Daniel Kötter, Begum Erciyas
5 Falsche Versprechen

Pei-Wen Liu, Tobias Hoffmann

Marcell Mars
What Is Smart? What Is Stupid?

Matthias Aron Megyeri

Kaiwan Mehta
Species of Traces
An Archaeology of Journeys
of Exact Portraits of Identifiable
Existing Originals

Kerstin Meyer
What Am I Doing Here?
An Exchange Between Artists
and Professionals
of International Development

Damir Očko
Steps over the Frozen Lake

Mike Osborne
Near Monochromes

Bernardo Oyarzún
Reality Set

Dubravka Sekulić
Future Presences

Alexander Sigman
detritus | reconstructions

Katarzyna Sowula
Where Is the Truth
about the Past?

José Carlos Teixeira
Between Clarity & Fog

The New Schicksalsgemeinschaft
(Jan Altmann/Zoran Terzic/Daragh Reeves)
ZEN & SPLATTER (Laundry Chinoise)

Photo Gallery

Alexander Sigman
detritus | reconstructions

The following description would have been valid, were it not for unforeseen and inexplicable technical difficulties:

“detritus | reconstructions presents the listener with the products of a chain of robotic and acoustic interventions. Objects derived from my recent work entitled detritus I (for counter-tenor, ensemble, and electronics) selected and reconfigured by Max/MSP in real time, are projected via piezo discs into the piano in my studio. The piano-resonances are continuously fed into an accumulating bank of sounds, which are subsequently transmitted into four contrasting acoustic conditions within the academy—the iteration of this process forming a series of feedback loops. Ultimately, a) the presence of visitors in the ‘activated’ spaces and b) interactions with a small sampling-robot, trigger the articulation of the ‘output’ of the various imposed filters.”

A live realization of the piece was presented during the 52-hour-lab. However, due to unfortunate circumstances, a greater focus was assigned to the selection/reconfiguration process of the source-material than the feedback/accumulation process described above. The performance also included a presentation of terminal_expansion, a work from 2008 originally for 4-channel electronics.