With the return to exhibitions live and in person, SoundsAbout contemplates the reappearance of a present presence. In the sudden actuality of this moment, we explore the perspectives and relations provided by regained temporalities, intimate relations and shared gazes. At this time a peculiar nostalgia emerges, a desire for something outside of our comprehension, something we cannot grasp or perhaps never existed. Presence is tempered in equal parts hindsight and anticipation. With this series of four sounding installations, we seek to speak in the tension of the present tense, to invest in the possibility of being re-bound to each other, to objects, materials, sonorities, moments, ideas, and spaces. How will this time be remembered, and how long will it last? We already miss the now.

Full program details here

Friday 5 Nov | Vernissage 6pm
Saturday + Sunday 6+7 Nov | 2-6pm

Kayla Elrod investigates the objecthood of a speaker through a series of performative exercises and intense observations. The process has been recorded and edited, resulting in a short film.

Kayla now welcomes guests to enjoy her findings during her performative screening.Kayla Elrod is a multimedia artist who enjoys performing, installing, listening, and bonding with objects of all kinds. Many of her works come out on film or from her mouth when she recounts stories of past and future.

Friday 12 Nov | Vernissage | 6 pm
Sat, Sun, Mon 13-16 Nov | 4-8pm

Inspired by Édouard Riou’s “Lost-In-Translation” illustrations of Iceland LIT presents a vision of nature remembered / imagined post-nature.
LIT seeks inspiration from Édouard Riou’s illustrations of Jules Verne’s “Journey to the Center of the Earth”. His illustrations, derived from textual descriptions of Iceland, show accurate depiction of the locations according to texts yet when compared to the actual locations many elements get lost in translation, particularly his interpretation of landscape and nature where one could even consider them as “new locations”.

Following a study of Riou’s illustrations, I began to wonder how we will remember nature in the future, especially places and phenomena that will no longer exist. How will we remember them once their traces have been eradicated and they have been lost as sites?

How will we relay to future generations the experience of their immersive energy, fragility or stillness which both audio and visual media struggles to capture?

An immersive environment will be created @ Sounds.About as a monument to this future loss. This environment consists of a collection of works that consist of biomimicry and media collage, created and imagined in a near-future ecocidal “post-nature” era*.

Active in several electronic music scenes since the late 90’s through both solo and collaborative projects, Árni Valur’s practice in recent years has been revolving around novel techniques in improvisation, sound design and scoring. Currently, his work oscillates between club music, film score composition, experimental video production and performance.

Friday 19 Nov | Vernissage 6pm
Sat, Sun, Mon 20-22 Nov | 2-7pm

The exhibition “Untitled” (topoanalyis) is an acousmatic setting created by surfaces that map personal sonic paths and memories. In the book ‘The poetics of Space’ (1958), Gaston Bachelard introduced the concept of “topoanalysis” as “the systematic psychological study of the sites of our intimate lives.” The presented work extends the surfaces of different domestic objects sonically through images and sounds.

Samuel Perea-Díaz (b.1988, Spain) is an artist and designer living and working in Berlin. Along with architecture and spatial design, his practice incorporates exhibition scenography, curating and sound. He often works with field-recording and generative sound to produce site-specific installations and situated-sound objects.

Wednesday 24 Nov 2021 | Vernissage 6pm
Thur, Fri, Sat, Sun 25-28 Nov 2021 | 2-7pm

“Everything was until it is no more” is an immersive installation to be experienced by a maximum of 4 people at a time. It consists of 8 speakers and one single point of light and It is conceived to be experienced in a completely dark environment. Darkness designs a seemingly borderless space, possibly setting the auditory perception as the sole realm of agency upon oneself, the surrounding and the others. A deterministic series of events triggers ever-changing shifts from the sonic realm toward a short encounter with eyesight. This phenomenon creates infinite liminalities and possibly marks perceptual states, subjective and communal, establishing continuous relationships between the participants, the space and within oneself.

It creates a radically minimalistic environment attempting to recalibrate visitors’ senses, leading them into the far reaches of their sonic and visual perception along with subjective and objective realities. “Everything was until it is no more” speculates upon the gaze as an agency of continuous shifts between phenomenology and communal knowledge.

About the artists:
Davide Luciani is an electronic music composer, sound and visual artist based in Berlin. His practice spans the disciplines of sound and visual arts. His research focuses on the aesthetic of the limit in language, sound and image and to its relationship between materiality and virtuality. His collaborations have been hosted at highly regarded institutions and venues such as Venice Biennial, Berlin Atonal amongst others. He is currently a MA candidate at Sound Studies and Sonic Arts at Udk Berlin. In 2014, together with sound artist Fabio Perletta, he co-founded Mote, an interdisciplinary studio whose practice addresses arts an sound.

Antonino Modica (Italy, 1992) is a sound artist, composer and engineer with a strong focus on creative exploitation of technology, including explorative techniques of feedback networks, digital and analog instruments and self-designed electronic systems, and improvised electroacoustic performance.

Hayden Dean Prosser is a UK born artist and composer based between Berlin and Helsinki whose practice revolves around installation and performative sonic art. Their work often centers on inner experience, language and reduction of hierarchies within sound and other materials. A background in experimental music has led to works that focus on the visual influence on expectation as well as the multiple interplays between artist, performer and audience.

Nico Espinoza (Curicó, Chile, 1986) researches and works with sound by making art, music, design, techniques and technologies, through experimental processes.His artwork is characterized by a transdisciplinary approach to different fields of knowledge, and his works and performances have been exhibited in Berlin, Rio de Janeiro, São Paulo, London, Belfast, Sydney, Linz, Valparaíso and Santiago.He also works as sound designer, creative coder and art curator for Brazilian creative studios and international institutions such as cactus.is, WeSense, Anableps XR Technologies & Content, JPG.ARQ, Oi Futuro, Festival Multiplicidade and Humboldt University of Berlin.