Christina Kubisch and Penko StoitschevBorn in 1948 in Bremen. Studies in painting, music and electronics | Own compositions since 1972 | After intensive performance activities focus since 1980 on sound art, sound sculptures, light rooms in interior and exterior spaces as well as electro-acoustic compositions | Since 2003 live performances again
Scholarships and distinctions (selection):
1988 prize winner of the Cultural Group of the BDI (Federation of German Industries) | 1990 working scholarship of the Kunstfonds Bonn e.V. (Bonn Art Fund) | 1995 working scholarship of the Berlin Senate | 1999 Heidelberg Prize for Female Artists | 2000 Carl Djerassi Honorary Fellowship, USA | 2002 artist-in-residence IASPIS, Stockholm
Individual exhibits (selection):
1976 and 1980 Pro Musica Nova, Bremen | 1980 Für Augen und Ohren (For Eyes and Ears), Berlin | 1980 and 1982 Biennale of Venice | 1987 documenta 8, Kassel | 1987 Ars Electronica, Linz | 1987 Steirischer Herbst (Styrian Autumn), Graz | 1990 Biennale of Sydney | 1991 Biennale of Nagoya | 1993 and 1997 Donaueschingen Music Days | 1995 Prison Sentences, Philadelphia | 1996 and 2006 Sonambiente, Berlin | 1999 Parkkolonnaden Sound Art Forum, Berlin | 2000 Sonic Boom, London | 2001 Visual Sound, Pittsburgh | 2002 Singuhr Sound Gallery, Berlin | 2003 Activating the Medium, San Francisco | 2003 sounding spaces, Tokyo | 2005 Resonanzen, ZKM, Karlsruhe | 2005[MD1]
Individual and group exhibits (selection)
1976 and 1980 Pro Musica Nova, Bremen | 1980 and 1982 Biennale of Venice | 1987 documenta 8, Kassel | 1987 Ars Electronica, Linz | 1987 Steirischer Herbst (Styrian Autumn), Graz | 1990 Biennale of Sydney | 1991 Biennale of Nagoya | 1993 and 1997 Donaueschinger Music Days | 1995 Prison Sentences, Philadelphia | 1996 and 2006 Sonambiente, Berlin | 2000 Sonic Boom, London | 2001 Visual Sound, Pittsburgh | 2003 Activating the Medium, San Francisco | 2003 sounding spaces, Tokyo | 2005 Resonanzen, ZKM, Karlsruhe | 2005 Her Noise, London | 2005 B!AS International Sound Art Exhibition, Taipei | 2006 Stockholm New Music | 2007 Sharjah Biennial | 2007 Huddersfield Contemporary Music Festival | 2008 Soni(c)loud, Mexico City | 2008 The Marfa Sessions, Texas, USA
The acoustic field – Field recordings and sound art
The microphone is the “instrument” of musicians, artists and composers that work with “field recordings”. In contrast to photography, it was almost impossible to acoustically retain and document our surroundings one hundred years ago. Nowadays sound artists, architects, urban planners, designers, social science researchers, etc. are all interested in acoustic field research on site. Whether it is large metropolitan areas or lonely places on the North Pole, the discovered and recorded original sound worlds are useful for very different areas of work and lead to different acoustic results.
In this seminar each participant will embark on his or her own individual acoustic expedition. With the artistic and technical support of the course directors, the participants will explore and record the surroundings, scenery, nature, voices of the people, sounds of the working atmosphere, the monastery, etc. in various ways. Like in photography, this can lead to microscopic or macroscopic convergence. This depends on how the sounds are heard, recorded and processed.
The objective of the course is to create an acoustic portrait of the place together in the form of sound art and/or individual compositions. The individual elements of the place are very individual, but together they form a new (acoustic) image like a puzzle.
The participants do not necessarily have to have previous technical knowledge or own their own equipment, although this would be an advantage. What is important is an interest in sound, music, sound art and curiosity for acoustic discoveries together.
Besides the practical exercises, a theoretical introduction to the world of field recordings will also be provided on the basis of many sound bytes from the history of acoustic arts.
During the course the participants will embark on an individual acoustic expedition. The surroundings of the art summer, the scenery nature, voices of the people, sounds of the working atmosphere, the monastery, etc. will be explored and recorded in various ways. Like in photography, this can lead to microscopic or macroscopic convergence. The objective of the course is to create an acoustic portrait of the place together in the form of sound art and/or individual compositions. The individual elements of the place are very individual, but together they form a new (acoustic) image like a puzzle.
Participation requirements:
Extensive previous experience in a discipline related to the visual arts, but not necessarily previous technical knowledge or own equipment. Interest in sound, music, sound art, and curiosity for acoustic discoveries together. Besides the practical exercises, a theoretical introduction to the world of field recordings will also be provided on the basis of many sound bytes from the history of acoustic arts.
Information on the required application documents:
Please send a short CV and if possible acoustic work (on a CD), images and texts related to sound art or other visual artwork. Since I have described the project relatively clearly, the participants should of course not pursue entirely different approaches. However, people who have not yet done acoustic work are certainly welcome to participate.
Material: please bring any recording devices that you have (analogue or digital), microphones etc. An own laptop with sound processing programs is also useful, but not a requirement for participation.
Application documents:
Short CV, and if possible acoustic work (on a CD), images and texts related to sound art or other visual artwork. Participants who have done acoustic work already certainly may apply, but they should have an interest in the clearly described project approach of the course.
Max. number of participants: 12
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