• Doors: 19:30
• Start time: 20:00
• Entrance: 6-10 € (up to your offer)

Sound art performance by Pedro André & Ignaz Schick 
Warm crispy layers of loopy electro-acoustic sound created by sources like computer & turntables being processed through various plugs-ins, filters and hardware signal processing. The resulting music is created live with pre-prepared samples of both analog and digital sources.

Pedro André (laptop, electronics)
Ignaz Schick (turntables, electronics) 
This duo has been collaborating in Berlin on and off since 2013 and consists of the Portuguese sound artist and curator Pedro André (Altes Finanzamt) and Berlin based turntablist & composer Ignaz Schick.

soundcloud.com/improvisations-textures/sets/pedro-andr-ignaz-schick www.zangimusic.wordpress.com

 

Yann Novak - The Future is a Forward Escape into the Past
The Future is a Forward Escape Into the Past' is a new performance by Los Angeles-based multidisciplinary artist and composer Yann Novak based on material from his recent album on Touch of the same name. It considers the relationships between memory, time, and context through the construction of an immersive sonic space that pushes Novak’s work in a new direction while simultaneously exploring his sonic past. 'The Future is a Forward Escape Into the Past' meditates on the inevitable progression of time, our relationship to the past, and our distortion of the past through the imperfections of memory. 

 

Performance by Robert Crouch
This project is a work in progress, accompanied by images by Los Angeles artist Joel Westendorf. The performance is a meditation on intimacy and violence, masculinity, and the physicality of sound.

 

Yann Novak is an artist, composer, and curator based in Los Angeles. His work is guided by his interests in perception, context, movement, and the felt presence of direct experience. Through the use of sound and light, Novak explores how these intangible materials can act as catalysts to focus our awareness on our present location in space and time. Novak’s diverse body of works – audiovisual installations, performances, architectural interventions, sound diffusions, recording, and prints – ask participants to reclaim the present moment as a political act. This is Novak’s first performance in Berlin and is part of an EU tour in support of his new album The Future is a Forward Escape Into the Past out on Touch.

Novak’s work has been experienced through exhibitions and performance at the Armory Center for the Arts, Pasadena; The Broad, Los Angeles; California Museum of Photography, Riverside; Commonwealth & Council, Los Angeles; de Young Museum, San Francisco; Getty Villa, Pacific Palisades; Hammer Museum, Los Angeles; The Henry Art Gallery, Seattle; Human Resources, Los Angeles; Los Angeles County Museum of Art, Los Angeles; Mutek Festival, Montreal; Norton Simon Museum, Pasadena; San Francisco Museum of Modern Art, San Francisco; Soundfjord, London; Susanne Vielmetter LA Projects, Los Angeles; Tanya Bonakdar Gallery, New York; and The Stone, New York, among others. His recorded sound works have been published by Crónica, Porto; Dronarivm, Moscow; Farmacia901, Berlin; Hibernate, Leeds; Home Normal, London; LINE Imprint, Los Angeles; Tigerbeat6, Los Angeles; and Touch, London, among others.

www.yannnovak.com
soundcloud.com/yann-novak/the-inertia-of-time

 

Robert Crouch is an artist and curator whose work encompasses sound, performance, and technology. As an artist, he locates his work with the intersection of post-phenomenological listening practices, conceptual sound art, and contemporary electronic music. At its core, his work can be understood as a conversation between tonality, context, history and subjectivities. Similarly, Crouch’s curatorial work focuses on the overlapping disciplines of sound, technology, movement, and performance.

In 2014 he organized the North American premiere of Sphæræ, a large-scale inflatable performance space and public artwork by Dutch artist Cocky Eek. In 2017 he co-curated Juan Downey: Radiant Nature, a survey of early interactive and performance work of the late Chilean artist as part of the Getty initiative, Pacific Standard Time: LA/LA.

Crouch is the former Associate Director/Curator at LACE, where he curated solo exhibitions with artists Karen Lofgren, Gina Osterloh, Steve Roden, Sean Sullivan, and Margo Victor, and performances with artists including William Basinski, Celer, Lawrence English, Dominick Fernow, and Yann Marussich. He is also the founding partner of VOLUME, a curatorial project that functions as a catalyst for interdisciplinary new media work through exhibitions, performances, events, lectures, and publications, and has worked with a wide range of artists including William Basinski, Nate Boyce, Frank Bretschneider, Richard Chartier, Heather Cassils, Celer, Loren Chasse, William Fowler Collins, Tim Hecker, Isis, France Jobin, Kadet Kuhne, Lucky Dragons, Mamiffer, Carsten Nicolai, Yann Novak, taisha paggett, Steve Roden, Terre Thaemlitz, Julie Tolentino, and Christopher Willits.

Crouch is currently the Executive and Artistic Director for Fulcrum Arts and the Artistic Director for the A×S Festival. Robert Crouch is published by Touch Music.

http://www.robertcrouch.com/