Ikeda has designed the white room and the black room as counterparts, not only physically (brightness, color), but also conceptually and perceptually.

The project is a composition in which time and space are shaped through the most minimal use of sound, light and visual elements. It is the artist’s first solo exhibition in Germany.

Since the mid-1990s, Ryoji Ikeda has been among the foremost international composers and artists in the realm of cutting-edge digital technologies and their integration into visual and acoustic presentations.

His works are based on spatiotemporal compositions in which the musical and visual material is reduced to a minimum: sine waves, sound pulses, pixels of light and numerical data.

He investigates sound, time and space on the basis of mathematical methods and transforms them in his concerts and installations into an intense experience for the audience.

Photos by courtesy of Yamaguchi Center for Arts and Media (Top / Foto: Ryuichi Maruo) & Freunde Guter Musik Berlin (Middle and bottom / Fotos: Uwe Walter).
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“Ryoji Ikeda – DB”  Exhibition
presented by Freunde Guter Musik

Saturday, 28 January 2012 – Monday, 09 April 2012
Hamburger Bahnhof | Invalidenstraße 50-51 | 10557 Berlin/Mitte

ryojiikeda.com | hamburgerbahnhof.de | freunde-guter-musik-berlin.de
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In their attempt to avoid the classical visual image, which would mean to “hang pictures on the wall”, the artists re-interpret this gesture in a new way. Even when their works do not produce something visual, an image appears to be their only possible form.

Sanela Jahić | Fire Painting

Both sound sculptures and performances that include many amenities, fire-spectacles or housefly-installations experimenting with controlled “randomness”, all these works deal with the movement of drawing, letting this technical spectacle become the ultimate image itself.

Within these subjects, the role of the artist gains more and more importance. The different interpretations of the observer not only provoke the question “Who is the artist?”, but also reiterate it over and over. In this constellation the image neither represents a result nor a starting point.

It appears to be much more a “porous membrane”, both present and obsolete; dominant and invisible at the same time. In this manner, the exhibition focuses on the artist and not primarily on the artworks, expatiating upon the whole system as machinery.

With works by Sanela Jahić (SI), Takahiro Yamaguchi (JP), Julius Stahl (DE), Daniel Franke (DE), David Bowen (US).

The exhibition DRAWING IN THE AGE OF ELECTRONIC EXPRESSIONS is part of the Transmediale & CTM’s Vorspiel, January 26-29.
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Exhibition Opening: Drawing In The Age Of Electronic Expression
presented by LEAP & CTM.12

Saturday, 28 January 2012 | 20:00 CET
LEAP | (Berlin Carré, 1. Floor) Karl-Liebknecht-Str. 13 | 10178 Berlin/Mitte

drawing in the age … at transmediale.de  |  leapknecht.de
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The Mindpirates will celebrate with Lionel Williams, a hippie sun child from California, during the greyest of days of Berlin winter 2012. Lionel William’s art, his bright, imaginative world of colors, forms and mystical sensationalism is an exploration into the ancient wisdom and sacred locations of Egyptian priests, Sufi mystics, Indian philosophers, Mexican healers, Asian Buddhists, occultists and many more of the planet’s religious and visionary peoples.

Vinyl Williams | Open Your Mind

His music (produced under the moniker Vinyl Williams) is an attempt at creating “sonic matrices,” which are combinations of sounds that beneficially affect the body. The effects are released at the points where frequencies intersect, where certain tones, chords, and patterns come together to tap into the human psyche.

You are invited to share his stunning artwork — collages on paper and film — and to come together with a musical community for a seven-night series of one-off jam sessions.

For each of these seven nights a great pool of musicians and artists has been invited, like Raz Ohara and the Odd Orchestra, Jochen Arbeit (Einstürzende Neubauten), Verity Susman (Electrelane), Manfred Kage, Jens Zygar, Valerie Renay (Noblesse Oblige), Travis Stewart aka Machinedrum, Miguel De Pedro aka Kid 606, Infinite Livez, Sergei, Anika (Annika Henderson), Hopek Quirin, Sneak-Thief and more.

During the course of the week, all the musicians will join and jam with Lionel Williams and the Mindpirates, leading a trip into the undefined beautiful nowhere.
Session 1: Sun, 22nd / 18:00 – with LW, Jens Zygar & Manfred Kage
Session 2: Mon, 23rd / 19:00 - with LW & Raz Ohara and the Odd Orchestra
Session 3: Tue, 24th / 19:00 – with LW, Sergei & Anika
Session 4: Wed, 25th / 19:00 – with LW, Jochen Arbeit & Noblesse Oblige
Session 5: Thu, 26th / 19:00 – with LW, Machinedrum & Kid 606
Session 6: Fri, 27th / 20:00 – with LW, Infinite Livez & V. Susman (Electrelane)
Session 7: Sat, 28th / 21:00 – with LW, the Mindpirates, Sneak-Thief & friends
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Exhibition: Lionel Williams – Let The Sun Shine In
presented my the Mindpirates

Opening: Sunday, 22 January 2012
Exhibition: 22 January – 28 January 2012

Sunday, 22 January 2012 | 18:00 CET
Mindpirates | Schlesische Strasse 38, Haus F (3rd Hinterhof) | 10997 Berlin/Kreuzberg

lionelwilliams.com | mindpirates.org
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In addition to a comprehensive music program at HAU, Berghain, Passionskirche, Gretchen, Kater Holzig and Horst Krzbrg, a discourse series developed in collaboration with the philosopher, psycho-historian and author Andreas L. Hofbauer will address the festival’s theme by pursuing questions concerning art, theory, and music.

Jana Winderen | Isolation/Measurement

A few of the many highlights are:
30 years of Touch: a birthday celebration of experimental music’s most forward-thinking imprint with Eleh, Jana Winderen, Hildur Gudnadottir (photo below), Charles Matthews, Marcus Davidson and The Eternal Chord.

A revisitation of the Zodiak Free Arts Lab with Works by Conrad Schnitzler, Wolfgang Seidel and his Free Arts Lab project, Qluster (Hans-Joachim Roedelius + Onnen Bock; photo below), Borngräber & Strüver and Köhn.

Nurturing open experimentation between music, art, and performance in the late 1960s, the Zodiak Free Arts Lab provided one of the crucial focal points for the musical awakening of artists and bands such as Kluster, Ash-Ra Temple, Tangerine Dream, Human Being, and more.

The multi-day program will begin by highlighting several of the Zodiak’s key figures and includes Wolfgang Seidel performing Conrad Schnitzler’s “Cassette Concert”, as well as Schnitzler’s rarely presented automated performance on disklavier, the “Piano Works”.

Later on in the week, other contemporary artists with a similar experimental rigour will transform the HAU 2 venue into a special listening environment: Grouper & Jefre Cantu Ledesma; Catherine Christer Hennix and the Chora(s)san Time-Court Mirage, Pre-Cert Home Entertainment (photo below).

Also performing: Mouse on Mars, Mohn (Wolfgang Voigt aka GAS & Jörg Burger aka The Modernist), Ben Frost with Borgar Magnason and Shazad Ismaily, Sendai (Peter van Hoesen + Yves de Mey), Éliane Radigue, Balam Acab, Tim Hecker and many many more. Check out the whole program on the CTM2012 website.
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Club Transmediale 2012 – CTM.12 – Festival

Monday, 30.01.2012 to Sunday, 05.01.2012
Different Venues | Berlin

ctm-festival.de
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Madlib, J Dilla (RIP), 3 Chairs, 4 Hero, Mark Ernestus, ?uestlove, François K, Flying Lotus – the list is endless – have all blessed the turntables. It’s no surprise that Theo Parrish has his only EU monthly residency there. Floating Points too.

Floating Points | Sais

All this has been made possible thanks to the vision of one man, Abdul Forsyth – better known as Ade, almost 2 decades ago. Originally from Nigeria, the Plastic People owner is an incredible DJ too.

Highly respected and renowned for his unique style, playing a Jay Dee or Moodymann record together with some obscure avant-garde jazz or beautiful rare Ethiopian soul.

So to give a proper tribute to a place that had a huge influence on our musical choices, we are more than blessed to welcome Abdul Forsyth together with the young and talented producer, Sam Shepherd aka Floating Points for a special back to back session on the 21st January.

Besides the night, a selection of some of the legendary line-ups and greatest artworks made by the designer Ali Augur for the London club will be exhibited from mid-December at HHV Record store.
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Plastic People Special – with Floating Points & Abdul Forsyth  LIVE
presented by J.A.W.

Saturday, 21 January 2012 | 23:00 CET
Festsaal Kreuzberg | Skalitzer Str. 130 | 10999 Berlin/Kreuzberg

soundcloud.com/floatingpoints | plasticpeople.co.uk | festsaal-kreuzberg.de
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“Faux Images” is organised by Andreas Fischer & Mate Steinforth in cooperation with the Lab for Electronic Arts and Performance (LEAP) and WeAreChopChop.

Faux Images | Trailer #3

“Faux Images” will take place quarterly in LEAP at Alexanderplatz in Berlin.
Admission is free.

With contributions and talks by ROBERT SEIDEL, FONS SCHIEDON and BEN & JULIA.
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FAUX IMAGES IV
with talks by Robert Seidel, Fons Schiedon and Ben & Julia

Tuesday, 13 December 2011 | 20:00 CET
LEAP | Karl-Liebknecht-Str. 13, Berlin Carree, 1st floor | 10178 Berlin/Mitte

fauximages.de | robertseidel.com | fonsschiedon.com | benandjulia.com | leapknecht.de
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The first event of the BodyControlled series focuses on the theme of other spaces. The works on display will both intertwine with LEAP’s existing architecture and generate other virtual spaces.

These areas are either completely synthetically generated, reflecting directly the current environment to a new sonic framework or condense an existing space into specific digital imagery. The opening will be concluded with a 12-hour performance by Robert Henke (Monolake), Peter Kirn and Stephen Cornford & Paul Whitty.

The music of Robert Henke is preoccupied with the present: how something sounds in that moment and what color and substance convey a rhythmic phrase? Music as a state. Only later will this condition be formulated over time. The artist’s installations are always explicit and in turn relate to the phenomena of temporal change.

Traversing virtual architectural environments, Peter Kirn creates a multi-channel live audiovisual performance. Bringing a reflection of the Fernsehturm’s geometries into LEAP, sampled pianos and synthesized sounds become a live, rhythmic meditation.

Stephen Cornfords practice exists at the intersection of sculpture and music, using sound and noise to investigate the physical qualities of the world around him. He uses the strategy of the bricoleur to combine found objects, musical instruments and audio technologies, shifting our assumptions of the familiar by amplifying the previously inaudible.

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Exhibition Opening: BodyControlled 1: Other Spaces – with Performances by Robert Henke, Peter Kirn and Stephen Cornford feat. Paul Whitty

Saturday, 26 November 2011 | 20:00 CET
LEAP | Karl-Liebknecht-Strasse 13, Berlin Carré, 1st floor | 10178 Berlin/Mitte

leapknecht.de
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The performance series SYMPHONY was a collaboration with the gallery VW (VeneKlasen/Werner) and took place September 2010 to June 2011. Musicians, composers, and visual artists were invited to make works that expand on the traditional concepts of concert and exhibition, and to present these works as unique events, or ‘movements’, in the gallery. Exploring new strategies and situations in performance, each movement of SYMPHONY played with – or against – an idea of conversion: each musician was confronted with a new staging, which does not resemble a typical concert; likewise, each artist risked a step into the musical world.

SOUNDFAIR EDITIONS now exhibits the visual strategies, notations and objects that came to shape during these performances. With works by Arto Lindsay, Olaf Nicolai, Annika Eriksson, Bo Christian Larsson, Ari Benjamin Meyers and Anri Sala.

Augustin Maurs plays Bach

“Sinfonietta Concertante For Two Ambidextrian Cellists, Umbrellas And Sake Drinkers” is a sounding picture on dexterity, embarrassment and indifference. The two soloists in the yard alternately display musical skills and mortifying helplessness while the orchestra members are getting drunk and contemplate art scores by the artists of SOUNDFAIR EDITIONS. The piece will be performed by Augustin Maurs and Michael Wilhelmi and will be accompanied by an edition from Annika Larsson.

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SYMPHONY Exhibition Opening with Performance by Augustin Maurs
presented by Soundfair

Opening: Thursday, 13. Oktober 2011 | 19:00 CET
Opening Hours: 14-20 October, daily from 12:00 to 17:00 (closed on Sunday)

Berlin-Weekly | Linienstraße 160 | 10115 Berlin/Mitte

soundfair.net | www.berlin-weekly.com
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In the sonic network paintings John Aslanidis uses a set of mathematical intervals, which are relative to a grid on each of the four canvases. The drawing he derives these intervals from is akin to a “musical score”. This is a drawing of compositional intervals, which Aslanidis has used in composing the sonic network series.
It is from these compositional points that Brian May has written an algorithm which determines the characteristics and timing of the tones in relation to the points as conceived in the sound piece. The sine wave tones created are audio representations of circular forms.
Brian May’s sound piece will be using the programming language for sound synthesis SuperCollider to compose, produce and play the piece, which will be played in conjunction with the painting from a computer through a sound system for the duration of the exhibition.

The sound piece is generative and infinite, with no fixed start or end point in the composition. This correlates with the idea of infinity, a basic element of the sonic network series.
Consequently, the interaction between the sound piece, the painting and the observer will always be different, as the painting perpetually shifts upon being viewed and the sound piece emanating from SuperCollider mirrors this.

Brian May [* 1966 in Manchester, GB] has been producing and performing music across Australia, Japan, Europe and North America since 1990. Currently he is working as music producer and sound artist in Berlin, performing on a regular basis internationally.

John Aslanidis [* 1961 in Sydney, AUS] has a history working in the area of music and sound, having been part of Clan Analogue – a collective of sound and visual artists based in Sydney and Melbourne in the 1990s – and later being a visual artist on Zonar recordings, an electronic music label based in the late 1990s and early 2000s.

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Sonic Network # 9: John Aslanidis & Brian May – Exhibition

Thursday, 06. October – Sunday, 06. November 2011
dr. julius | ap | Leberstrasse 60 | 10829 Berlin

johnaslanidis.com | www.dr-julius.de
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Since the mid-20th Century it is called sampling, when digitized sound samples of existing musical works are edited, rearranged and used in modern music productions.

An interactive installation offers possibilities to explore sampling as a production technology of contemporary music. While modified turntables are used to navigate dynamic data visualizations, information graphics as well as auditory contributions are helping to understand complex contents and relations.

Besides the history of sampling or technical backgrounds of the digitization of analog audio signals, visitors can also obtain information on the dissociation of sample-based productions and other musicological phenomena such as remixes, mashups or covers.

As a highlight of the exhibition the visitor can slip into the role of a producer and goes on a fascinating search for suitable samples, which will be found on soul, funk and jazz records of the 70s and 80s.

Depending on user interests, Digging in the Crates offers different approaches to the topic. The visitor acts in a totally free interaction-space, which allows him to consider sampling from completely different perspectives.

The straight interaction with information is just as important as the possibility to deal with “sampling” in a passive way. This means the user can slip into an active role in which he has full control over the visualized information as well as taking a rather passive attitude to get inspired by the interactions of others.

Digging in the Crates aims to describe the sampling culture in all its aspects, characteristics, and influences. Not only the understanding of the creative process as a craft but also the effort and creative processes associated with sampling should be communicated authentically.

Digging in the Crates is the diploma thesis of Roland Loesslein.

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Digging In The Crates INSTALLATION OPENING

Saturday, 01 October 2011 | 20:00 CET
Letters Are My Friends | Boppstr. 7 | 10967 Berlin/Kreuzberg

www.weaintplastic.com | ditc.weaintplastic.com | http://lettersaremyfriends.com

Perich’s sound sculptures – Interval Studies – is a formal look at musical intervals as a dense continuum of microtonal pitch, expressed en masse as discrete 1-bit frequencies distributed across hundreds of individual speakers. Each speaker, emitting a single, primitive 1-bit tone, becomes a microscopic voice in the total cluster, substituting individual pitch for larger sonic masses.

Tristan Perich | 1-Bit Symphony

The Machine Drawings – pen on paper or wall drawings executed by a custom-built machine over the course of the exhibition at LEAP, use randomness and order as raw materials within a composition. The machine drawings are a combination of the delicacy of real drawings and the rigid, structured system of mechanics and code.

The WIRE Magazine describes his compositions as “an austere meeting of electronic and organic.”
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Interval Studies by Tristan Perich  EXHIBITION & PERFORMANCE
presented by LEAP

Friday, 16 September 2011 | 20:00 CET
LEAP | Karl-Liebknecht-Str. 13 (Berlin Carré, 1. Floor)| 10178 Berlin/Mitte

http://www.tristanperich.com | http://www.leapknecht.de
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The second version of the Digital Harinezumi came out last year, and recently has been updated with a Triple Plus model.

This model adds ten colour modes (maybe a slightly overwhelming choice, but some of these modes are very cool) to the already known features: colour, black and white, video mode, etc. The video feature is worth mentioning because it’s like having a pocket-sized Super 8, and the audio input quality is a welcome addition (which can be disabled).

Just talking of the connection between the Harinezumi and video artists all over the world, cities like New York, Paris and Tokyo have recently hosted Harinezumi no Mori (The Forest of Harinezumi). It’s a video installation (with more than 150 DVD players and video monitors) that “mutates and transforms as it moves around different cities all over the world, like a forest, it merges with foreign substances, roots deep in the earth, and in the end embraces everything”.

Unfortunately, it looks like the Triple Plus will also be the last model for this series. Due to the discontinuation of monitor screens, Digital Harinezumi series has been forced to shut down its production, so this could be your last chance to get your hands on this cool item before it’s too late.

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Price: 150 euro (approx.)

www.superheadz.com

Fab is a musician and Editor-in-Chief for AudioNewsRoom (ANR), a music technology online magazine.
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Compiled by designer Henk Holsheimer on over 100 pages the book includes interviews with Sat One, Acid79 plus a multiple page documentation of the process of creation. This book inspires to express creativity in a new exciting way, accessible to everybody, colorful, fascinating and immensely diverse.
Featured artists are amongst others Jan Vormann, SatOne, Z-Rok, Orion Pax, Diese Mädchen, Cole Blaq, the Buntlack Crew, Sketched, Flxn, Shannon Ocean and Thesigner.

116 pages, hardcover, 29,6 x 21,6 x 1,4 cm
published by The LEGO® Group and Henk Holsheimer
ISBN-13: 978-3-00-031184-0

http://www.constructedstyles.com
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His constructions let see a inevitably and clear distinction between the inside and the outside. The space is parcelled up, keeping the protected one inside. As Foucault pointed out in “Discipline and Punishment” (1975), the forms of such safety zones are the ‘petrification of unsaid social technologies of punishment’, whose architectural forms determine inhabitant’s behaviours. The safety zone becomes a prison, and the prison a safe enclave.

Lucas Lenglet transcribes his own statement on this issue by making use of birdcages. A cage is basically -spoken with the artist- ‘a combination of four fences that closes off a specific area from it’s surrounding space. It is physically inaccessible for us, but not for our gaze.

No Cage directly relates to previous works by Lenglet, among them his project Voliere for the Rosa-Luxemburg-Platz in Berlin (2007). In this Lenglet isolated 8 m³ of public space by installing a bright red birdcage in a neglected shrubbery next to the main square. In reference to a letter Rosa Luxemburg wrote to Sophie Liebknecht while in prison Lenglet chose seven parakeets to live in the cage for the whole summer.

By creating a beautiful frame for something – the birds in the urban green – which is always there the artist reflected on the nature of human perception. On general level he raised questions about the native and the foreign, about the exotic and the indigenous, implying political connotations about human migration and the laws applied to those seeking asylum or simply a better live.

For invaliden1, Lucas Lenglet created an environment with parts of painted wall-coverings as a hint of domesticity. Smudged domesticity it is, wiht means of abstract references to the damsk covered walls so well known from the golden age of Dutch interior painting in the 16th and 17th century that regularly displayed exotic birds among other riches. Lenglet places three birdcages with basic geometric modular forms in the gallery, confronting the canvases. The forms could be enlarged architectural models. It is an architecture for birds.

Lucas Lenglet (Leiden, 1972) is an international artist based in Amsterdam. He has had solo presentations in places such as Palais de Tokio (2007, Paris), Stedelijk Museum Bureau Amsterdam (Amsterdam, 2008) or Künstlerhaus Bethanien (2006, Berlin) and he participated in group shows amongst others Why do you resist?, Pori Art Museum, (2010, Pori, FI), Neue Heimat, Berlinische Galerie (2007, Berlin) and Ideal Cities – Invisible Cities (Zamosc Poland and Potsdam).
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no cage by Lucas Lenglet
Opening Friday, 28th January // 7pm
Exhibition January 29th – March 5th 2011

www.lucaslenglet.com | http://www.invaliden1.com
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The likembé is a thumb piano (similar to the mbira), a pocket version of famous african xylophones, which is why it is played a in the same patterns, with two or more players interlocking. Though seperated to different tracks on their new album “Assume Crash Position”, the typical sound Konono No 1 usually is blended into one long song, one trance-like session.

Konono N°1 | Congotronics

Promoted in Europe and the US by Björk at first, with their own albums and the “congotronics”-series Konono No. 1 have long become a famous act on their own. World music, electronica and avant-rock aficionados have all been equally amazed by this otherworldly music, which has driven the international press to come up with some surprising comparisons (from Can and Krautrock to Jimi Hendrix, Lee Perry and proto-techno!…).

Konono N°1 @ Haus der Kulturen der Welt Berlin | 30.11.07

Other german gigs of the Europe Tour are Weikersheim, Heidelberg, Schorndorf and Hamburg. D/B highly recommends this show, which is praised and celebrated worldwide!

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Konono N°1 & Kompaktorama LIVE
DJ’s Bernd Friedmann, Shackleton and Mark Ernestus

Friday, 25.02.2011 | 20:00 CET
Berghain | Am Wriezener Bahnhof | 10243 Berlin/Friedrichshain

Website incl. Live Dates | Berghain | Myspace
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