radia #634: ‘Personal Space’ by Hernán Kerlleñevich & DIE ZWEITE HÄLFTE radia #369
#634 & #369 Digging Radio for Radio Orange
Show # 634: ‘Personal Space’ by Hernán Kerlleñevich (wiener radia kollektiv, Orange 94.0)
A show by the wiener-radia-kollectiv presenting the project PERSONAL SPACE project by Hernán Kerlleñevich (ARG).
Beside other projects, Hernán started his project „Personal Space“ during the residency in Vienna from December 2016 until February 2017.
„Personal Space is presented as an interactive sound installation in which the sound sources are human musicians, who react subjectively with acoustic instruments to the locations of the public, based on proxemic relationships.
The term proxemics refers to the use and perception that humans have of their physical space, their personal intimacy. It describes the measurable distances between the individuals while they interact with each other, their postures and the existence or absence of physical contact.“
(Hernán physically explaining his idea of a personal space. Photo credit:speisekammertag)
The first steps for realizing the project took place in Vienna at the temporary space Feldversuch feldversuch.speis.net with following musicians:
Mona Matbou Riahi, Valentín Pelisch, Katrin Hauk, Peter Seher, Arnold Noid Haberl, Glo Noise, Diego Mune, Tanja Brueggemann, Susanna Gartmayer, Stojan Vavti,
The final performance took place at Panal361 Art Gallery, Buenos Aires, Argentina, 21st of March 2017. Performer: Cecilia Quinteros, Eliana Rosales, Violeta García, Steve DiGregorio
This sound art experiment was created during the sonic art visiting artist residency program, which was organized by SPEISkammertag-Verein zur Förderung digitaler Kunst und Kultur in cooperation with Panal 361.
Lale Rodgarkia-Dara initiated the call for this residency in Vienna and was part of the jury together with the radia-collective-Vienna.
Radia-Kollektiv-Wien: Barbara Huber, Barbara Kaiser, Florian Bauer, Karl Schönswetter, Maria Herold.
Jury in Buenos Aires, Argentina was Helena Ferronato, Silvana Ovsejevich, Julieta Penedo.
The residency was part of an exchange programme. In 2016 an Argentinean artist was selected to take on a residency in Vienna with the focus on Sonic/Radio-Art. The Exchange-Call was announced in August 2015 hostet by Speisekammertag.
About the artist:
Hernán Kerlleñevich’s artistic production includes interactive sound installations, audiovisual performances, site specific works, electronic and instrumental music compositions, interdisciplinary projects merging art and science. He is a founding member of the argentinian sound art collective Buenos Aires Sonora.
His work and collaborations have been exhibited and awarded at CCEBA (2009, Buenos Aires), EAC (2010, Montevideo), Espacio Fundación Telefónica (2013, Buenos Aires), Museo Castagnino (2013, Rosario) Ars Electronica (2013, Linz), Festival de Cannes (2015), Centro Cultural de la Ciencia (2016, Buenos Aires), Teatro Colón (2016, Buenos Aires), Biennale di Venezia (2013, 2016), and the Feldversuch (2017)
DIE ZWEITE HÄLFTE
Show 369: digging radio by orange 94.0
Yet another annoying piece of radio art?
In the beginning there was the paraphrase. Starting from the search for radio art events to be reproduced we ended up looking into landmarks of radio history in connection with art– hopping from its beginnings to the digital turn.
Listen to a simulation of history and how it is digged out of its holes.
Ironic reenactment of GX Jupitter-Larsens performance in a small bin. The small scoop produces the sound of a shovel.
A radia show by Kristina Fromm, Lale Rodgarkia-Dara, Fiona Steinert
supported by Barbara Kaiser, Karl Schönswetter, Sara Norris, Christine Schörkhuber und Judith Purkarthofer.
Kristina digging out the radios (including a duck-radio) that are tuned in the frequency of a small pirate-transmitter,playing the reenactments of the historical radio events we performed in the weeks before.
In search of elements of radio history, we are re-using the key idea of a performance by GX Jupitter-Larsen:
“Jupitter-Larsen performed by digging a hole in a garbage-bin full of dirt & small radios. All of the radios were tuned to static. So as the hole got larger, the radio static got louder. Entitled ‚Building Empty Holes’, this solo performance lasted 15 minutes.” The performance took place in Vienna in 1991 at the Museum Moderner Kunst.
Source: Website GX Juppiter-Larsen
The paraphrase alters the original by tuning the buried radios into the transmission of the simulated historical radio events. A mini pirate transmitter is used to transfer the signal from a nearby computer to the radios in the bin filled with soil.
Lale is trying to find an old tube-tv to be able to receive the digital radio-signals with an analouge machine.
In Vienna the terrestrial channel 24 provides a digital signal on the video-cinch that can be recorded analouge.
The future claims: Radio turns digital on a terrestrial base. Will we lose low tech democratic access to the aether? In a first attempt the digital signals are ignored and being played on an analogue base. Hence, this is how the aether may sound in a couple of years if one refuses to invest in A/D changer. Rhythmic and annoying.
We paraphrased the first transmissions – terrestrical and via telephone line – transmitting salon music from the hotel “Intercontinental” into the dining room in a private appartement and sang the styrian hymn via a pirate radio transmitter.
Kristina is holding the antenna of the mikro-ukw-transmitter broadcasting the reenactment of Otto Nußbaumer's first radio-transmission, played on an old tube-radio in the back.The Styrian Hymne was sung by Lale, Judith and Christine.
The first wireless transmission of music and voice was successfully accomplished by the Austrian Otto Nussbaumer from the Technical University of Graz on the 15th of June 1904. Nussbaumer, at this time, was a constructor in the Institute for Physics at the Technical University, where he was employed in the area wireless telegraphy. After a lot attempts he finally managed in 1904, to transmit wirelessly music and voice through a self made transmitter. This transmission was audible for a distance of up to 20 meters through the rooms of the Technical University. For this important and historical moment, Nussbaumer transmitted the hymn of Styria, the Dachsteinsong, which was sung by himself. This led to proof that transmission of sound is possible. This pioneering feat was essential to the further development of radio.
The assembling of the live-salon-music transmission via telephone-line.
In 1881, Clément Ader demonstrated the world’s first stereo transmission from the stage. It was transmitted from the Paris Opéra with his new invention: the Théâtrophone. It was a telephonic distribution system that allowed the subscribers to listen to opera and theatre performances over telephone lines.