Roodkapje is Rotterdam's local laboratory for
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30 June 2022
Longform Visions for Earminded People
Longform Visions for Earminded People
June 30th
Doors: 20:00
Concerts: 21:00
– Floris Vanhoof
– Red Brut
July 1st
Doors: 19:00
Concerts: 20:00
– Nan Wang
– Matthias Hurtl
– Cathy van Eck
– Peter Fengler
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Longform Visions for Earminded People is a two-day showcase of captivating interdisciplinary creation. This hybrid exhibition and concert/performance event presents the work of visual artists whose practice departs from sound and contains performative elements.
Conceived out of a desire to create a context for slowly emerging situations, heightened listening states, electroacoustic sound technologies, and immersive sensory experiences, Longform Visions for Earminded People celebrates a space in which visions and sounds unfold in unexpected ways: creating, breaking and rebuilding connections between objects and human presence.
The artists in Longform Visions for Earminded People bring together everyday objects, subversive anti-aesthetics, sensual-absent poetry, moving optical discs, and echoes of activities occurring in the earth’s orbit for this special Roodkapje happening.
Installations by Nan Wang, Floris Vanhoof, Cathy van Eck
Performances by Nan Wang, Matthias Hurtl, Floris Vanhoof, Cathy van Eck, Red Brut, Peter Fengler
Curated by Lucija Gregov
Mentorship by Frédéric Van de Velde, as part of Roodkapje’s 2022 HCL residency trajectory
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■ FLORIS VANHOOF
Floris Vanhoof (°1982, lives and works in Antwerp, Belgium) is interested in the hybrid forms of music, visual art, and film. His first projections -experimental films on 16 millimeter- evolved towards purely visual experiences which questioned our viewing patterns. Inspired by structural film and early electronic music, he builds installations, creates expanded cinema performances, and releases his music. Vanhoof makes his own instruments to explore the border between image, light, and sound. As media-archaeologist, he confronts the digitally-spoiled audience with flickering 16mm films and 35mm slide installations - formats doomed to disappear. He often chooses analog technology because of the greater transparency of the workflow, and because of its rich dynamic range. Cut loose from all nostalgia, he experiments with what used to be considered "hightech." Vanhoof searches for new ideas with old media. He translates sound to image and vice-versa by connecting different incompatible media. He is especially curious about the effects his work elicits in the viewer: How does our perception operate? Which new perspectives appear?
■ RED BRUT
Red Brut is the moniker of Marijn Verbiesen (part of Sweat Tongue and JSCA). As Red Brut she is isolated, displaying a highly talented ear for day-to-day sounds, musique concréte composition and spontaneous sound collage. The main instruments are cassettes, but unlike the continuous strain of post-noise releases, Verbiesen’s music is highly personal, subtile and displays an ever curious and astonished mind. Sounds of gaming interwave with brutal synth oscillations, melancholic melodies and sensual-absent poetry from the aether. Although rooted in the sinister absurdism of early 2000 experimentalism, her music embraces and redefines the concept of ‘music of the universe’, coined by John Cage, Daphne Oram and alikes.
■ NAN WANG
Nan Wang uses both digital and analogue techniques, working in an abstract manner. Nan Wang brings the audio-visual installation ‘Refraction Scope’ mixing art and science, implementing photo-elastic phenomenon and an ancient binary structure(I Ching), to transform a common transparent material into a mesmerizing audio and visual artwork. The installation consists of six moving optical discs. By rotating the angle of two linear polarizing filters, the optical discs able to appears in a binary state from dark to light while the transparent material appears in mesmerizing color shifting. Six analog synthesizers corresponding to the light intensity of each disc, generate a spatial soundscape synchronizing with the visuals appearances of the optical discs the creating an immersive audio-visual experience.
■ MATTHIAS HURTL
Matthias Hurtl’s (AT) current research Drowning in Æther focuses on the audibility of satellite signals through a practice-based approach. The practice he calls signal hunting, is a carefully planned activity in which he engages to track and capture the transmissions of satellites using a set of self-built tools and antennas. His research resulted in audio-visual performances, sound installations, and electronic devices.
Matthias Hurtl is a sound artist and researcher fascinated by activities occurring in the earth’s orbit. Nan Wang makes audio visual installation combining research on technology and memories. Together their work will interact during Longform Visions for Earminded People. The installation ‘Refraction Scope’ by Nan Wang will be accompanied by the modular synthesizer of Matthias Hurtl.
■ CATHY VAN ECK
Cathy van Eck (1979 Belgium/Netherlands) is a composer, sound artist, and researcher in the arts. She focuses on composing relationships between everyday objects, human performers, and sound. Her artistic work includes performances with live-electronics and installations with sound objects which she often designs herself. The result could be called “performative sound art”, since it combines elements from performance art, electronic music, and visual arts. Her work transcends genres and is presented at occasions as diverse as experimental or electronic music concerts, open air festivals, sound art gallery venues, digital art events, or performance art festivals. She is a member of iii (instrument inventors initiative), an artist run, community platform supporting new interdisciplinary practices linking performance, technology and the human senses.
Cathy van Eck will present ‘Empty Chairs’ staging three empty chairs, each with a loudspeaker attached. A system of live recorded sounds and electronic processing brings them to life. A performer interacts with the chairs by moving them, placing them in new formations, and trying out different positions. A microphone placed in the middle of the room is looking for utterances and reminiscences of people who once sat on those chairs. Besides the version for one performer, there is also a version for two or three performers. This piece partially produced and commisioned during a residency at iii in The Hague.
■ PETER FENGLER
Peter Fengler (1964) is a performer who prints his own vinyl, publishes books and founded De Player in Rotterdam, a space for performance and sound art. His work operates on the cutting edge of visual art and sound. Performances that are always somewhere between intellectual activities and nonsense. They express a love for "ultrahobbyism" and are characterized by his subversive undertones with all their disturbing lucidity and preferences for a closed anti-aesthetics. It is both a commentary on contemporary political issues and a reflection on the medium and the scene itself. In the end it is not what it seems to be, while at the same time it is nothing more than what it is.
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Location: Roodkapje – Delftseplein 39, 3013 AA Rotterdam
Presale: €8 | Door ticket: €10 | Two-day combi-ticket: €13
June 30th
Doors: 20:00
Concerts: 21:00
– Floris Vanhoof
– Red Brut
July 1st
Doors: 19:00
Concerts: 20:00
– Nan Wang
– Matthias Hurtl
– Cathy van Eck
– Peter Fengler
▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Longform Visions for Earminded People is a two-day showcase of captivating interdisciplinary creation. This hybrid exhibition and concert/performance event presents the work of visual artists whose practice departs from sound and contains performative elements.
Conceived out of a desire to create a context for slowly emerging situations, heightened listening states, electroacoustic sound technologies, and immersive sensory experiences, Longform Visions for Earminded People celebrates a space in which visions and sounds unfold in unexpected ways: creating, breaking and rebuilding connections between objects and human presence.
The artists in Longform Visions for Earminded People bring together everyday objects, subversive anti-aesthetics, sensual-absent poetry, moving optical discs, and echoes of activities occurring in the earth’s orbit for this special Roodkapje happening.
Installations by Nan Wang, Floris Vanhoof, Cathy van Eck
Performances by Nan Wang, Matthias Hurtl, Floris Vanhoof, Cathy van Eck, Red Brut, Peter Fengler
Curated by Lucija Gregov
Mentorship by Frédéric Van de Velde, as part of Roodkapje’s 2022 HCL residency trajectory
▬▬▬▬▬▬▬▬▬▬▬▬▬▬
■ FLORIS VANHOOF
Floris Vanhoof (°1982, lives and works in Antwerp, Belgium) is interested in the hybrid forms of music, visual art, and film. His first projections -experimental films on 16 millimeter- evolved towards purely visual experiences which questioned our viewing patterns. Inspired by structural film and early electronic music, he builds installations, creates expanded cinema performances, and releases his music. Vanhoof makes his own instruments to explore the border between image, light, and sound. As media-archaeologist, he confronts the digitally-spoiled audience with flickering 16mm films and 35mm slide installations - formats doomed to disappear. He often chooses analog technology because of the greater transparency of the workflow, and because of its rich dynamic range. Cut loose from all nostalgia, he experiments with what used to be considered "hightech." Vanhoof searches for new ideas with old media. He translates sound to image and vice-versa by connecting different incompatible media. He is especially curious about the effects his work elicits in the viewer: How does our perception operate? Which new perspectives appear?
■ RED BRUT
Red Brut is the moniker of Marijn Verbiesen (part of Sweat Tongue and JSCA). As Red Brut she is isolated, displaying a highly talented ear for day-to-day sounds, musique concréte composition and spontaneous sound collage. The main instruments are cassettes, but unlike the continuous strain of post-noise releases, Verbiesen’s music is highly personal, subtile and displays an ever curious and astonished mind. Sounds of gaming interwave with brutal synth oscillations, melancholic melodies and sensual-absent poetry from the aether. Although rooted in the sinister absurdism of early 2000 experimentalism, her music embraces and redefines the concept of ‘music of the universe’, coined by John Cage, Daphne Oram and alikes.
■ NAN WANG
Nan Wang uses both digital and analogue techniques, working in an abstract manner. Nan Wang brings the audio-visual installation ‘Refraction Scope’ mixing art and science, implementing photo-elastic phenomenon and an ancient binary structure(I Ching), to transform a common transparent material into a mesmerizing audio and visual artwork. The installation consists of six moving optical discs. By rotating the angle of two linear polarizing filters, the optical discs able to appears in a binary state from dark to light while the transparent material appears in mesmerizing color shifting. Six analog synthesizers corresponding to the light intensity of each disc, generate a spatial soundscape synchronizing with the visuals appearances of the optical discs the creating an immersive audio-visual experience.
■ MATTHIAS HURTL
Matthias Hurtl’s (AT) current research Drowning in Æther focuses on the audibility of satellite signals through a practice-based approach. The practice he calls signal hunting, is a carefully planned activity in which he engages to track and capture the transmissions of satellites using a set of self-built tools and antennas. His research resulted in audio-visual performances, sound installations, and electronic devices.
Matthias Hurtl is a sound artist and researcher fascinated by activities occurring in the earth’s orbit. Nan Wang makes audio visual installation combining research on technology and memories. Together their work will interact during Longform Visions for Earminded People. The installation ‘Refraction Scope’ by Nan Wang will be accompanied by the modular synthesizer of Matthias Hurtl.
■ CATHY VAN ECK
Cathy van Eck (1979 Belgium/Netherlands) is a composer, sound artist, and researcher in the arts. She focuses on composing relationships between everyday objects, human performers, and sound. Her artistic work includes performances with live-electronics and installations with sound objects which she often designs herself. The result could be called “performative sound art”, since it combines elements from performance art, electronic music, and visual arts. Her work transcends genres and is presented at occasions as diverse as experimental or electronic music concerts, open air festivals, sound art gallery venues, digital art events, or performance art festivals. She is a member of iii (instrument inventors initiative), an artist run, community platform supporting new interdisciplinary practices linking performance, technology and the human senses.
Cathy van Eck will present ‘Empty Chairs’ staging three empty chairs, each with a loudspeaker attached. A system of live recorded sounds and electronic processing brings them to life. A performer interacts with the chairs by moving them, placing them in new formations, and trying out different positions. A microphone placed in the middle of the room is looking for utterances and reminiscences of people who once sat on those chairs. Besides the version for one performer, there is also a version for two or three performers. This piece partially produced and commisioned during a residency at iii in The Hague.
■ PETER FENGLER
Peter Fengler (1964) is a performer who prints his own vinyl, publishes books and founded De Player in Rotterdam, a space for performance and sound art. His work operates on the cutting edge of visual art and sound. Performances that are always somewhere between intellectual activities and nonsense. They express a love for "ultrahobbyism" and are characterized by his subversive undertones with all their disturbing lucidity and preferences for a closed anti-aesthetics. It is both a commentary on contemporary political issues and a reflection on the medium and the scene itself. In the end it is not what it seems to be, while at the same time it is nothing more than what it is.
▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Location: Roodkapje – Delftseplein 39, 3013 AA Rotterdam
Presale: €8 | Door ticket: €10 | Two-day combi-ticket: €13
