OUT OF SIGHT –
Invisible Frankfurt
Compositions by
Matter of Facts, Untere Reklamationsbehörde, Marc Behrens, Lasse Marc Riek
Premiere: 25./26. October 2024.
Walk The Other Way
Our hearing moves through a forest, through a city and encounters legal texts that formulate boundaries. What can be said with certainty? What is no longer valid the very next moment? What size and shape does the territory have? Walk The Other Way formulates the desire to move beyond what is visible and certain: a walk without Google Maps as an acoustic field experiment. Voices by: Elisa Reinecke, Edvin Duric, Benjamin Godzi and Anne Petrine Waagö.
Matter of Facts Studio is a production platform for experimental music theater and concert formats. It brings together professionals and professional dilettantes with their individual expertise in the fields of music, performance and objects. Founded in 2021 between Frankfurt am Main, Offenbach, Leipzig and Hamburg, M.O.F. Studio develops and presents collaborative works and extracts by Gregor Glogowski, Benjamin Hoesch, Friedrich Hartung, Lukas Nowok, Yuka Ohta and Diego Ramos Rodríguez and regularly connects with an extended network of artists to realize productions, events and workshops.
Website: www.matteroffacts.studio
Distanzrauschen
„Distanzrauschen“ ist ein akustischer Parcours durch die Frankfurter Hauptwache, ein Ort, der alles andere als barrierefrei ist. Aus dem Alltagsrauschen vor Ort legen wir Klanginseln frei, nehmen kaum hörbare Geräusche und Gesprächsfetzen unter die Lupe, die mehr Fragen aufwerfen als Antworten geben. Ergänzt durch die elektromagnetischen Klänge von Ticketautomaten, LED-Laufschriften und Stromleitungen wird das Rauschen zum Potential für neue Möglichkeitshorizonte und fragt: Wie können wir uns mit und gerade durch das Rauschen eines Ortes orientieren?
Untere Reklamationsbehörde
Under the name Untere Reklamationsbehörde, Maria Huber (dramaturgy) and Julia Mihály (composition) have been collectively developing interdisciplinary music performances in public spaces with project-related guest artists and everyday experts since 2019. Her work is based on the idea of “empirical music theater”, a term that is constantly evolving. The focus of “empirical music theater” is on actual field research: spatial structures and social architectures are examined through a sonic magnifying glass – atmospheres, relationships between people and to the place itself, directions of movement, materialities and much more are explored directly on site and artistically integrated. Narratives inscribed in the place are exposed acoustically and empirically, in order to subsequently reinforce them in performative-musical actions, but also to alienate, interrupt or disturb them. The everyday perception of the place is ultimately to be undermined with an alternative acoustic perspective, while performative actions turn the everyday into the theatrical. Mihály and Huber want to compose and stage in exchange with and for specific places and people. They see their artistic practice as feminist and as discovering the political in the everyday.
Curiosity gap
“Curiosity Gap” is the curiosity gap in clickbait. Gaps on platforms or kerbs are traps, no matter how well we can see. On the other hand, clicks are important signals at traffic lights for the blind. How do they sound elsewhere? We jump acoustically from traffic light to traffic light, from Frankfurt to Hong Kong and Sydney, guided by bats. They know about clicks and are familiar with traveling in the dark. Curious?
Marc Behrens (* 1970 in Darmstadt) experiments across genres and locations in and with the visual arts, music, theater and literature. He works internationally with electronic and concrete music, installation, performance, photography, text and video. Behrens has released over 40 music albums to date. In addition to field recording-based radio plays such as Bushdesertrainforest and Crowd for WDR 3, Behrens wrote the German-language radio play Progress for Deutschlandradio Kultur in 2013, in which the artist’s family history is set in relation to technical and political developments with the help of rituals. In 2021, he created the radio play Nachtsprache aus und mit Träumen for hr2-kultur. 2017-2023 Behrens participated in theater productions by choreographer Özlem Alkış and the groups profikollektion and andpartnersincrime. Behrens is a member of the German Society for Electroacoustic Music (DEGEM). From 1989-1993 he ran his own music label Animal Art, since 2014 the label Availabel. From 2006 to 2010, Behrens was a lecturer at the Hochschule der Bildenden Künste Saar in Saarbrücken (HBKSaar) and the Hochschule Darmstadt-Dieburg (h_da). 2018-2020 Marc Behrens was a mentor in the flausen+ young artists in residence program. From 2006 to 2009 he was deputy chairman of the Frankfurt Society for New Music. He studied at the HfG Offenbach 1993-2002.
Transsonar
“Transsonar” explores the invisible and inaudible of an underwater world. Above all, aquatic insects and other little-noticed life forms, whose sounds normally remain inaudible, become the focus of the sound work. “Transsonar” invites the audience to discover the hidden sounds of this invisible world and to become more aware of the acoustic diversity of our environment.
Lasse-Marc Riek (* 1975 in Germany) uses field recording as a means of capturing and exploring acoustic ecology, bioacoustics and soundscapes. He has been active internationally since 1997 and has staged exhibitions and concerts, published recordings and given lectures, talks and workshops. His work has been presented at various venues including galleries, art museums, churches and universities. These include the Museum für Kommunikation Frankfurt, the Schirn Kunsthalle, the Palmengarten Frankfurt, the ZKM Karlsruhe, the Norsk Teknisk Museum Oslo, the Museo Reina Sofía Madrid, the Art Center Beirut Lebanon, and the Skylight Gallery New York. Radiophonic compositions have been produced for Deutschlandradio Kultur, Hessischer Rundfunk, Westdeutscher Rundfunk, Südwestrundfunk and Österreichischer Rundfunk, among others. He has received scholarships and participated in artist residency programs in Europe, the Middle East and Africa. Prizes and awards include the Junge Akademie der Akademie der Wissenschaften Berlin (D), the Wildlife Sound Recording Society Competition (UK), the Prix Phonurgia Nova (F), the Grand Prix Nova (RO) and the Quartz Electronic Music Award (F). He is co-founder of the Gruenrekorder label, which has focused on soundscapes, field recordings and electroacoustic compositions since 2001 and collaborates internationally with artists and scientists in these fields.