velak gala#135

mit Lorenzo Abattoir · Andreas Sahl Andersen · Bassano Bonelli Bassano · Kjell Bjørgeengen / Aimée Theriot / Ingar Zach · Conny Zenk

Lorenzo Abattoir is a sound artist based in Torino (IT). A key element of his work is the relationship between performative acts and unusual methods of audio processing, mainly focusing on the use of microphones, blurring the lines between musical instruments and recording devices. He explores the boundaries of sound using various kinds of breathing techniques, movements and amplified objects as instruments to structure his performances.During past years he recorded and released collaborative works with: Hermann Kopp, Giovanni Lami, Freddie Murphy, Francisco Meirino, Simon Whetham. His performances have been presented in various venues and festivals like: Cafe OTO London, Instant Chavirès Paris, A4 Bratislava, Unsafe+sound Festival, LUFF Lausanne Film Festival, Ende Tymes Festival New York City. He also works in the contemporary art field creating sound installations and composing soundtracks for theatre shows presented at Venice Biennale year 2020 and Roma Europa Festival 2022.

https://thequietus.com/quietus-reviews/lorenzo-abattoir-mess-akt-iv-review/
https://youtu.be/2H-ws1XHb_A?si=aQB-scFiZzdisb0w

Andreas Sahl Andersen When I was 12, my grandfather passed away. During his life, I struggled to understand him—his speech was shaped by a thick dialect, and his breathing was labored after years of living with asthma and working the land of a small mid-century farm. The dust of that life left him reliant on a ventilator. Years later, I discovered a cassette tape where he had recorded himself talking about his life. To my surprise, I could understand him clearly for the first time. It was as if time had given me a new way to connect with him, to grasp the parts of him that had been out of reach. H.M. is an ambient musique concrète composition that explores the memory of my grandfather and the essence of his world. It weaves an atmospheric soundscape inspired by the small house in mid-Jutland, Denmark—a place imprinted in my senses. The ticking of the pendulum clock, the whistle of a kettle, the rich aroma of coffee, the soft shuffle of playing cards, and the weight of his labored breathing come together to evoke a deeply personal reflection. It is a sonic meditation on memory, connection, and the passage of time.

Andreas Sahl Andersen (b. 1989, Denmark) is an artist working with sound installation, performance, and experimental composition. He began his practice in 2014 while studying at the ArtScience Interfaculty of the Royal Academy of Art and Music Conservatory in The Hague, Netherlands. Drawing inspiration from early electronic music, Andreas crafts sensitive, personal, and poetic atmospheres through improvisation and an experimental approach. Working with self-built instruments and no-input feedback systems, he combines sound, light, and visuals to create immersive, multi-sensory experiences. His practice seeks raw expression, blending technology and artistry in intimate ways.

Bassano Bonelli Bassano is a sound artist living in Vienna. They create multichannel performative installations, along with soundscapes, and compostions for performance, theater, dance, and video art. Bassano engages with listening as a perpetual ontolog- ical question and as a means of sound production. They frequently work with voice, breath, waters, stones, and microphones (conventional, self-made) as their companion instruments. Their compositions weave digital, mineral, and organic sounds, layering them into immersive haptic soundscapes. Recording with
presence is a central orientation in their practice, which involves holding a space, i.e. setting intentions and physical-emotional conditions for deep listening during recording. Bassano is experienced in solo and collective creative practice, as well as composing in collaboration with oth- er artists, such as Belinda Kazeem-Kamiński, Stefanie Sourial, Mzamo Nondlwana, and Verena Melgarejo Weinandt. Their solo and collaborative work has been shown in Vienna (Belvedere21, Tanz Quartier, Brut Theater, Wien Woche, Kultur Sommer, Kunst Halle and more), Liverpool Biennial, Berlin, Paris, Cablanca, Rabat, and Porto.

FEAR OF THE OBJECT

Kjell Bjørgeengen (Norway) – Jones VideoSynth and Flood Coil
Aimée Theriot (Mexico) – cello
Ingar Zach (Norway) – vibrating membrane

Fear of the Object is a site-specific intervention utilizing live video and sound performance to put into dialogue the architectural resonances and dissonances found within physical space, sound and light. The music is based on Aimée Theriot´s subtle textures and fleeting harmonics on the cello and Ingar Zach´s transducer driven membranes. Audio generated video projected from Kjell Bjørgeengen is fed back into sound and blurs distinctions between hearing and seeing.

Aimée Theriot (MX) has a shapeshifting practice that manifests as text, music, curatorial work, installation, research, and performance. Her work is rooted in free improvisation and experimental music, drawing from ambient, ASMR, deep listening, and soundscape recordings with a heavy dose of experimentation using live electronics, cello, voice, and other sounding objects. Her music can be found on labels such as Sofa Music, Editions Verde, Unheard Records, Relative Pitch Records and True Blanking. She lives in Amsterdam. https://aimeetheriot.net/

Ingar Zach (NO) is known for his research in sound production and alternative techniques in contemporary percussion. During his career he has developed a unique style using the Gran Cassa as the main source of sound exploration where he employs transducers with various objects to make the drum vibrate. He works in the field of contemporary music and is regularly touring worldwide and recording with his fixed ensembles; Dans les arbres, Huntsville and O3 alongside his solo- and collaborative projects. He is a founding member of Fear of the Object. As a composer he is active in his regular ensembles, and he is continuously working with developing his solo work. In recent years he is composing for ensembles like Ensemble MusikFabrik, Quatuor Bozzini, Speak Percussion, Pinquins and Ludus Gravis. His solo work is used in different genres, such as film, dance, and art performances. Ingar Zach has a Ph.D. in artistic research from the Academy of Music in Oslo. https://ingarzach.com/

Known for his pioneering work in sculpture, video, and installation, Kjell Bjørgeengen continues his commitment to audio-generated video works, using tools recently developed by Dave Jones to work with the visual possibilities of ultra-high-frequency sound. https://bjorgeengen.com / https://vimeo.com/kjellbjorgeengen

Conny Zenk: stadt.rauschen

Sound & Video: Conny Zenk
Text: Verena Dürr
Stimme: Suzie Léger

Conny Zenk spielt ein AV-Set für ihre vegetativen, technoiden und velophilen Zeit- und Artgenossen*innen. Elektrosmogwolken schweben klirrend über den fahrenden Drones urbaner Infrastruktur. Fragmente aus Stimmen und Poesie überlagern längst vergessene Territorien. Klangspuren verbinden Gespräche mit Orten und Erinnerungsbildern. Radfahrende hinterfragen die Stadt als Klangsphäre, befragen ihre Machtwirkungen und Implikationen. Wer hat Zugang zu den akustischen Arenen des Alltags? Was bestimmt den Sound (d)einer Stadt? Wir bewegen uns entlang einer Route vom Nordbahnviertel, über die Brigittenauerbrücke bis nach Floridsdorf. Field Recordings bilden die Basis für das audio-visuelle Konzert “stadt.rauschen”.

Conny Zenk arbeitet an der Schnittstelle zu Performance, Video- und Sound im Kontext urbaner Architektur und Stadt. Ihre Arbeitsweise ist transdisziplinär und künstlerisch forschend unter Verwendung digitaler und analoger Interfaces, Vehikel und Medien. Seit 2017 entwickelt sie das Projekt RAD Performance. http://www.connyzenk.com/
http://radperformance.at/