From the portfolio collection.

Usuarios, 2012 –
In collaboration with Víctor Mazón Gardoqui

New York, United States
Las Vegas, United States
Los Angeles, United States
Mexico City, Mexico
Oaxaca, Mexico
La Paz, Bolivia
Santiago, Chile
Punta Arenas, Chile
Antarctica
Paris, France
Berlin, Germany
Vienna, Austria
Athens, Greece
Istanbul, Turkey
Kathmandu, Nepal
Tokyo, Japan
Hiroshima, Japan
Fukuoka, Japan
Kyoto, Japan
Beijing, China
Shenzhen, China
New Delhi, India
Varanasi, India
Lisbon, Portugal

Headphones
Lambda prints. 10.5×14.8cm, each
New York, United States
2003

From the portfolio collection.

Hummer Limousine Obstructing the Entrance to the Exhibition Space
Rented Hummer stretch limousine, driver
Jack Dodge Building. San Diego, California
2003

❦
Yvonne Venegas
René Peralta
Miguel Robles Durán

For four hours, a Hummer stretch limousine was parked at the entrance of the exhibition space.

128 Explosives Detonated by Instructions
Gunpowder, instructions
Ex Teresa Arte Actual. Mexico City, Mexico
2002

Commissioned by the National Institute of Fine Arts of Mexico

Steel plate modified with an explosive
Metal, gunpowder, electronic detonator
Steel sculpture. 120x120x0.3 cm
8 lambda prints (framed). 40×30 cm, each
2006

❦
Eloy Hernández Reyes
Marcela Armas
Gilberto Esparza

The work is the formal result of an explosive charge detonated beneath a steel plate.

Match (An Essay on Concentration and Expansion)
Gunpowder
El Eco Museum. Mexico City, Mexico
2007

Commissioned by Universidad Nacional Autónoma de México (UNAM)

❦
Guillermo Santamarina
Graciela de la Torre
Olivier Debrois
Universidad Nacional Autónoma de México
Laura Balboa
David Miranda
Iván Abreu
Juan Pablo Villegas
Andrés Oriard
Juajosé Rivas
Paola Dávila
Yurian Zerón
Arcangel Constantini
Marcela Armas
Gilberto Esparza
Tania Candiani
Arturo Hernández Alcazar
Rubén Bonet
Manrico Montero
Victor Noxpango

Detonation of 350 g of gunpowder covered with 25 kg of cement at El Eco Museum.

From the portfolio collection.

Facial
Workers from the Maintenance Department of Drains and Pipes of Mexico, drainage pipe, 6000 litres of water
XTAA. Mexico City, Mexico
2008

❦
Taiyana Pimentel
Sergio Raul Arroyo
Sewage maintenance department of Mexico City

The façade of Santa Teresa, a former baroque convent in Mexico City, now Ex Teresa Arte Actual, was cleaned using 6,000 litres of water sprayed through a high-pressure device commonly used for sewage pipe maintenance. The pressure was strong enough to erode parts of the building's façade.

Electronic detonation of 3.5 kg of gunpowder
Gunpowder, cardboard, cable, diesel, aluminum foil, electronic detonator
Central Gallery. Toluca, Mexico
2008

Commissioned by Faculty of Visual Arts of the State of Mexico

❦
Yuriko Rojas
Eloy Hernández Reyes
Ivan Puig
Antonio Hernández
Gilberto Esparza

28 explosives were detonated inside cardboard tubes to alter the walls and ceiling of the exhibition space.

Black Market
Mechanical belt, plastic, 1 MXN coins, electro-mechanical system
Mechanical device installed on site. Variable dimensions
Laboratorio Arte Alameda. Mexico City, Mexico
2008

Commissioned by Transitio Festival

❦
Yurian Zerón
Marcela Armas

Throughout the exhibition, 146 Mexican pesos (approximately €7.88 / US$8.46)—equivalent to three daily minimum wages in Mexico in 2008—were dispensed each day during opening hours. The continuous release of this amount established a direct correspondence between the work's temporal duration and the economic value of a day's labor, transforming a fixed monetary sum into a performative gesture that unfolded over the course of the exhibition.

Abandoned Object in the Exhibition Space
Backpack, electro-mechanical device
AD&A Gallery. Osaka, Japan
2008

❦
Karla Jasso
Kanta Horio
Tetsuya Umeda

Backpack abandoned in the exhibition space.

Combustion of a Reed Structure Affixed to the Building (Luma)
Gunpowder, reeds, plastic, aluminum, steel, electronic detonator
City Hall Gallery. Puebla, Mexico
2008

❦
Taiyana Pimentel
Eloy Hernández Reyes
Juan Pablo Villegas
Ivan Puig

This intervention was carried out at the City Hall Gallery in Puebla, Mexico, a historical monument declared a national heritage site in 1987.

The work was produced with a handmade reed structure affixed to the walls of the exhibition space. To carry out the intervention, an agreement was negotiated with the institution to place the structure 50 centimeters from a glass chandelier dating from 1536.

For this intervention, the electronic detonation of the explosives was carefully calculated to avoid damaging the property; a cloud of pink smoke caused by the explosion forced the gallery to close temporarily until the results could be seen.

Bicentenario
Gunpowder, newspaper, fire, instructions
Central Gallery. Aguascalientes, Mexico
2010

Commissioned by Autonomous University of Aguascalientes

❦
Pilar Ramos
Vidal Pinto
Lucía Castañeda Gama
Armando Andrade Zamarripa
Jorge Medina
Universidad Autónoma de Aguascalientes

This intervention was carried out during the celebrations of the Mexican Bicentennial (100 years of the Mexican Revolution and 200 years of Mexican Independence). Explosives wrapped in local newsprint were detonated inside the gallery, without an audience present.

White Noise
Workers from the National Institute of Fine Arts (INBA), paint, polarized windows
Sala de Arte Público Siqueiros. Mexico City, Mexico
2010

❦
Taiyana Pimentel
Livia Radwanski

The façade of Sala de Arte Público Siqueiros—the former studio of Mexican muralist David Alfaro Siqueiros, located in a bourgeois residential neighborhood of Mexico City—was painted entirely black, while anti-theft security film was applied to all visible windows. Through this monochromatic intervention, the project reconfigured the notion of the mural as an architectural gesture, transforming the building itself into a site of opacity, reflection, and institutional critique.

250 g of Gunpowder Detonated in a Sewage Pipe
Sealed explosives for underwater detonation, electronics, cable, voltage
State of Mexico, Mexico
2010

❦
Eloy Hernández Reyes
Livia Radwanski

Parabellum
Bulletproof glass, 9 mm bullets
51 x 51 x 7 cm
2011

❦
Kristina Frei

An equilateral triangle produced by three gunshots fired at a three-layer sheet of reinforced glass.

Polyurethane Modified with Microwaves
Polyurethane, microwaves, conductive materials, voltage
Objects. Ø 5cm, each
2011

Series of objects produced by the molecular agitation of polyurethane using microwave radiation.

Tiere (Animal)
Polyurethane model (scale 1:1), 172 arrows, archer
Polyurethane sculpture. 150 x 120 x 90 cm
Kunstraum Aarau. Aarau, Switzerland
2011

❦
Rachel Buehlmann
Kristina Frei

An object commonly used for archery training was modified by an archer who fired at it on repeated occasions.

Botellas arrojadas contra un muro
74 empty beer bottles
Sucked Orange. Berlin, Germany
2011

Editions
Flexidisc with silkscreen. Edition of 500

❦
Ruben Patiño

Beer bottles thrown against a wall of the exhibition space. The intervention was carried out without visitors present, prior to the exhibition's opening.

Sound System Facing an Empty Area
Killasan Sound System (25 KW of amp power), cable, electric power lines
Meinblau. Berlin, Germany
2012

❦
Fiedel
Hardwax
Eckehard Güther
Carsten Seiffarth
Markus Steffens
Ariette Armella

A sound system measuring 5.5 x 4.5 m was installed in the exhibition space, connected to the gallery's electric power lines, and switched on without an input signal. The intervention sealed off the exhibition space through a hermetic gesture, excluding the audience from the supposed interior space behind the installation.

Confronted with this subtle action, visitors to the exhibition found themselves in a state of permanent uncertainty as to whether the softly hissing sound system might suddenly turn into a deafening wall of sound — this latent threat and subliminal aggression functioning as an equivalent response.

Originally from Japan, with roots deeply embedded in dub and reggae culture, the Killasan sound system is a mythical element of the country's sound culture. It is a central element of the Wax Treatment events, organized in collaboration with Hardwax.

Mexican National Anthem
Mexican National Anthem, sign-language interpreter
Single channel video
Slide projection
2012

Professional sign-language interpreter hired to sign the Mexican National Anthem, facing a camera.

Commissioned by BBVA Foundation
❦
Maru Calva

Arm cut with a percussion instrument
Arm, cymbal
2012

Lambda prints (framed). 50 x 40 cm, each

Cymbal used to hurt the arm of an individual.

❦
Andres Oriard
Mariana García
Ollín Miranda

Printed Material from the transmediale Festival Altered with Microwaves
Microwave oven, metal, plastic, 700 W, custom electronics based on logarithmic detectors, chromolux paper
Haus der Kulturen der Welt
Berlin, Germany
2012

Commissioned by transmediale festival

Editions
12″ Vinyl. AKA12

❦
Sandra Neumann
Víctor Mazón Gardoqui
Kevin Bartoli
Yann Leguay
Dieter Kovačič

The promotional material for this edition of the transmediale festival was printed on Chromolux Metallic Gold FSC®, a paper that contains a thin metalized film that can be used as an electrically conductive agent.

Responding to that year's transmediale festival theme, Incompatible, printed material from the festival was modified with microwaves, entailing the amplification and translation of electromagnetic activity into sound.

The outcomes are unique pieces created from the remains of the material used in this action.

Gas Tank of 1,600 Litres Modified with 6.5 kg of Gunpowder
Gas tank, 6.5 kg of gunpowder, wireless trigger
Steel sculpture. 340x120x120cm
Collection Museo Fondazione Ettore Fico. Turin, Italy
2012

❦
Eloy Hernández Reyes
Maru Calva
Ollín Miranda
Sofía Mariscal
Michel Blancsubé

Sculpture produced with 6.5 kg of gunpowder detonated inside a gas tank.

Detonation of an Explosive Covered with Soil and Stones
Gunpowder, wireless trigger, cable, voltage
Tultepec, Mexico
2012

❦
Eloy Hernández Reyes
Livia Radwanski

Detonation of an Explosive Covered with Newspaper
Gunpowder, wireless trigger, cable, voltage
Tultepec, Mexico
2012

❦
Eloy Hernández Reyes
Livia Radwanski

A B S E N T I A
Bronze
2012 – 2016

Commissioned by the Instituto Nacional de Bellas Artes, Mexico

Art Direction: Mario de Vega
Cinematography: Ollín Miranda
Camera Assistant: Antonio Hernández

Photography: Gudinni Cortina, Ollín Miranda, Mario de Vega
Performance: Carlos Martín del Campo Glockner, Manuel Leyva, and Carlos Leyva

In June 2013, as part of the solo exhibition SIN, curated by Carsten Seiffarth, a bell weighing 600 kilograms was cast in bronze in Zacualtipán de los Ángeles, Hidalgo, one of the last places in Mexico where the traditional craft of bell founding is still practiced.

Titled A B S E N T I A, the bell was conceived to remain silent until its destruction. In 2014, it was deliberately destroyed at the same foundry where it had been cast by the artisans who produced it, Manuel Leyva and Carlos Leyva.

In August 2016, the fragments of the destroyed bell were buried at designated locations throughout Mexico City, becoming—or not—a permanent intervention in public space. A printed map indicating the precise GPS coordinates of each site accompanies this phase of the project.

In July 2019, the final four fragments were buried within the Convent of the Capuchin Nuns in Querétaro, Mexico, as part of the solo exhibition Quæris quo jaceas post obitum loco? Quo non nata jacent., curated by Michel Blancsubé, completing the work as a permanent intervention.

The bell bears two engraved inscriptions: a map and the Latin phrase VIVOS VOCO · MORTUOS PLANGO · FULGURA FRANGO, adapted from Friedrich Schiller's Das Lied von der Glocke ("The Song of the Bell").

2013
– Bell founding by Manuel Leyva at Zacualtipán de los Ángeles, Mexico.
– Bronze bell without clapper displayed over a concrete plate, covered with 10 mm glass, exhibited at the main entrance of LAA. Mexico City, Mexico. Solo exhibition curated by Carsten Seiffarth.

2014
– Destruction of bronze bell made by Manuel and Carlos Leyva at Zacualtipán de los Ángeles, Mexico.

2015
– Two-channel video installation exhibited at OVADA. Oxford, England. Group exhibition curated by Stephen Cornford.
– 32 segments exhibited at Marso Gallery. Mexico City, Mexico. Group exhibition curated by Michel Blancsubé.

2016
– Burial of 32 segments in various locations in Mexico City, Mexico.
– Cartography printed on gouache paper of 60 gms exhibited in Mexico City at LAA. Group exhibition curated by Carsten Seiffarth.
– Publication exhibited at Kunstraum Bethanien. Berlin, Germany. Group exhibition curated by Carsten Seiffarth.

2019
– Lambda Print exhibited at Sound Unheard, Goethe Institut Paris. Paris, France. Group exhibition curated by Daniele Balit, Katharina Scriba, Anne Zeitz.
– Last four pieces of the bell were buried in the Convent of the Capuchin Nuns in Querétaro, Mexico. Solo exhibition curated by Michel Blancsubé.

Publications
Hardcover book, 30x30cm, 148 p. Edition of 150.
Hardcover book, 30x30cm, 328 p. Edition of 10.
12″ vinyl record with dual tone print. Edition of 300.

❦
Juana María González Guerrero
Ollín Miranda
Tania Aedo
Carsten Seiffarth
Víctor Mazón Gardoqui
Mariana García
Maru Calva
Angel Tovar Mercado
Gudinni Cortina
Carlos Martín del Campo Glockner

Fence of Galvanized Wire Electrified with 7,000 Volts
Voltage, galvanized wire, electric power line with physical ground
Site-specific installation. Variable dimensions
Capilla de las Ánimas. Laboratorio Arte Alameda. Mexico City, Mexico
2013

❦
Tania Aedo
Carsten Seiffarth
Mariana García
Ollín Miranda
Civil Protection Department of Mexico
National Council for the Arts and Culture of Mexico

After extensive conversations with the Civil Protection Department of Mexico, a metal fence made of galvanized wire, installed in the museum, was electrified with 7,000 volts.

Because contact with any of the wires would cause electrocution, visitors were warned before entering the museum about the high voltage and the physical harm it could cause.

Desplazamiento
Main entrance. Laboratorio Arte Alameda. Mexico City, Mexico
Permanent intervention

❦
Carsten Seiffarth
Tania Aedo
Mariana García
Ollín Miranda

In order to modify the acoustic qualities of the museum—formerly a 17th-century convent—a glazed partition located between the entrance and the main hall of the museum was removed.

CREDO
Concrete, wood, amplification drivers, 16 x 18″ speakers, Voltage Controlled Oscillators, engraved text over stone
Sala E. Laboratorio Arte Alameda. Mexico City, Mexico
2013

Specifications
1200x240x100cm
VCO/ VCLFO
0.001 Hz (~ one hour LFO ) to 30 kHz ( VCO)
Voltage Control of Frequency CV IN ( 1 v / oct)
Temperature compensation circuit
Output voltage range ± 5v
110 v / 220 v Power protected
±12 v to ±15v 20 mA
Eight 4,000W amplification drivers

Signal generator designed by Víctor Mazón Gardoqui

❦
Manfred Fox
Víctor Mazón Gardoqui
Diego Salvador Ríos
Mariana García
Ollín Miranda
Carsten Seiffarth
Jens Brand
Gudinni Cortina

Working with the acoustic properties of the exhibition space, a bass-reflex system was designed to emit a fundamental frequency of 17.8 Hz and its harmonic at 35.6 Hz.

An inscription carved in stone—HAEC DICIT DOMINUS EXERCITUM DEUS ISR ECCE EGO INDUCAM DAMNUM SUPER LOCUM ISTUM UT OMNIS QUI AUDIERIT ERIT ATTONITUS—functions as the conceptual guide for a speculative investigation into the relationship between sound and perception. The work explores the possibility that low-frequency acoustic pressure might induce optical illusions by resonating with the tissues surrounding the eyes, producing sensations of visual distortion and vertigo.

12,000 Watts Emitting 208,000 Lumens
Magnesium, metal, voltage, and electric current transformers
Variable dimensions
Sala 3. Laboratorio Arte Alameda. Mexico City, Mexico
2013

Due to the possible physical harm caused by this work, access to the exhibition is restricted, and a liability waiver must be signed by each visitor.

Forehead
2013
❦
Gudinni Cortina
Mariana García
Tania Aedo
Carsten Seiffarth
Daniela Silvestrin
Ollín Miranda

Individuals faced a camera to be photographed while having a laser pointed at their foreheads.

04510
Sine wave, twenty-two 8050B Genelec monitors
Museo Universitario de Arte Contemporáneo. Mexico City, Mexico
2013

Commissioned by Museo Universitario de Arte Contemporáneo (MUAC)

❦
Guillermo Santamarina
Marco Morales

Located at the Museo Universitario de Arte Contemporáneo (MUAC) in Mexico City, Espacio de Experimentación Sonora is a space dedicated to multichannel sound works, featuring twenty-two Genelec 8050B monitors combined with two 7070 subwoofers in a three-layer array.

For this work, the postal code of the museum (04510) was translated into a frequency of 4,510 Hz amplified at +100 dB SPL through 22 loudspeakers.

NODO
2-pole cable, 2 x 18" 1400 RMS speakers, flight cabinet, 2 x Voltage Controlled Oscillators
Electronic interface
Laboratorio Arte Alameda. Mexico City, Mexico
2013

Specifications (per module; the system consists of 16 modules):

110x60x50cm
VCO / VCLFO
CV IN (1 v / oct)
Manual frequency control
Output voltage range: ± 5 V
Power supply: ± 12 V to ± 15 V, 20 mA
2 x 4,000 W amplifiers per module

Signal generator designed by Víctor Mazón Gardoqui

❦
Víctor Mazón Gardoqui
Ollín Miranda
Carsten Seiffarth
Manfred Fox
Mariana García

NODO was installed at the main nave of Laboratorio Arte Alameda, a contemporary art museum, formerly a 17th-century convent, located in downtown Mexico City. For this installation, the system amplified a sine tone of 32.6 Hz, corresponding to the third harmonic of the fundamental resonance frequency of the space.

FM scan
USB-powered FM transmitter, the museum director's computer
In collaboration with Víctor Mazón Gardoqui
1.3 x 3cm
2013

❦
Tania Aedo
Mariana García

Blocking of an FM radio channel. Radio transmitter powered by the museum director's computer.

From the portfolio collection.

Auto
Limousine, security guards, metal detectors, security cameras, instructions, text
Donaueschinger Musiktage
Donaueschingen, Germany
2015

Commissioned by Donaueschinger Musiktage

❦
Lukas Grundmann
Björn Gottstein

During the opening concert of the Donaueschinger Musiktage—one of Europe's largest contemporary music festivals—a vehicle remained in the parking lot in front of the Donauhalle, escorted by a security system.

Without prior announcement, members of the audience were randomly questioned and physically inspected before entering the concert hall. This action took place in parallel with the migration crisis of 2015, in which Syrians made up 36% of asylum claims, followed by Afghans, Iraqis, Albanians, Iranians, and Eritreans.

DOLMEN
Assorted antennas in frequency ranges between 800 MHz – 10 GHz, aluminum trussing, rigging system, radio scanners, coaxial cable, custom-made electronics based on logarithmic amplifiers, 16 channel amplification system, custom software
Variable dimensions
2015

Commissioned by Sonic Acts (Amsterdam, Netherlands), donaufestival (Krems, Austria) & Singuhr (Berlin, Germany)

Muziekgebouw aan 't IJ
Amsterdam, Netherlands (2015)

Halle 3
Krems, Austria (2015)

Meinblau
Berlin, Germany (2016)

High-frequency receivers and scanners: Barney Broomer
Electronic design of logaritmic amplifiers: Víctor Mazón Gardoqui
Software development: Dominik Hildebrand
Production: Annette Wolfswerger (Amsterdam, Netherlands), Annette Margit Moisl (Krems, Austria), Markus Steffens (Berlin, Germany)

Editions

LIMEN. Ecologies of Transmission
Mario de Vega, Víctor Mazón Gardoqui, Daniela Silvestrin
Publisher: ñ
Spanish, english
135×210 mm
352 pp.
Polychlorinated biphenyl. Touche Cover white 300 g
Offset 2/1. Heaven 42 115 g
2016

SPECIFICATIONS
0.1 – 2.4 GHz sniffer. Circuit design based on AD8313 IC

Edited by Mario de Vega, Víctor Mazón Gardoqui and Daniela Silvestrin
Texts by David L. Alheide, Teresa Dillon, Uwe Krüger, Timothy Morton, Daniela Silvestrin

META.Tracing Unknown Knowns (In Process)
Spanish, english
135×210 mm
352 pp.
Methyl methacrylate with laser engraving
Offset 1/1 UV ink. EOS 100g
2016 –

SPECIFICATIONS
Portable server. Circuit design based on ESP8612

Edited by Mario de Vega, Víctor Mazón Gardoqui and Daniela Silvestrin
Texts by Sandra Braman, Jaya Klara Brekke, Nicolas J. Bullot, Mario de Vega, Víctor Mazón Gardoqui Magda Havas, Nina Janich, Rebekka Kiesewetter, Selena Savic, Nishant Shah, Daniela Silvestrin

Xtensa® 32-bit LX6 Dual-core processor. 448 KByte ROM / 520 KByte SRAM 4MB SPI Flash with WSOP
16 KByte SRAM in RTC
Supply Voltage: 2.2V~3.6V
802.11 b/g/n/e/i 802.11 n (2.4 GHz), up to 150 Mbps
Compliant with Bluetooth v4.2 BR/EDR and BLE specification
Class-1, class-2 and class-3 transmitter without external power amplifier Enhanced power control
+10 dBm transmitting power
12-bit SAR ADC up to 18 channels
2 × 8-bit D/A converters
IEEE 802.11 standard security features, including WFA, WPA/WPA2 and WAPI Open source toolchain based on GCC
Generic low power IoT sensor hub

AXIS
Mario de Vega
Publisher: ñ
English
135×210 mm
224 pp.
Cotton Reflective Flame Retardant Fabric RS-FR01
Offset 1/1. Stone paper 4 pts / Silkscreen. PVC 7 pts
2019

SPECIFICATIONS
Visual compendium / Audio CD
Text by Rosa Menkman, Mario de Vega

❦
Barney Broomer
Víctor Mazón Gardoqui
Annette Wolfsberger
Lucas Van der Velden
Gideon Kiers
Markus Steffens
Carsten Seiffarth
Guillermo Nuñez
Daniela Silvestrin

DOLMEN investigates the social, political, and material implications of the electromagnetic activity generated by contemporary telecommunications technologies.

The installation takes the form of a sculptural replica of a wireless telecommunications transceiver coupled with a custom electronic interface designed to demodulate anthropogenic electromagnetic transmissions. Electromagnetic waves within the frequency range of 1–10 GHz are translated into sound and diffused throughout the exhibition space via a multichannel audio system, rendering otherwise imperceptible signals audible.

Each installation of DOLMEN is configured in response to the spatial distribution, architectural qualities, and contextual conditions of its exhibition site. For its presentation at Meinblau Projektraum in Berlin, the work was experienced through eight pairs of wireless headphones, using their interaction with the surrounding electromagnetic environment to explore the aesthetic and perceptual possibilities of electromagnetic feedback.

Audio documentation [ extract ]
Donau Festival. Krems, Austria

Should I Stay or Should I Go
Industrial siren, custom software, micro-controller, hearing protection
2015

Commissioned by CTM Festival

CTM Festival. Group exhibition curated by Oliver Baurhenn
Kunstquartier Bethanien
Berlin, Germany (2015)

Entre Límites. Group exhibition curated by Carsten Seiffarth
MACZ
Morelia, Mexico (2016)

❦
CTM Festival
Kunstquartier Bethanien
Dominik Hildebrand
Stefan Roigk
Carsten Seiffarth
Oliver Baurhenn

Once a day, during the exhibition's opening hours, an industrial siren emits a tone of 1,200 Hz at +105 dB for ten continuous minutes.

Activation is triggered by an electronic interface. Neither the artist, the curatorial team, nor the exhibition guards know in advance when the alarm will be triggered.

Sobre Negro
5kg of gunpowder, 250kg of coal, wireless trigger
Site-specific intervention
La Torre de los Vientos. Mexico City, Mexico
2015

❦
Luis Javier de la Torre
Michel Blancsubé
Sofía Mariscal
Eloy Hernández Reyes
Francisco Kochen
Ollín Miranda
Gudinni Cortina

Detonation of 5 kg of gunpowder alloyed with 250 kg of coal.

This work was produced for Sobre Negro, an intervention at La Torre de los Vientos by Arturo Hernández Alcazar, Juan Pablo Macías, and Mario de Vega.

Curated by Michel Blancsubé parallel to an exhibition at Marso Gallery, each artist intervened upon the sculpture, exhibiting the result as a collective work: Hernández Alcazar constructed a furnace to melt metal inside the tower, Macías engraved a text by hand into the walls, and de Vega carried out an explosion without legal permission, creating a sonic imprint across the walls, ceiling, and floor of the tower.

La Torre de los Vientos is a 13-meter-high sculpture designed by the Uruguayan artist Gonzalo Fonseca to commemorate the 1968 Mexico City Olympic Games, located in an area of heavy vehicular traffic in Mexico City.

Collision #1
Concrete, voltage, 2-pole cable, automotive airbags, fabric
Variable dimensions
L'Ancienne Brasserie Bouchoule. Montreuil, France
2016

❦
Thierry Schaeffer
Line Francillon
Florence Poiblan
Benjamin Pagier
Guillaume Constantin

Architectonic intervention produced with automotive airbags expanded inside four cubes of poured concrete.

Monochrome
Carbon dioxide, water, plastic containers, hydraulic system, charcoal, oil
Variable dimensions
Laxenburgerstraße 2A, 1100. Vienna, Austria
2016

❦
Karl Salzmann
Martin Neumann
Boris Ceko
Peter Kutin
Maja Degirmendzic
Simon Steinhauser

Chemical reaction obtained with a mixture of carbon dioxide and water.

For this intervention, a hydraulic system was designed to provoke an explosion and spread two tons of charcoal over the walls, ceiling, windows, and floor of the exhibition space.

Monochrome was produced one day before the opening, without spectators present.

Anti-static material altered with microwaves
Polyethylene terephthalate, metal, microwaves
ø 13 cm
Festival Mal au Pixel 6. Paris, France
2011

❦
Art Kill Art
Guillaume Constantin

Sculpture produced during a live performance at Mal au Pixel 6, in which anti-static material and copper were exposed to microwaves.

The piece was presented as an audio-visual performance at En Cours, Paris, France, in 2011.

The sculpture was later exhibited at L'Ancienne Brasserie Bouchoule, Montreuil, France, in 2016.

Appendix 1
Sodium hydroxide, polycarbonate, wax, copper, microwaves
22x19x8cm
2016

Sculpture produced with sodium hydroxide, polycarbonate, wax and copper exposed to microwaves.

The placement of the sculpture within the exhibition space is determined by the context and architectural qualities of the site where it is exhibited.

Appendix 2
Plaster, wood, extruded polystyrene rigid foam, polyethylene, sodium hydroxide
30x18x27cm
2016

Sculpture produced through a chemical reaction between plaster, wood, extruded polystyrene rigid foam, polyethylene, and sodium hydroxide.

The placement of the sculpture within the exhibition space is determined by the context and architectural qualities of the site where it is exhibited.

Appendix 3
Plaster, organic compounds, extruded polystyrene rigid foam, polyethylene, sodium hydroxide
Object, architectural intervention
10x12x7cm
2016

Sculpture produced through a chemical reaction between plaster, organic compounds, extruded polystyrene rigid foam, polyethylene, and sodium hydroxide.

The placement of the sculpture within the exhibition space is determined by the context and architectural qualities of the site where it is exhibited.

Polystyrene Modified with a Leather Whip
Polystyrene with aluminum frame
6 pieces. 50x70cm, each
2016

Time Lapse
Line Array System L'Acoustics KIVA, software, condenser microphones, Non-Liability Agreement
KW. Berlin, Germany
2016

Commissioned by KW

❦
Adela Yawitz
Anna Gien
Dominik Hildebrand
Daniela Silvestrin

For this work, a digital function was programmed to analyze the acoustic activity produced by visitors to the exhibition and, on a single occasion, trigger a 4,000 Hz audio signal amplified to a Sound Pressure Level of +105 dB for a period of ten minutes — an intensity and frequency range capable of causing physical harm to the listener.

The amplification system was installed at the main entrance to the exhibition, and neither the curator, the artist, the exhibition guard, nor the visitor could know in advance when it would be activated. Access was restricted to one visitor at a time, and entry to the exhibition required a signed Non-Liability Agreement.

Footprint
Wood, water, organic material, sodium hydroxide
Object measuring 6 × 4 × 3 cm, exhibited on a piece of MDF furniture covered in acrylic, 180 × 90 × 90 cm
2016

A sculpture produced through a chemical reaction between sodium hydroxide, wood, and water.

The Motionless World of Time Between, or the Drunken Taxicab of Absolute Reality
Performer, condenser microphones, high-resolution digital player, pedestal, active speaker
2016

❦
Tina Petráš
E.S. Mayorga
Jeannette Brabenetz

The acoustic activity produced by walking, breathing, sending and receiving messages with a mobile phone, murmuring, laughing, and coughing was recorded with two condenser microphones. Without any manipulation, this material is played back randomly through a high-resolution digital player installed in the vicinity of the exhibition space.

The recordings are made with professional equipment under optimal conditions to capture the natural acoustic qualities of the sound sources, and are amplified through studio monitor speakers to preserve the realistic character of the sound.

Final
Digital file, headphones, high-resolution digital player, MDF, metal
120x30x30cm
2016

❦
Tina Petráš
Thein & Rios GmbH

Two sine waves amplified through headphones (4.5 kHz ‹ left › / 4.7 kHz ‹ right ›).

Smells Like Teen Spirit
Sanding machine, hammer, Tochnit Aleph catalog (Number 001-147)
Site-specific intervention. Variable dimensions
Rumpsti Pumsti. Berlin, Germany
2016

Commissioned by Tochnit Aleph

❦
Tina Petráš
Alexander Schneider
Daniel Löwenbrück

In October 2016, Daniel Löwenbrück deactivated a copy of each publication in the Tochnit Aleph catalog—which includes audio works by Roman Signer, Dorothy Iannone, Hermann Nitsch, Artur Żmijewski, Henri Chopin, Selten Gehörte Musik, Rolf Julius, and others—using sanding machines and a hammer. Without an audience present, the action was documented with two dynamic microphones. The remains of the archive, consisting of dust, pieces of plastic, paper, and fragments of magnetic tape, were exhibited, while the recordings of the action now form a sound work published as the next number of the Tochnit Aleph catalog (TA148).

Persona
Braided leather bullwhip
Site-specific intervention. Variable dimensions
Carico Massimo. Livorno, Italy
2016

❦
Alessandra Poggianti
Juan Pablo Macías
Federico Cavallini
Gabriele Morleo
Lindinger + Eiermann GmbH

Exhibition space altered by hitting the walls with a leather whip. The action was carried out without an audience, one day before the exhibition's opening.

Tú
Mirror 180x90cm, human saliva
Performative intervention
Il Deposito. Livorno, Italy
2016

QUEJAS Y DENUNCIAS AL 32 3462265
Public space intervention
Valparaíso, Chile
2016

Commissioned by Tsonami Festival

❦
Juvenal Barria
José Pemjeam
Tsonami Festival

An active telephone number was printed at monumental scale and installed on a 20 × 60 m wall in Valparaíso, Chile, inviting passersby to call a public customer service line to register complaints and demands. The work transformed an ordinary civic mechanism into a public intervention, making the act of voicing grievances itself visible within the urban landscape.

VIVOSVOCOMORTUOSPLANGOFULGURAFRANGO
Silkscreen on bible paper
2015

MNNN
Originally published on 34121.net
2000 -

séance / palimpsest / residue / threshold / devotion / grain / phase / territory / drift / body
Jeremy Shaw, Konrad Black, There In Spirit
Cross-Temporal Sync
Charlemagne Palestine
415 steppsss to DingggDonggg Paradise
Anne Imhof
Billy Bultheel - Red Scape
Carlos Giffoni
Now Dream
Bardo Todol
El Alfabeto Cartílago
Etrusca 3D (Francesco Cavaliere & Spencer Clark)
Vanth
Fennesz
Caecilia
Aaron Dilloway
Infinite Lucifer
Ai Aso
Agenda
Carlos Casas
Triune God
Autechre
spTh
Ana Roxanne
Nocturne
aya
I am the pipe I hit myself with
Pharoah Chromium
Out a fat Al-Jemahir
Pod Blotz
In Between Worlds
Oksana Linde
Estrellas I
Prettybwoy
Footstep Flying
Sea Slug
Pandora (For Cindy)
Muqata'a
Faltakon
Shubharun Sengupta
Supralineae
Stones Taro
Press It Out
Family Underground
Live In Brooklyn 06
The Space Lady
Domine, Libera Nos - Showdown
Torso
Untitled III
Tujiko Noriko
Prayer
O Yuki Conjugate
Antonym

refrain / singularity / becoming-vocal / technics / molecular / algorithm / zoe / drone / xenochrony / intensity
Atte Elias Kantonen
((((((((((((
Obay Alsharani
Cocoon
buttechno
gtr1
Andrea Penso
Organic Shelter
Ánde Somby
Neahkkameahttun (from the other side)
Michele Anelli
They Didn't Fall II
Laurie Spiegel
The Unquestioned Answer
Ella van der Woude
Psychic
Kristin Oppenheim
Sally Go Round
Zamudin Guchev
Nart Shabatynoqo
Maria Valentina Chirico
Afternoon / White Donkey
Geir Jenssen
Camp 1.5 - Mountain Upon Mountain
Ariel Kalma
Sunset Inside
Yoshi Wada
Die Konsonanten Pfeifen
Stine Janvin
Tripple A
Pan Daijing
Plate of Order
Konrad Sprenger
Finale
Toxe
Sister ⧸ Demon
Brighter Death Now
Collector of Remains
Concepción Huerta
El fuego y la luz están aquí
Corrupted
Esclavo
Aphex Twin
#3
Coil
7-Methoxy-β-Carboline- (Telepathine)
Current 93
Patripassian

stochastic / affect / perceptual / liminal / deterritorialization / bruit / molecular / transgression / weird / intensity
Hunter Brown
Stoppages.1_001 [1_007]
Hánkel Bellido
Atardecer en Megantoni / Adiós Nillaway Dispidillaway
Hoodrat Messiah
Earl Grey
Graham Lambkin
Jumpskins
Eliza Douglas
Faust's Last Song
Cromagnon
Ritual Feast of the Libido
Costes
Pizza and Falafel
Diana Deutsch
Boris
Costes
Cockroaches
Diana Deutsch
Cambiata With Bell Sounds
Ghost Dubs
Chemical
Iannis Xenakis
Concret PH
goat (jp)
Quest
Adam Morris
Lamkin
M3g
3 (Grischa Lichtenberger 3 ēvōˈkāSH(ə)ns mix)
Mark Fell & Pat Thomas
Set two, part two
Neil Luck
Radio Garden Live Modulations
q100
Vocal Dub (ft. ØZ & FLO)
Ziúr
Cut Cut Quote feat Elvin Brandhi
6SISS
Centralized Pressure
Olli Aarni
Mato Syö Lehteä
Rainy Miller x Space Afrika
Bobbies Reprise (feat. bobbieorkid)
Family Ravine
Windmills refusing to sync
NINA
Static (feat. Rotate & Hijinx)
Georgia Sacred Harp Singers
Windham
Nick Hoffman
An Evening Hymn (Purcell)

recursion / hauntology / technics / deterritorialization / refrain / assemblage / abjection / posthuman / intensity / weird
Caterina Barbieri
Perennial Fantas
Aho Ssan
Away [ feat. Exzald S & Valentina Magaletti ]
Elvin Brandhi
Skype Warp ft TOMB
Daniel Löwenbrück
o.T.
Cocteau Twins
Lorelei
𝔥𝔢𝔵𝔬𝔯𝔠𝔦𝔰𝔪𝔬𝔰 - KMRU, ꜱᴇᴍɪʟʟᴀ ᴀ.ɪ.
Hidden options
Jules Reidy
World in World
Enhet För Fri Musik
En Bra Dag
Koray Kantarcıoğlu
Lamba Pr 01 ⧸ 165530
Angelo Harmsworth
Drag Net Capture
Caldwell⧸Tester
Sunday Piano
Éric la Casa
Les Outils, Les Objets
krube.
Untitled
Tempat Angker
Horror Movie OSTs and Sound FX from Indonesia (1971​-​2015)
People Like Us
Happy Jam
7038634357
Perfect Night
ZULI
Care
Cansu Tanrikulu
Drank vs. Drunk
WULFFLUW XCIV
Xingamento
Cedar
VLF
Cucina Povera
Lämpö
Carmen Villain
Disig
Holly Herndon
Godmother (with Jlin)
Rashad Becker
L'heure H

transmission / hauntology / technics / séance / topology / signal / territory / corpse / ideology / shortwave
Haco
Re: Mosquito Illusion
Rituals Of The Drukpa Order From Thimpu And Punakha
Invoking Tshetro's Blessings
Alejandra & Aeron
Smallfish Record Shop, London
Aki Onda
It's Gone
Ian Curtis
Interview
Andy Saunders, Richard Wolfson
Part 1
Rita Goold as Russel (1983)
Okkulte Stimmen - Mediale Musik
Arseny Avraamov
Symphony of Sirens (Public Event, Baku 1922)
Recordings of Shortwave Numbers Stations
The Swedish Rhapsody
Katsui Yuji + Kinoshita Kazushige
Festival Beyond Innocence
Carl Stone
Morangak
Aerospace Soundwise
As no if (Universal Special [ detail ])
Charlemagne Palestine
Two Fifths
Laibach
Valjhun / Waldung
Casiotone For The Painfully Alone
Voice Of The Hospital
La Monte Young
Dream House
V/Vm
Elton John
Nicolas Bernier + Jacques Poulin-Denis
Qat
Andy Calorie
Jeno Janet / Want It Need It
Donna Summer
Bicycle Race
Terre Thaemlitz
Silent Passability (Ride To The Countryside)
Esplendor Geométrico
Homeworks
Rechenzentrum
Ahab
Paul DeMarinis
Fonetica Francese
Murcof
Cosmos II
Josef Anton Riedl
Acoustic Sound Poems
Towering Inferno
Part I
Ryoji Ikeda
Test Pattern
Laibach
Krst / Die Taufe, Germania
Harry de Wit
Song for the Pigeons
Makoto Oshiro + Takahiro Kawaguchi
B01 (Giuseppe Ielasi Remix)
Eyvind Kang
I Am The Dead
CAN
Oh Yeah
Throbbing Gristle
Zyclon B Zombie

hauntology / palimpsest / fragmentation / affect / material / deterritorialization / molecular / text / unstable / intensity
COH + Cosey Fanni Tutti
Sin-King
Alvin Curran
It´s not my Fault
Akira Rabelais
Which Alters when it Alteration Finds
Leyland Kirby
We, so tired of all the Darkness in our lives
Tresque
Consolidated
Satanicporncultshop
Waltz For Debby (neji-189)
Shifted
Lénine Consolidated
Rain Text
04
Furt
Untitled
Alessandro Brivio
6pezzi2009+lagodelnulla
Goem
Comp Een
Dos Tracks
Waiting for the Host
Susumu Yokota
I Imagine
Slavek Kwi
Mseam
Ketev
Marah
Tendencyitis
Batch
Shimizu Jio
One Million Dots
Einstürzende Neubauten
Hospitalistische Kinder / Engel Der Vernichtung
Rain Text
03 + 04
Black Rain
Night In New Chiang Saen
Shifted
Second Wash
Buttechno
Boloto acid
NHK'Koyxen
Ch.10
Pole
Taxi
CMYK
Cinematyk
Tresque
Estampi pt.I
JK Flesh
Macromolecules
Dumb Type
Blowback
Jack Von Acid
Lost
Shifted
Lénine
OPL
A Never Ending Story
Clouds
D2 Rush In 2 Orbit (Skinnergate)
Body Boys
Monastery
Tresque
Side B
Ymir
Nazare
Marta Zapparoli
The Resonant Sky of Krems
Pris
Breathing Space
Hecker
Precedence
Ossatura + Tim Hodgkinson
Microlingua

transgression / body / industrial / molecular / queer / deterritorialization / liminal / intensity / affect / concrete
Pher
In Evil Hour
Junko
The Void
S.P.K.
Invocation
Alchemic Harm
Puhetaito
Throbbing Gristle
Zyclon B Zombie
Darkos
Bamboo Shows
Terre Thaemlitz
Silent Passability (Ride To The Countryside)
Ali Phi
Recondition III
Throbbing Gristle
Distant Dreams (Pt.2)
Thongthai Thin-Isan
Lam Phloem Rai Thiam Than Pak Part 1
Musumeci
Tag Fur Tag (Traxx Edit)
Valerio Tricoli
IV. Clonic Earth / III. Interno d'Incendio
Schacke
Like That
Jessica Kert
Tripple Nippel
PØLI
The Last Station (Svarog Remix)
ODDGRAD
HPS (III Remix)
Schacke
To The Outer Limits and Back
P.A.S.
Surface Noise
Column One
The Last One is Dead [Part1]
Killawatt
The Roamer

perception / acoustic ecology / assemblage / psychoacoustics / resonance / weird / becoming / zoe / body / chaosmosis
Alvin Lucier
I am Sitting in a Room
Maryanne Amacher
Tower
Rudolf Eb. Er.
Aas auf Brett (Swollen Corpse)
m/s
Linear Manifold (Multiple Version)
Bob Ostertag + Otomo Yoshihide
Tabbing Will Get You There Faster
Oren Ambarchi
Lost Time Found Again
Nurse With Wound
Sinan Sings for Her Chums
Ana-Maria Avram + Iancu Dumitrescu
Mnomosyne
Akira Kosemura
A Park
Nurse With Wound
Dogs Breath Rising
Philip Samartzis + Sachiko M
Rupture
48 Cameras
13 Sometimes God Smiles
Alan Lamb
Beauty
Henri Chopin
Vibrespace
Art of Primitive Sound
The Dance of Leaves
Bass Communion
Ghosts on Magnetic Tape I
Clara Rockmore
Revel; Piece en Forme De Habanera

duration / ritual / devotion / cosmic / becoming / zoe / chaosmosis / animism / resonance / invocation
Eliane Radigue
Adnos I
Ease (Klaus Filip + Noid)
Never
佐藤 実 (m/s, SASW)
Observation of Thermal States: Through a Stationary Wave
Catherine Christer Hennix
The Electric Harpsichord
Paul Panhuysen
Partita for 16 Long Strings of Equal Length
Coil
ANS
Philip Jeck + Jacob Kirkegaard
Soaked
BJ Nilsen
Finisterre
Jason Kahn
Sihl
Manrico Montero
Cantaro de Agua
Padmasambhava Tsechu Sadhana Invocation
Tibetan Buddhism: Ritual Orchestra & Chants
Noise-Maker's Fife
Lapin
Pascal Battus + Dafne Vicente-Sandoval
Trois
Keiichiro Shibuya
5'18
I Saw It All Happen From Beginning to End and I Still Can't Believe What I Saw
Intake
Hermann Nitsch
Das 6-Tage-Spiel Des Orgien Mysterien Theaters: Day 5
Christophe Charles
Verena on Canvas Remix
Current 93
Maldoror is Dead (Live at The Clarendon)
Clara Rockmore
Revel; Piece en Forme De Habanera

lettrism / performativity / technodiversity / body-machine / deterritorialization / singularity / transversal / affect / molecular / assemblage
Nina Hagen
Born In Xixax
M.A. Numminen, Tommi Parko, Pekka Kujanpää
Eleitä Kolmelle Röyhtäilijälle
Baudouin Oosterlynck
Oratorio
Carlfriedrich Claus
Im Studio Akustische Kunst Des WDR, Köln
Pierre André Arcand
Lsé-Tu
Bauhaus
Satori
Guy Harries + Meira Asher
Torture Bodyparts
Carla Bertola
Scanning Two
D.A.F.
Co Co Pina
The Adicts
Easy Way Out
François Dufrêne
Crirythme pour Bob Cobbing
Gangpol und Mit
Le tambour
Dome
Cruel When Complete
Jean-Claude Gagnon
Sonor Poetry Song
Gel
Fâne
Enno Stahl
Breath Attack
Vorpal
Gymnopedie v1.01
Åke Hodell
Structures III (part 2)
Farmers Manual
Loop 2
Kraftwerk
Numbers
Otto Von Schirach
The Inventor of the Milf'ed Decibel
Robert Watts
Interview
Henry Jacobs
Guitar Lesson
Alexander Gornon
Ne-Ve-Promoi-Ki-Shkoj-Tzara
Christian Bok
Mororized Razors
Drumcorps
Grist
Cris Cheek
Public Announcement

technics / animism / ritual / theater of cruelty / assemblage / transversal / deterritorialization / intensity / zoe / cosmopolitics
Philip Corner
Gamelan
Khampagar Monastery Ritual Orchestra
Invocation
Ibimeni. Garifuna traditional music from Guatemala
Wala diru lumala
Torokoiwe: Solo Shama
First Chant
Witchcraft and Ritual Music (East Africa)
Pokot Witch Doctor
Xhosa / Mpondo (South Africa & Swaziland)
Ubengalahl' Iinkomo
Inuit. Traditional Music from Greenland
Entertaining Song
Muslimgauze
Shaheed
AHXAT
Dormance
Ghédalia Tazartès
La Berlue
Cuntinamo
Piaruainai, solo shaman
László Hortobágyi
Kyrie Bhajan
Wire
Word
Antonin Artaud
Sound effects which fade into the text performed by Maria Casarès
Ireen Amnes
Insurgent
Taylor Deupree
bubblewarp13.66mB
Mam Tuxtla Chico
Música Indígena de Chiapas. Tercer Son
Mider
Absorción
Terry Riley
Poppy Nogood and the Phantom Band All Night Flight, Vol. 1 (Part 4)
Kouki Izumi
Field
Ngoma ra Mrongo
Witchcraft & Ritual Music (Kenya & Tanzania)
Erik Luebs
Particalized
Shaahin Saba Dipole
Overtones
Música de los Santos. Venustiano Carranza, Chiapas
Testimonio Nacional de México
Fixon
Trust
Música Indígena de Chiapas
Torito Zapateado (Tsotsil, Chalchihuitán)
Lucid Void
Aspect
Church Universal & Triumphant, Inc.
Video Shorts with Two Announcements

chaosmosis / invocation / animism / technics / becoming / hauntology / zoe / sorcery / resonance / transversal
Sorcery
ERRM (feat. Elsiane)
Sunn O))) + Boris)))
The Sinking Belle (Blue Sheep)
Akira Rabelais
Which Alters when it Alteration Finds
Khampagar Monastery Ritual Orchestra
Padmasambhava Tsechu Sadhana Invocation
Eartheater
Flames Are Dew Upon My Skin
Sunn O))) + Boris)))
Akuma No Kuma
Carl Stone
Banteay Srey
Oswaldo Lares
Saludo A San Juan Bautista
Ibimeni
Tari Edna Golu / Edna's Gold Tooth / Pororo
Oswaldo Lares
Canto De Amor Jayeechi / Dodo Fafa
The Velvet Underground and Nico
Sunday Morning [Stereo Version]
Satanicporncultshop
Dreams are my Reality, reprise
Psychic TV
Godstar (7' version)
Casino Shanghai
L'Action Minimal
Oswaldo Lares
Canto De Pilón
[Sorcery](http://Sorcery - Rainfall Runoff Modeling)
Rainfall Runoff Modeling
Column One
No One
Jansky Noise
Slow Order V1
The Velvet Underground and Nico
I'll Be Your Mirror [Stereo Version]
Charmaine Lee
Whip

technics / oral / animism / architecture / pattern / recursion / intensity / technodiversity / becoming / cosmic
Yanomami Ritual Songs
Caberima Night Insects, Birds and Moths, Pt. 1
Mark Bain
Laboratorium (Excerpt)
Alyssa Moxley
Night Smoke over the Caldera
Pan Sonic
Maa / Kytkennaet
Eavesdropper
Pupa-Case
Grischa Lichtenberger
0311_10_lv_1_ir_wei
Column One
Mask Conversation
Rechenzentrum
Ahab
Dumb Type
Arranged By [Synth Strings Arrangement]
Mario de Vega
Nepal Field Recordings
Alessandro Brivio
6pezzi2009+lagodelnulla
Akira Rabelais
The Little Glass
The Rita
Gamzatti I
志水児王
One Million Dots
Alva Noto
Y=1,6,18,54
War Scenes
Waste
Menzi
Impazamo
Vudmurk
Sleep Until it Hurts You
Rudolf Eb. Er.
Leichenblähung - Aufklaffung und Entweichung (Bursting Corpse)
Jansky Noise
Slow Order V1
Tresque
Tendresse, Encore
Goem
Comp Een
Laibach
Valjhun - Waldung
D-Leria
Noises From The Room
mhz_
APYRWAVE Mix 20_20
Alice J. Shaw
In Venice
Alien Hand
The Death Of As Many Cuts As Possible
Tendencyitis
Rhizomes
Judgitzu
Umeme - Kelele
JK Flesh
Offering
Laibach
Krst/ Die Taufe, Germania

intensity / body / feral / latency / becoming-animal / molecular / affect / possession / deterritorialization / drive
Pharmakon
Milkweed it Hangs Heavy
ᴄʟᴇʀɢʏ
Show Me That Light [Cleric Remix]
Dawn Razor
Nineteen
Pharmakon
Bestial Burden
BXTR
Asimov's Law (NN Remix)
RE- A L P H A
Stonehead
Phobia
Leech
JV & Palf
Don't Stop
Furtive
Effluvia
Pyramidal Decode
KNT
Toni Dextor
Stand
Slikback + Hyph11E
Black Pepper (Slikback Remix)
Perc
Snare
Ice_Eyes
Cyan Gradients
Клуб
Rune Bagge (Instrumental)
Manni Dee
The Wolves
Mike Parker
Inversion 7 (Remastered)
D-Leria
Tribalism
Slikback
Venom
Hioll
Bijtend

ritual / field / voice / resonance / hauntology / listening / ceremony / landscape / duration / animism
Enno Velthuys
Something Special
Francisco Pereira de Souza (Chico Bororo)
Choro [Crying] Ritual #1
Mark Harwood
The Fly Abstracted Death
Doon Kanda
Awase
Alice Kemp
The Headless Saint
Allan Gilbert Balon
Stella Maris
øjeRum
Untitled
Hironori Nagatsuma
Formkedja (polerad)
Stine Janvin + Morten Joh
By the grave - Akk, Mon Jeg Staar I Naade
Xenia Pestova Bennett & Ed Bennett
Goldberg Variations：Aria
Anne Gillis
Untitled #4
Laura C. Boulton (recordist)
Te bagut (Herding Song); Tabe'tara (Marriage Song); Karu, karu (Lullaby)
Olivier Messiaen
Oraison - For Ondes Martenot (1937)
Mark Harwood
Implied Author
Sigur Rós
Untitled #3 (Samskeyti)
FUJI｜｜｜｜｜｜｜｜｜｜TA
Keshiki
Leilehua Lanzilotti
On stochastic wave behavior： i： ō
Seefeel
Ch-vox
Mario de Vega
Mammal [Edit]
Sofi
Scab]𓍯𓂃
Pablo Diserens + Ludwig Berger
Regen ist die Sonne des Klangs (Rain is the Sun of Sound)

rhythm / body / groove / electro / footwork / intensity / affect / becoming / multiplicity / deterritorialization
[Tilde]() — Porto Recording
Jonathan Scherk
A4
Carrier
Ten By Ten
Nicola Ratti
Palace
Moin
Pockets
DJ Strawberry🍓
Moabeat
Iri.gram
Iri.gram 03
Oren Ambarchi, Mark Fell, Will Guthrie, Sam Shalabi
Oglon Day 1
Carrier
Product Of Environment
Tachycardie
Agité tandis que
Matteo Coffetti
Quentin Selva Fooza
Le Frit
Lotophagie
DJ Fitness
Tres Tristes Tigres (ft. Señor Faxwater)
JSPRV35
Intergalactic Funk
Kensho Nakamura
Mizuniwa
DJ ZNOBIA
Beat Cursor
Kensho Nakamura
Mizuniwa
Toma Kami
Solo Use
Ikävä Pii
Turbolento
Subjects
In The Morning

field recording / folk / world / voice / ritual / accumulation / echo / dissolution / remembering / plunderphonics
Jesse Paul Miller
Tom Yam Telephone
Patiño
Spiral of Amusement
Gijs Gieskes
Greek Delight
Pefkin
Norfolk: The Lantern Man
Sublime Frequencies
Lion Attack, Cattle Massacre
Ella Jenkins
A Love Chant from North Africa
Hive Mind Records
Muqaddim Bin Hamou
Toshiya Tsunoda
Service in a Convent 尼僧修道院での礼拝
Death Is Not The End
Brown wax home recording of \
Akio Suzuki
Jumping and Standing 1984 (excerpt.2)
Txema González
Juana (Andagoya)
Doon Kanda
Welcome Welcome
Txema González
Tío Pacho (Docordó)
Honorio Quila
Por Nacimiento
Laurie Anderson
O Superman
Arianne Churchman
Suffolk: The Horse-Woman of Piper's Vale
Musica Mosaica
Interlocking
Tristan Perich + James McVinnie
Infinity Gradient: Section 1
Repetition Repetition
Lakeland
Paola Torres Núñez del Prado
Cae el cuadro de
Zander Raymond
French Door
Pancrace
Cacostomie
Timely Buck
Anon
Alma Laprida
Un Reflejo Vibrante
The Three Night Wizards
I Love Yoruba Girl
Emahoy Tsege Mariam Gebru
Spring Ode – Meskerem
Baudouin Oosterlynck
Refuge
KOSTADIS
Floating Feel
Doris Jones
Seal Flapper
Tirzah
Basic Need
DJ VLK
Ich-Auflösung im Bierkönig
Tirzah
Basic Need
Posuposu Otani
Finding fungus キノコの唄
Jeln Onohn
Sfield
Earl Sweatshirt + Surf Gang
Sisyphus

drone / noise / field recording / musique concrète / psychoacoustic / resonance / tape / site-specific / dissolution
Sawako
02
Wanda Group
No B Vision Ever
Félicia Atkinson
Becoming a Stone
Ahti & Ahti
Why Do Birds Suddenly Appear? - Part 2
Perila
Kid9
Scott Cazan
Three 2
Mario de Vega
1
Phill Niblock
Stosspeng l
Choi Joonyong
01
Ian Wellman
Particularly Dangerous Situation
Izabela Dłużyk
Call of the night
Tod Dockstader
Dissent
Ariel Kalma
Sunset Inside
Jonáš Gruska
IV
Sara Persico
Rashid Karami

Adición
Calcium oxide, voltage, 2-pole cable, tempered glass, liquid adhesive, gunpowder, electronic detonator
Site-specific intervention. Variable dimensions
Tempered glass. 180x90x0.3cm, each
SalaSeis. MARSO. Mexico City, Mexico
2016

❦
Sofía Mariscal
Maylen Bourget
Allegra Papa
Goethe Institut Mexiko
Eloy Hernández Reyes
Carsten Seiffarth

Detonation of three explosive charges covered with calcium oxide.

Using the physical force produced by the explosion, the material was spread across the floor, walls, and doors of the exhibition space. Two panes of tempered glass, measuring 180 × 90 × 0.3 cm each, were previously installed in the middle of the room to serve as canvases, capturing the imprint of the calcium oxide as a formal result.

From the portfolio collection.

The Invisible Other
Public space intervention
Mobile phones, internet access, software
2019

Commissioned by Spatial Media Labs
Software Development by Iván Abreu

❦
Anthea Caddy
BJ Nilsen
Lucas van der Velden
Karl Klomp
Raviv Ganchrow
Signe Lidén

The Invisible Other is a work composed of mobile phones abandoned in public spaces, each running a digital engine encrypted in the operating system.

The system replicates espionage techniques designed to use the built-in microphone of mobile phones as eavesdroppers, allowing the production of audio recordings stored on a server. It is a simple gesture that reflects on the complex mechanisms behind the infiltration of telecommunications infrastructure into our privacy and intimacy.

November 28th, 2019
Rotterdam, Netherlands

From the portfolio collection.

A X I S
Audio-visual compendium
2017 – 2019

Commissioned by the National Creators Grant by the Mexican Cultural and Arts Fund (FONCA) Grant and Musikfonds e.V.

Chapter 1
In the South Seas
Antarctica

Chapter 2
Faceless
Arizona, United States

Chapter 3
F1
Atacama Large Millimeter Array
San Pedro Atacama. Chile

Chapter 4
Utopian Menopause
Landers, United States

Chapter 5
The Drunken Taxicab of Absolute Reality
Harz, Germany

Chapter 6
Occupied Landscapes
Chilean Military Base Camp, Antarctica

Chapter 7
Orbital
Berlin, Germany

Chapter 8
Stereophonic
Ghorapani, Nepal

Chapter 9
Holy Mountain
Drake Passage

Chapter 10
Almost Human
Mojave Desert, United States

Chapter 11
Phase Disorder
Puerto Williams, Chile

Chapter 12
Iron
Kathmandu, Nepal

Chapter 13
Cycle
Berlin, Germany

Chapter 14
The Paradise of Single Tongues
Chinese Military Base Camp, Antarctica

Chapter 15
The Messenger
Chengdu, China

Chapter 16
The Cure for Wrinkles
Patagonia, Chile

Chapter 17
Optical Asphalt
USAF-51. Mojave Desert, United States

Chapter 18
Combustion
Shenzhen, China

Chapter 19
Molar
Berlin, Germany

Chapter 20
Scale
Aquiles AP-41

Chapter 21
Love Spirals Downwards
Calama, Chile

Chapter 22
Unmuted
Brocken, Germany

Chapter 23
Reservoir
Chinese Military Base Camp, Antarctica

Chapter 24
Unfit
Mexico City, Mexico

Chapter 25
Port
Valparaiso, Chile

Chapter 26
Yaghan
Tierra del Fuego, Chile

Chapter 27
Green Shelter
Cape Horn, Chile

Chapter 28
Motionless
Chinese Military Base Camp, Antarctica

Chapter 29
III
Brocken, Germany

Chapter 30
Coito
Copacabana, Bolivia

Chapter 31
Holy Snake
Sapporo, Japan

Chapter 32
Spectre
Through an aircraft

Chapter 33
Burial
O'Higgins Base Camp. Antarctica

Chapter 34
Affordance
Route 66, United States

Chapter 35
For Humans
Las Vegas, United States

Chapter 36
Reading Stars
Toconao, Chile

Chapter 37
Devine
Codelco Facilities. Calama, Chile

Chapter 38
Scrubland
Corona Satellite Calibration Targets. Casa Grande, United States

Chapter 39
Institutes for Resolution Disputes
Berlin, Germany

Chapter 40
Madre
La Paz, Bolivia

Chapter 41
Decay
Punta Arenas, Chile

Chapter 42
Shadows
Hiroshima Atomic Bomb Memorial. Hiroshima, Japan

Chapter 43
El Mago
Varanasi, India

V L A X R O M A N I
The Aftermath.

AXIS—to be seen as AX15—is an ongoing audio-visual compendium on the persistent dilatation of human presence in remote environments.

Within a wide scope of latitudes, isolation and landscape interruption have served as focal points to document sonically and visually the abrupt sedimentation and development of satellite technologies for social tracking, and its infiltration in our everyday life commodities.

Recorded, mixed and arranged during a trip to Antarctica.
All sounds recorded at Aquiles AP-41, a transport of cargo and passengers from the Chilean Naval Force.

Fall
Amplification system, signal generator, direct drive motors, wood, PVC, acoustic foam, software
Site-specific intervention
Großer Wasserspeicher. Berlin, Germany
2018

Composition, programming: Mario de Vega
Construction of rotating surfaces: Torsten Oetken
Mechanics: Carlo Crovato
Location recording: Adam Asnan

Commissioned by Tuned City

FALL is a kinetic installation programmed to operate continuously for 24 hours. Throughout this cycle, an algorithm gradually increases the resonant characteristics of sixteen channels of white noise, diffused through a custom-built multichannel amplification system.

Two rotating surfaces measuring 310 × 230 cm were designed in direct relation to the architecture of the exhibition space. Mounted at fixed angles and rotating independently, they function as passive acoustic filters, continuously modulating the propagation and perception of sound within the environment.

Conceived specifically for the Wasserturm in Berlin, FALL responds to the site's layered architectural and historical context. Designed by Henry Gill and constructed by the English Waterworks Company, the water tower stands beside the former machine hall, which was used as one of the first concentration camps established in Nazi Germany during the first half of 1933. The installation engages this charged setting through a slow, continuous transformation of the acoustic space, inviting sustained attention to the site's material and historical resonance.

Collision #2
Voltage, automotive airbags, auto parts, mobile phone, cement
Site-specific intervention
Bildraum Bodensee. Bregenz, Austria
2018

❦
Karl Salzmann
Alexandra Grausam
Carmen Zanetti

Collision #2 is part of a series of performative interventions that use fictional situations and spatial arrangements as tools to suggest the acoustic presence of an accident. Without spectators, the piece is performed on site by applying voltage to automotive airbags to produce an explosion.

This series of works is the continuation of performative situations produced between 2006 and 2016, in which gunpowder was used as the main element to modify the molecular constitution of objects and materials.

La Culpa
Water, actors, water cannon of the Fire Department of Kalamata, Greece
Ancient Messene, Greece
2018

Performed by Spyros Koronis
Art Direction: Mario de Vega
Dramaturgy: Georgia Athanasiadou
Cinematography: Yiannis Gaitanidis
Camera assistant: Giannis Rozeas

Commissioned by Tuned City – Ancient Messene, within the framework of the "INTERFACES" project (GA_2016-1623) with the support of the Creative Europe Programme of the European Union.

❦
Carsten Stabenow
Nicolás Spencer

With the support of the National Fire Brigade of Kalamata, a water cannon vehicle typically used against protesters in political demonstrations was used to spray an actor with high-pressure water.

Protocol (The Messenger)
Whipsnapper (Goasslschnalzer), instructions
Goasslschnalzer: Andreas Rohmer
Ancient Messene, Greece
2018

Commissioned by Tuned City (Berlin, Germany), Onasis Cultural Centre (Athens, Greece)

A whipsnapper from Bavaria, Germany, was hired to perform a score at the archaeological site of Ancient Messene, a UNESCO World Heritage Site in the Regional Unit of Ithome, founded in 369 BC by the Theban general Epaminondas.

The score identified locations within the archaeological site distinguished by their acoustic qualities. Following this principle, dressed in traditional Bavarian costume, the performer followed the score for three days, cracking the whip at different locations without prior announcement and with an authoritarian demeanor.

Visually, German folklore is presented as a symbolic reference to "the stranger" and a comment on political borders and intrusion. Acoustically, the crack of the whip is presented as a symbol of domination, force, and imposition.

Prologue
Whipsnappers (Goaßlschnalzen), instructions
Großer Wasserspeicher. Berlin, Germany
2018

Performed by Andreas Rohmer, Klaus-Peter Seher
Recorded by Adam Asnan

❦
Carsten Stabenow
Adam Asnan
Torsten Oetken
Hans Tammen

In spring 1933, Großer Wasserspeicher Prenzlauer Berg—formerly known as the SA's Maschinenhaus I—served as a "wild concentration camp" in which Communists, Socialists, Jews, and other persons unwelcome to the new rulers were interned and murdered without a court ruling.

Prologue is an action for two whipsnappers from Bavaria (Goaßlschnalzen) hired to interact with the acoustic qualities—approximately 20 seconds of reverberation—of Großer Wasserspeicher.

From the portfolio collection.

From the portfolio collection.

El Intruso
Clothing design with embroidered and printed symbology, jewellery, instructions
2019 – 2020

Dramaturgy, Performance: Mathilde Invernon
Jewelry: Jette Zirprins
Screen Printing: Julien Villaret
Embroidery: Strefa Haftu
Art Direction: Mario de Vega

Casino de Montbenon. Lausanne, Switzerland (2019)
Alte Münze. Berlin, Germany (2020)

Commissioned by Lausanne Underground Film and Music Festival and Dystopie Festival

❦
Thibault Walter
Mathilde Invernon
Graziella Torrigiani
La Becque | Résidences d'artistes
Luc Meier
Coline Bardin
Arianna Camilli
Juan Duarte
Hugo Esquinca
Juliette Henrioud
Mériel Kenley
Stéphane Kropf
Luciano Maggiore
Francisco Merino
Louie Rice
Gudinni Cortina
Michel Blancsubé
Marcellvs L
Daniel Löwenbruck
Kata Królikowska
Georg Klein
Laura Mello
Mario Anself

El Intruso is a work performed by French actress Mathilde Invernon.

The work is not a scheduled performance. Its execution takes place in multiple locations, parallel to the exhibition or event where the work is on display. It occurs as possible encounters where the performer observes, sleeps in public space, smokes in forbidden areas, drinks, cries in public, and eventually opens possibilities for random conversations.

El Intruso is an androgynous character designed as the stereotype of a teenage rock music militant. Embroidered symbology, objects, facial makeup, Black Metal paraphernalia, and graphic identities of fictional bands function as syntax of aural activity.

Parallel to the performance, a series of actions for camera was produced.

El Intruso was conceived and produced during a residency at La Becque | Résidences d'artistes at La Tour-de-Peilz, Switzerland.

Untitled
Triptych. Lambda prints in aluminum frames.
2015

From the portfolio collection.

From the portfolio collection.

La Esperanza
Whistle, instructions, ambisonics recording
The Cirque de Venes
Calvignac, France
2020

❦
Martine Michard
Yann Leguay

An emergency whistle is sounded while ascending a hill. Using an ambisonic microphone positioned at the base of the slope, the recording captures the propagation of the signal through the landscape and its interaction with the surrounding acoustic environment.

From the portfolio collection.

From the portfolio collection.

From the portfolio collection.

EPILOGUE
For Oswald Wiener and Helmut Schoener

(Based on Animal Music / Tiermusik: Team of Jeremy Roht, West Dawson, Yukon-Territory, and incidental participation of dogs around the village).
http://www.suppose.de/texte/jeremysteam.html

On 3 June 2018, at 24:00, the audio recording Animal Music / Tiermusik: Team of Jeremy Roht, West Dawson, Yukon Territory, by Oswald Wiener and Helmut Schoener, was played back in the surroundings of Messene. As the recording propagated through the landscape, echoes and acoustic refractions prompted responses from dogs across the city and neighboring villages, gradually generating an expansive, self-organizing chorus.

From the portfolio collection.

From the portfolio collection.

From the portfolio collection.

From the portfolio collection.

From the portfolio collection.

From the portfolio collection.

Los Testigos, 1995 –
Gold, copper, aluminium, polycarbonate, pigment, wax, paraffin, hair, printed media

Los Testigos presents a selection of tools and materials used in concerts and sound actions.

Since 1995, working primarily with analog media informed by bruitism and sonic subcultures, the practice has developed unstable arrangements in which raw electronic signals amplify dispersed acoustic activity generated through chemical reactions, voltage fluctuations, and abrupt variations in signal routing. Across these configurations, objects are stacked in precarious balance, perpetually on the verge of collapse.

This body of work has been presented at international festivals and institutions including Sonic Acts (Netherlands), Supercollider Symposium (Germany), Simultan (Romania), transmediale (Germany), LUFF (Switzerland), Tsonami (Chile), and Aural (Mexico).