2x LP – Errant Bodies

Sixteen contributions make up this broad fresco dedicated to sound art, presented by a collective of experimentalists active in Berlin, who have created a space specifically designed to explore the materiality, the spatial qualities, the technical implications and multiple cultural forms that sound can assume. The project’s works explore the boundaries between improvisation and composition, performance and installation, oscillating between different formal approaches and methods that dissolve the usual barriers between subject and environment, inviting the listener to a more fluid, immersive, and profound perception of the phenomenon. The proposals collected in this project move along a broad spectrum of approaches to the sound art, combining sonic principles derived from electronic and digital processes with reflections on social, cultural, and media-political issues. Some tracks emphasize the conceptual dimension of sound and its ability to interact with contemporary issues, exploring how technologies and sound structures can become tools for critical observation and aesthetic experimentation. In particular, the works of Jutta Ravenna and Gerriet Sharma deeply investigate the way space manifests itself and structures our experience, demonstrating how the physical and acoustic layout of an environment can give new depth to the perception of time, generating a subtle dialogue between sonic presence and spatial context. Laura Mello, Jeremy Woodruff, and Max Joy instead bring sounds collected directly from urban landscapes and social processes through long field recording sessions to the center of their pieces, creating sonic textures that capture details often invisible in everyday life. These sounds are sometimes treated with rigorous compositional methods, other times left free to develop autonomously, preserving their authenticity and ability to surprise the listener. Another line of research concerns the sonority of everyday objects: Mario Asef, Steffi Weismann and Janine Eisenächer focus on the haptic quality and resonance of apparently ordinary materials and instruments, transforming everyday elements into sound instruments capable of revealing hidden textures and vibrations. Finally, several artists explore the boundaries of voice and singing: Alessandra Eramo, Zorka Wollny and the Psychedelic Choir, together with Gívan Belá, Golo Föllmer and Anne Wellmer, experiment with timbres, modulations and vocal overlays, questioning the conventions of vocal performance and opening up new expressive possibilities, where the voice becomes at the same time instrument, landscape and compositional material.