E.S.S.I. Exhibitions
(experimental sounds, sculptures and installations)
International Sound Artists
Each year sound artists are invited from overseas to contribute to E.S.S.I.
The intention is to open up international dialogue between all sound artists and to form networking relationships.
ZOY WINTERSTEIN - Germany
My music is made up of self-edited electronic sounds and self-recorded noises. When I improvise I‘m looking for structures that exert an ethereal ambience between intensity and charm. A dialogue between nature and technology and their power in the form of organic curves but also opposing contrasts. The noise recordings are partially transformed electroacoustically and set in relation to the purely electronic sounds often in a playful manner. I form the layers of sounds to let them communicate with each other or to experiment with unexpected combinations. I want to create depth and complexity in different degrees.
JUSTIN MARC LLOYD - USA
(aka pregnant spore)
Electro-acoustic, magnetic tape, altered electronics, voice, maybe more. Awkward and barely balancing pieces of one long mental orchestra that reincarnates itself. Strange droning, simulations created by working hand in hand with feedback. Almost-songs, texture worship, subdued aggression, strong juxtaposition, nonsensical flow, exaggerated emotion. Deep inspiration drawn from rational emotive behavior therapy, the legacy of the pineal gland, light, the absolute commitment to individual growth and independence, and bizarre encounters with one-self. No noise, no music, no rebellion. Boundless sound design. psychedelic wonk. Vibrations inspired everything.
NEURON - Spain
Neur(o)N is an artist and sound technician in the field of electronic music. He started his career in 1994 as a DJ playing techno music. Later he started to produce techno with Neural and played this music at various festivals, events, live acts and DJ’n sessions. By 2010 he started a new project to create ambient drone music and made his first album in 2011, called “Planet Fendor in INRECS” and showcased this album at the 2011 Sonar Festival. In 2012 he published a track on the compilation “Music & VJG Petroglyph Records - Compilation The X-mas”and finally in 2013 created his last album called Isolated Drones in Petroglyph Music
He is now preparing a new work for Dislocation Deity Records.
SEBASTIAN SIGHELL - Ireland
As a basis for my I used here a black and white photograph that I took in an oasis at the gates to Moroccan Sahara. I edited it digitally adding some colours and turning into an abstract image and then turned it once again into sound. I put this digitally generated and processed sound in juxtaposition against analogue sounds of monophonic synthesizer and contact microphones. Working with and balancing contrasting elements I find as an alchemical process.
BOGDAN DULLSKY - Moldova
"Souvenirs"
When it comes to improvisation, this is what I do… The first things to consider are the given circumstances. It’s a bit like an actor trying to relive something with his heart, albeit inside the limits of the stage. He tries both to relive his character’s experience and to allow it ‘through’ him. In the same way - in those same circumstances of an amorphous room - you’ve got to hunt down the main thing. It’s what people sometimes call ‘liberty.’ The driving force behind this project was something similar; we were looking both for stimuli and for reactions to them. If you spend most of your time with a musical instrument in your hands, then a musical syntax, a harmony-based view of the world in all its depth and spatial modes will come together. What I mean is… there’s no need for [desperately-sought] originality… Originality is something you simply cannot avoid!”
LEO WEINBERGER - Austria
Johannes Leo Weinberger is me, too. Without music, I would be a statue without birds. I can see what I want, and it is often a blurred chaos. I can hide and I can sleep for a moment. After four decades of wordliness, I am still and not yet possible. I like tenderness and poison. But after all, nothing is left, and I am pretty glad that this is not eternity, so far.
MARGRIET KICKS-ASS - Netherlands
This composition is Margriet’s result of her exploratory journey, consisting of a mixture of electronic sound with acoustic vibrations. Her self made instrument “Rauschmaschine” consists of a filing cabinet set in motion by controllable ground notes, resonating from the built-in speakers. The result is that everything in and on the cabinet starts resonating/vibrating with this energy, which is amplified by microphones and mixed in the composition. Her other self-made instrument “Splashbucket” enables these vibrations to become audible underwater. A speaker turns water into motion, which starts the underwater objects to vibrate,and the resonance is together with the sound of the water transmitted by an underwater microphone to a speaker.
BOGDAN DULLSKY - Moldova
"Daily"
When it comes to improvisation, this is what I do… The first things to consider are the given circumstances. It’s a bit like an actor trying to relive something with his heart, albeit inside the limits of the stage. He tries both to relive his character’s experience and to allow it ‘through’ him. In the same way - in those same circumstances of an amorphous room - you’ve got to hunt down the main thing. It’s what people
sometimes call ‘liberty.’ The driving force behind this project was something similar; we were looking both for stimuli and for reactions to them. If you spend most of your time with a musical instrument in your hands, then a musical syntax, a harmony-based view of the world in all its depth and spatial modes will come together. What I mean is… there’s no need for [desperately-sought] originality… Originality is something you simply cannot avoid!”
BOGDAN DULLSKY - Moldova
"Restored"
When it comes to improvisation, this is what I do… The first things to consider are the given circumstances. It’s a bit like an actor trying to relive something with his heart, albeit inside the limits of the stage. He tries both to relive his character’s experience and to allow it ‘through’ him. In the same way - in those same circumstances of an amorphous room - you’ve got to hunt down the main thing. It’s what people
sometimes call ‘liberty.’ The driving force behind this project was something similar; we were looking both for stimuli and for reactions to them. If you spend most of your time with a musical instrument in your hands, then a musical syntax, a harmony-based view of the world in all its depth and spatial modes will come together. What I mean is… there’s no need for [desperately-sought] originality… Originality is something you simply cannot avoid!”