Transposition
as part of FAXEN
Sound-installation, 2017
Microphone, mirror ball motor, shortwave radio, speaker, table
Dimensions: 200x200x150cm
The sound installation “Transposition” is rooted in Albania’s emigration history. The regime’s collapse in 1991 triggered Europe’s largest emigration movement after the Second World War.
In search of this transnational Albanian identity, the sound installation “Transposition” explores the emigrant countries of the Albanian diaspora in an acoustic way. “Transposition” focuses on shortwave radio stations from countries with a significant Albanian community, such as Greece, Italy, Switzerland, Germany, Canada and Turkey. Shortwave radio is particularly striking in this context, as it is used for very long-distance communication on a global scale.
Upon approaching the sound installation, visitors experience a blended soundscape of radio stations from around the world. A slowly rotating microphone captures this multitude of radio stations as it passes, rendering each of them audible via headphones. The listener can hear a steady fading in and out, a mix of different radio programs constantly generating new and unexpected combinations.
Deutsch:
Die Klanginstallation „Transposition“ bezieht sich auf die Geschichte Albaniens als Auswanderungsland. Als Folge des Regimes-Zusammenbruchs im Jahr 1991 wurde Europas größte Emigration-Bewegung seit dem Zweiten Weltkrieg ausgelöst. In Bezug auf diese transnationale albanische Identität erforscht die Klanginstallation „Transposition“ die Auswanderungsländer der albanischen Diaspora auf akustische weise. „Transposition“ konzentriert sich auf Kurzwellen-Radiosender aus Ländern mit einer bedeutenden albanischen Gemeinde wie Griechenland, Italien, Schweiz, Deutschland, Kanada und der Türkei. Kurzwellenfunk ist insofern auffallend in diesem Kontext, wie es für sehr lange Fernkommunikation auf globaler Ebene verwendet wird. Durch die Annäherung an die Klanginstallation erleben die Besucher ein gemischtes Klangbild von weltweiten Radiosendern. Über Kopfhörer wird die Bewegung eines langsam rotierenden Mikrofons, welches die fünf Kurzwellenradios passiert, hörbar. Die Besucher hören ein stetiges Fade in und out, eine Mischung aus verschiedenen Radioprogrammen, die ständig neue, unerwartete Kombinationen erzeugen.
Exhibitions
TrueBlueNews
in collaboration with Sam Bunn and Davide Bevilacqua
Video (HD) 90min, Performance, 2017
Show, Live TV Broadcast
True Blue News | Salzamt Linz/AT | 5.4.2017
True Blue News was a collaborative work directed by Sam Bunn, Davide Bevilacqua and Sebastian Six that involved the participation of around 25 Linz based artists, students and citizens. A performative talk-discussion-news-broadcast-concert party thing with Utopic tones wich explored the idea of a new TV station that was at the centre of progressive political action in a fictional, Utopian Linz/Europe/world. Coming to a screen near you via DORFTV and LIVE! at the Salzamt, 19:30, 5th April 2017 with Sam Bunn, Davide Bevilacqua, Sebastian Six and Dave Perlis (USA) and Robert Storey (UK), a 13 part ‘Choir of the Future’ and various Citizens of the World.
Rhythm and Decay
6-channel site specific sound installation, 2016
lametta, speakers, raspberry pi
“You went out with your best sweater on. With every intention of dancing till dawn…”
Like a waterfall glittering threads flow over the walls of the Kunsthalle Linz and visualize a familiar color spectrum. It represents the for the human visible part of the light. An electromagnetic field also drives the diaphragm of the loudspeakers to convert the signals into sound waves. Every sound brings the exuberant walls into vibration and the equipment to tremble, becomes physically visible and breathes life into the place. The ground wobbles and the shoulders and legs start to beat in the beat.
Interacting Art
in collaboration with Sam Bunn and Davide Bevilacqua
artist curated and remixed exhibition, 2016
installations, mixed media, performances
It is important to note that this exhibition was part curated and part artistically interpreted. Following an open call for working or unworking works, Davide Bevilacqua, Sam Bunn and Sebastian Six (hereafter referred to as BB6) arranged and interpreted the proposals they received to bring you this show.
A play on artworks, works in process and working things out by doing – together. Through negotiation, juxtaposition, and re-contextualization, various works and non-works are woven into an interface for the audience, built through interactive, textual and performative processes. There’s no excuse for our lethargy: since we already possess the ideas, tools and techniques to initiate a change of course. The collaborative display here exhibited turns non-functional works into functional un-works, reaching towards how art might work between artworks. The project uses the medium of interaction in a way that allows the pieces to leave the traditional space of artistic discourse and to occupy instead the space of dialogue.With Stella Baraklianou, Yen Tzu Chang & Yoh Morishita, Maria Czernohorszky, Isidora Ficovic, Laura Jade Hindes, Mary Maggic, Francesco Nordio, Patrick Schabus, Henning Schulze, Julio Sosa, Federico Tasso.
A project by Davide Bevilacqua, Sam Bunn, and Sebastian Six.
Exhibition
Interacting Art | Raumschiff, Linz/AT | 7. – 12.9.2016
More info:
Floor plan as pdf
In this momentary awareness I tried to tell myself…
as part of FAXEN
Site-specific sound installation, 2016
2-channel audio, 10m18s (loop), horn speaker, adhesive lettering
Dimensions variable
A site-specific sound installation for a public spa in Linz. “In this momentary awareness I tried to tell myself…” combines quotations by deep sea explorer Jacques Piccard with unexplained recordings from the deep sea and field recordings from the spa. In 1960 Piccard dived to the bottom of the 10,916m-deep Mariana Trench with his submarine “Trieste”. His unique reports from the dive give us insight into a world without any light that requires us to focus on auditory perception. Reports from the dive serve as a framework for a multichannel installation that mixes maritime underwater soundscapes and field recordings from the spa itself. A quote by Jacques Piccard was displayed next to the swimming pool with adhesive lettering.
Deutsch:
„In this momentary awareness I tried to tell myself,…“ stellt der tiefen-entspannenden Kontemplation in esoterisch angehauchter Wellnessbadatmosphäre die dunkle und unerforschte Welt der Tiefsee entgegen.Die Klanginstallation gibt Einblick in die akustische Welt der Ozeane deren Erforschung erst über klangliche Methoden, wie Echolotung bzw. Sonar ermöglicht wurde. Die Klanginstallation vermischt Zitate des Tiefseeforschers Jacques Piccards, mit ungeklärten Aufnahmen aus der Tiefsee bzw. Field-Recordings aus dem Hummelhofbad. Mit seinem Unterseeboot Trieste tauchte Piccard 1960 auf den Grund des Marianengrabens in 11.034 Meter Tiefe und ist seither der einzige Mensch der den tiefsten Punkt der Erde besuchte. Seine Berichte aus einer extremen Umgebung in absoluter Dunkelheit, geben Einblicke in eine Welt die einen Fokus auf die auditive Wahrnehmung erfordert. Dieses narrative Element dient als Gerüst für eine Mehrkanalinstallation und vermischt sich mit maritimen Unterwasseraufnahmen sowie Klängen aus den „Maschinenräumen“ des Hummelhofbades.[/su_spoiler]
Exhibitions
VOLUMES
as part of FAXEN
Site-specific sound installation, 2015
4-channel audio, 5m4s (loop), speaker, inkjet print 70×50cm
Various auditory characteristics of the Lentos Art Museum served as Various auditory characteristics of the Lentos Art Museum in Linz serve as the starting point for a composition which focuses on reverberation and acoustic reflection. The artist collective FAXEN invited percussionists to perform within 4 different rooms of the museum. They were instructed to adjust their tempo in response to each room’s particular reverberation time. These performances were recorded and used for a composition that peaks in one synchronised drum stroke, which links the four selected rooms for a brief moment. Arranged as a 4-channel installation at the Lentos Art Museum. Additionally, the score of the piece was presented as a graphical illustration.
Deutsch:
Die Akustik ausgewählter Räume des Kunstmuseum Lentos dient als Grundlage für eine Komposition welche den Nachhall in den Mittelpunkt der künstlerischen Auseinandersetzung rückt. In Reaktion auf die Nachhallzeit stimmen eingeladene MusikerInnen die Geschwindigkeit ihres Spiels ab. Die daraus resultierenden Aufnahmen werden zeitlich verdichtet und als Mehrkanalkomposition wiedergegeben.
Exhibitions
- Listening Post | Lentos Kunstmuseum | Linz/AT | 23.10. 2015 – 21.02.2016
- Floating Sound Gallery | St. Petersburg/RU | 23.4.2017
Feldsaiten
as sixbus
Album Release, 2015
digital file
The mini album from sixbus one of my alter-egos, oscillates between experiment, session and concept, with a delicate mixture of ambient soundscapes, guitar improvisations and electronic.
Credits:
Written, played and produced by Sebastian Six.
Photo by Nicole Six & Paul Petritsch, Sea of Tranquility, 2014 © Bildrecht, Wien, 2015
More here:
http://www.lauthals.org/lh014
https://lauthals.bandcamp.com/album/feldsaiten
ON AIR
as part of FAXEN
Site-specific sound installation, 2015 – 2016
Audio, varying length, multiple versions, speaker, overhead projector, helium-filled balloon, helium gas bottle, video
Dimensions variable
A helium filled balloon equipped with microphones is used to create expansive field recordings of urban areas. This method allows the A helium-filled balloon equipped with microphones is used to create expansive field recordings of urban areas. This method allows the artist collective FAXEN to record multiple acoustic transitions between divergent areas in an urban environment. Sonic zoom-in and zoom-out movements that oscillate between subjective and objective points of view, between actual and abstract and between close by and far away. Arranged as a multichannel sound installation, ON AIR invites the listener to explore the diverse acoustic topography of a city.
Deutsch:
Ein mit einem Mikrofon ausgestatteter Heliumgefüllter Ballon wird verwendet, um expansive Fieldrecordings von städtischen Gebieten zu produzieren. Diese Methode ermöglicht es dem Künstlerkollektiv FAXEN, komplexe akustische Übergänge zwischen divergierenden Bereichen in einer städtischen Umgebung aufzuzeichnen. Akustische Zoom- In und Zoom-out Bewegungen, die zwischen subjektiven und objektiven Gesichtspunkten zwischen tatsächlichen und abstrakten und zwischen nah und weit weg oszillieren. Als Mehrkanal-Klanginstallation arrangiert lädt ON AIR den Hörer ein, die vielfältige akustische Topographie einer Stadt zu erkunden.
Exhibitions
- Menu LABoratory, Hradec Kralove/CZ, 31.03 – 03.04. 2016
- ON AIR, Science Friction, Copenhagen/DK, 30.10. – 01.11. 2015
The Prospects of Recording
as part of FAXEN
Video installation, 2014
HD video 4m21s (loop), wood, perforated metal sheet, speaker, projector,
Dimensions: 200x400x80cm
The Prospects of Recording focuses on the sound studio as a specific space of recording and broadcasting, of experimentation and control, of action and documentation, and of staging and manipulation of sound. The video installation uses an acoustic absorber panel redesigned in the format of 16:9 to serve as a screen for the projection. The video was shot in the iconic Amsterdam-based Steim Studio #1. The venue is used to stage a performance which interacts with the architecture and acoustics on site and examines the effects of their manipulation.
Deutsch:
The Prospects of Recording thematisiert das Klangstudio als einen spezifischen Raum für Aufzeichnung und Ausstrahlung, als Raum für Experiment und Kontrolle, von Aktion und Dokumentation und Inszenierung und Manipulation von Klang. Die Installation kombiniert ein klang-architektonisches Objekt, welches zu einer skulpturalen Projektionsfläche im Format 16:9 umgestaltet wurde, mit einer Videoprojektion. Zu sehen ist das Amsterdamer Steim Studio welches als Kulisse, Bühne und Aufführungsort für eine Intervention der Künstlergruppe FAXEN fungiert die mit der Architektur bzw. Der Akustik vor Ort und ihrer Manipulierbarkeit interagiert.
Exhibitions
NO-YODEL
sound object, diy instrument, 2014
mixed media, sound chips
The NO-YODEL is an soundobjekt / instrument it’s made out of two little sound chips, they where circuit bended and connected to each other so you can pitch the sounds and mix them together. One is a McD thingy which plays „no limit“, the other one was in little „yodel bunny“ – voilà the NO-YODEL was born! A weird hack which can make quite interesting and annoying sounds!
Used as instrument in performances and releases: