And I looked, and behold a white horse: and it projected that rebirth was coming, and beauty followed with it. And power was given unto them over the fourth dimension of the metaverse, to reboot with an avatar, and with desire, and with transformation, and with the unknown parallel dimension.
Collaboration with Nathaniel Eras, Derek Holguin and Marjum Oskui for California Dreams Exhibition + Haydee Jimenez, Klaus Vom Bruch, Natalie Deseke, Benjamin Petersen.
Interactive sound media with conductive materials, organic materials, and video hologram installation at Kuntsthalle Fause Hannover Germany 2021
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In a cooperation between KV Kunsthalle Hannover and the independent organization Nettnettradio based in Tijuana, Mexico and the independent artist group Lucid Interval based in L.A.. Mexican and Californian artists together with their German colleagues presented a spectrum of partly interactive media works and jointly developed strategies for their implementation and media presence.The starting point was the conceptual orientation of the project in the experiment to bring the Californian spirit of innovation, the mentality of its people in terms of internationality, openness and inventiveness to Hanover and to open up the potential of artistic interventions aimed at the future and utopia with the inclusion of digital technologies in discourse. Equally important was the strategy of networking between the partners to establish a common artistic platform in the Beuysian sense of a social sculpture. As a first result of the networking, the idea of implementing the project through an exhibition architecture consisting of several spherical, interlocking rooms to form a total work of art was already developed in the run-up to the exhibition in several Zoom conferences.
A series of freshly cut branches hanging down from a supporting structure, wrapped in copper wire and ultimately connected to a computer, act as receptors and form a transfer medium to the visitors, who can trigger a sound scenario by touching the branches.Thus, for example, temporally stretched tone sequences of an Accordion can be heard, which plays an important role in traditional Norteño Mexican music as well as in German folk music and also represents an analogy to digital tone modulation with regard to the physics of the elongated tone generation. The artist with Mexican roots himself makes another connection when he says: “the dying branches represent the arms of my ancestors”
The next step in achieving the goals was to closely coordinate the auditory components of the media works brought in or developed on site with an audiovisual center located within a white cube in the middle of the exhibition hall. There, visitors were able to send various sound patterns into the exhibition hall by touching suspended receptors in the form of branches, collected by the artist Nathaniel Eras, without acoustically interfering with the audiovisual works of other artists installed around the white cube. In reverse, the visual works of Derek Holguin and Nathaniel Eras were optically shielded within the white cube consisting of a double projection, an installation and a hologram. In this way, the white cube had a semi-permeable effect in both directions.
Acoustically attracted, curiously entering visitors were thus offered both a variable change of scenery and a place to linger, to hear, to see and to interact with the medium of sound.In order to create the greatest possible visibility for the project, a media (production) partner was involved, who installed centrally controllable still cameras in various parts of the exhibition, each directed at the artworks, and who captured different scenes by means of a steady cam that moved permanently through the exhibition. With the opening of the exhibition, the visitors also became part of the scenario, which then went online as a livestream.
Further art-mediating aspects were offered by the interviews, also broadcast as a livestream, which Natalie Deseke fromHanover conducted with her colleagues in the project and in this way was able to gather background information on the works and interesting facts about the participants. In this context, a live connection with Haydeé Jiménez from nettnettradio was also established and streamed on a monitor into the exhibition.In the course of the evening, Marjam Oskoui and the German-American duo Eras/Deseke presented live performances that captivated the audience visually and, in the latter case, acoustically as well. Using VR glasses and controllers in her hands, Oskoui showed large-scale 3-D painting projected onto the exhibition wall, the visualization processes of which, looped to become a permanent exhibition contribution, later also served as the background to the audio-visual performance by the duo Eras/Desecke.
Nathaniel Eras Lives and works in Berlin. Eras is a multidisciplinary artist, performer, composer and cultural catalyst who first established his career in Southern California. His current works focus on sound design for motion picture and futurist mysticism via performance art and ephemeral interactive art. The California born conceptual sound artist negates any notions of music genres, diving headfirst into deeper, esoteric soundscapes or incorporating elements by fusing emotive beauty with gritty industrial noises and field recordings. His complex interactive sound installation, developed in L.A..Nathaniel Eras processes different soundscapes of everyday life, which he has digitally reworked.
Photo credit: Faust TV.
