8 channel 3D sound installation, powder-coated bent metal structures, copper audio cables, sub-woofer, 4 amplifiers, Jesmonite, Lycra, Polyester and fleece fabric, and urban debris
There is this place where time stops, holds up. Walking across the fading streets, in this year of dispersed rerouted empty archives, it seems like we’ve all given up too easily. Vampire youth light up corners, lingering at the edge of concrete benches and unbreakable glass windows, escaping small block of flats. Gyms shut down while in the background, widening lights of corporate shopping malls flicker in reflection all night and all day. Under the cover of dawn, the intersecting multitude is not a meeting place but a disjointed lot – Also the rhizome of the unsaid and of dusk lines, all counterpoints to the well-lit center halls. Broken neon lights hanging loose, underscore blinking to the restlessness of life itself. In a fog, in downpour, or a muted morning. Still, time looking for a single point of failure. A gust blows past city tunnels under outskirt borders, queues split sideways, where resistance always fills the breeze breathing with the impossible. Here is where I felt something different. Something unwritten as the sound of the hidden city made barely visible. Surfaces that stretch out in un-gridded noise, a dispersion of waves, particles, and broken curves.
Between the translucent and the blue is a sound installation that focuses on auditory proximity between subject and space, stemming from an aural-architectural experience of 3D spatial sound and Ambisonic recordings. The sound piece unfolds recordings based on minimal sources like non-linear narratives and body movements within detached surfaces around urban infrastructures.
Voice and movements in space: Noam Julian Vannucci, Tania Hinz.