HOERROOM BEIJING
A psycho-acoustic sound installation as tactile interface
HoerRoom Beijing turns an exhibition space into a tactile field of sound, light and movement. Visitors do not stand outside the work; they enter it, touch it and set it into motion.
The installation is built from elastic cables, suspended sound objects and light elements. When visitors pluck or disturb the cables, the system begins to move. Sound and light are released through the physical vibration of the space, making the room behave like an instrument.
The work is based on a simple spatial operation: points become lines, lines become planes, and those planes become playable. What first appears as a sculptural structure becomes an active acoustic environment through the presence and actions of the public.
HoerRoom Beijing investigates how space can be made variable. It shifts the visitor from observer to participant and turns the room itself into a responsive, unstable and performative body.
BOOK OF STAMPS
A travel guide between sonic landscapes from cities to urban cultures
The Book of Stamps is a tangible sound work in which visitors compose landscapes by stamping pages. The book becomes a travel guide through imagined acoustic territories, moving between city, countryside and hybrid urban environments.
Each stamp represents a sound category. Natural forms such as trees, bushes or paths belong to the field of country sounds, while architectural forms belong to the field of city sounds. By combining these stamps on a page, participants create a visual score that generates a corresponding soundscape.
The act of turning the pages becomes a form of travel. Each page holds a different place, and each stamped landscape produces a different sonic atmosphere. The visitor becomes both reader and composer, moving through a book of constructed listening environments.
The work uses a physical interface to make composition social and accessible. Behind the artwork is a camera-based recognition system, but the technical apparatus remains secondary to the main experience: the pleasure of composing sound through touch, image and page.
THE CHURCH ACCORDING TO MCLUHAN
Interactive public art installation
The Church According to McLuhan is an installation about media belief, consumer ritual and the transformation of technology into a symbolic system. It treats the television not simply as an object of communication, but as an architectural and spiritual icon of modern life.
The work takes the form of a church-like structure assembled from historical and contemporary media symbols. The television shape becomes a sanctuary, the antenna becomes a cross, and the act of reception becomes a ritual of belief. The viewer is invited to read the structure as both satire and diagnosis: a place where media, faith, consumption and technological dependence collapse into one another.
At the centre of the work is the idea of a modern media religion: a “try-me-and-buy-me” world in which transcendence is replaced by reception, tuning and technological promise. The installation stages this condition as a physical and visual environment.
Versions of the work have existed as physical and virtual installations. Materials such as blackboards, mirrors and phosphor panels are used for their memory-like qualities, while printed and light-based versions extend the church into a changing media environment.
HOERROOM WIESBADEN
An electro-acoustic sound installation for elastic-cabled instruments
HoerRoom Wiesbaden uses the existing acoustic character of an exhibition space as compositional material. The installation turns the room into a large-scale instrument that visitors can enter, activate and explore.
Black elastic cables are stretched horizontally and vertically through the space. Attached to them are sound objects, percussion elements and small light systems. When visitors pluck the cables or move through the installation, vibrations travel through the structure and set the instruments and lights into motion.
The work makes resonance, reflection and vibration directly perceptible. Sound is not presented as something separate from the room; it is produced through the encounter between body, cable, object and architecture.
As visitors interact with the installation, the space becomes a collaborative listening room. Each action alters the acoustic and visual field, creating a group artwork that is temporary, physical and collectively produced.