ART SPACE MUSIC
A collective soundscape for any art space
Art Space Music treats the exhibition space as an acoustic body. Walls, floors, objects and architectural surfaces are not background elements, but materials to be sounded, tested and brought into relation by the performers.
The work consists of a series of specially designed instruments that allow performers to draw out hidden sounds from the physical fabric of an art space. These instruments are simple to handle, but precise in their effect: they shift attention from the visible exhibition to the audible structure of the room itself.
As performers move through the space, engage with surfaces and respond to one another, a collective soundscape gradually forms. The composition is not imposed from outside. It is discovered through listening, contact, movement and the changing density of the group.
The project turns an exhibition into a performative listening situation. It asks participants to hear the space as something active, resonant and social: not as a container for art, but as part of the work.
ECHOING SHANGHAI
Ambient sound art / unplugged media art
Echoing Shanghai is a sound installation about distance, projection and the desire to hear what lies beyond the immediate surface of things.
The work begins with a childhood fantasy: that by digging through the earth one might arrive in China, or at least hear voices from the other side of the world. Instead of digging, the installation offers custom-made Listening Sticks as acoustic instruments. Visitors place them against surfaces and use them to search for hidden, distant or imagined sounds.
What emerges is not a documentary soundscape, but an unstable acoustic image of Shanghai: traffic, bicycles, street vendors, voices, fragments of daily life and the noise of a city partly heard and partly imagined.
The work uses simple acoustic means to create a form of speculative listening. It asks whether sound can connect places that are physically separated, and how much of what we hear is produced by memory, expectation and imagination.
GOINGPUBLIK
Music for a distributed ensemble and wearable computers
GoingPublik removes the ensemble from the stage and distributes it through the city. The composition is no longer contained in a concert space; it is carried by moving performers, changing positions and the unpredictable conditions of public space.
Performers wear a custom electronic scoring system that responds to location, orientation and movement. The score does not simply tell them what to play. It creates a situation in which musical decision-making is shaped by spatial behaviour.
The work treats mobility as a compositional force. Distance, direction, proximity and dispersal become musical parameters. Sound is not only heard in space; it is structured by the way performers inhabit and traverse that space.
For the audience, the piece creates a shifting encounter with music as a public event. The composition appears in fragments, passes through the environment, separates and recombines. The city becomes both performance site and part of the score.
Technically, GoingPublik uses wearable computers, GPS and sensor-based data to generate a live electronic score. Artistically, it proposes a form of music in which public movement, urban space and performative presence become inseparable.
LOVE GAS
Public sound art for 100 motorcycles and conductor
Love Gas is a public sound performance for one hundred motorcycles and a conductor. It treats the motorcycle as a mass-produced acoustic instrument and the motorcycle group as a temporary orchestra.
The work uses engine noise, horns, acceleration, duration and mechanical resonance as compositional material. What is normally heard as traffic, power or disturbance is reorganized as a large-scale public sound event.
The piece does not depend on trained musicians reading conventional notation. Instead, it uses a direct gestural conducting system that can be understood by the riders. This shifts the performance away from specialist musical culture and places it inside a broader social field.
Love Gas is deliberately physical, loud and public. It brings together spectacle, humour and formal control, while asking how everyday mechanical culture can be reframed as contemporary composition.
GONG.PONG.SAT
Mobile sound art for gongs, public space and satellites
Gong.Pong.SAT uses the satellite system not as a spectacle of technology, but as a remote conductor for a dispersed urban ensemble. The work turns the city into a field of delayed signals, moving bodies and resonating gongs.
Each performer moves through a defined public area carrying a tuned gong and wearing a custom-built wrist interface. The interface receives timing information derived from GPS satellite pulses and indicates when the gong should be struck.
The performers’ movements gradually transform the musical structure. What begins as coordinated timing opens into spatial counterpoint: chords separate into melodic fragments, rhythmic relations shift, and the sound field unfolds across the city.
The audience encounters the piece as a distributed composition rather than a frontal performance. Gong tones appear from different directions, forming temporary alignments, echoes and resonant traces within the urban environment.
Artistically, Gong.Pong.SAT investigates how public space can function as a musical field. Movement becomes composition, distance becomes structure, and satellite time is translated into a social and acoustic event.