Tracing Dystopian Dialogues, 2018
The sound composition ‘Tracing Dystopian Dialogues’ is a collaboration between the artist Ines
Lechleitner and the curator Tuçe Erel. It is based on interviews conducted in June, 2018 in
Istanbul around the notion of dystopia and utopia.
During the interviews Lechleitner, who does not speak Turkish, created a visual code for each
voice. Based on these recordings in Turkish Lechleitner and Erel compose a sound work
following the voice’s intonation, melody and its physical agency as well as its content.
The final piece reflects the subject matter not as a collection of stories but as fragmented flow of
meaning and situations that cannot be patched together other than by their musical qualities
and the composition itself.
During the talks, Lechleitner and Erel asked about the interview partners’ personal background,
their relation to Istanbul and the neighborhood. After these introductory questions people
explained what the concept of utopia or dystopia could mean to them personally and how it
reflects on the urban scale. The piece plays with the negation of narration as an expression of
self-censorship, a daily experience for many of the people interviewed.
‘Tracing Dystopian Dialogues’ was co-produced by ‘Dystopia’ – sound art festival Berlin-Istanbul
and shown as an installation during the festival this September in Berlin.
Das kalte Brodeln, 2016
‘Das kalte Brodeln’ is a musical noise improvisation by Ines Lechleitner and the voice artist
Alessandra Eramo.
It is part of the project ‘Das Rhein Rauschen’ in Basel and based on images
and sounds of the River Rhein’s water surface – the speed, the reflexions of light, the ripple as a
surface dance, the exchange of water and air and the buoyancy of the river.
Link:
http://www.ineslechleitner.com/works/rhein-rauschen.html
Semi-Wild, 2018
‘Semi-Wild’ is the first element of a new collaboration between the artist and the multispecies
ethnographer Juno Parreñas from the University of Ohio.
Starting point for their exchange is
Lechleitner’s photographic and video work in a Sumatran national parc and rehabilitation
center for orang-utans from 2005 and Parreñas’ research and publications to a related
institution.
|
PLAY