1 / 4

slideshow thumb

2 / 4

slideshow thumb

3 / 4

slideshow thumb

4 / 4

slideshow thumb

LAUTER SPANNUNG

Audiovisual Installation for Voice, Face and Field Recordings 2012
multi-channel, 10'20''

Developed during the Artistic Residency at "Harvestworks. Digital Media Arts Center"
in New York, 1-27 July 2012

Presented at:
- Harvestworks, NYC, 27 July 2012
- FEED - Electronic Voice Phenomena, Berlin, 18 August 2012
- Liverpool Biennial - EVP Think Tank, 7 October 2012





Sounding Tension. Or Loud Tension. Or A Lot of Tension.
Lauter in German language means 'a lot of'. This term contains also the word Laut, which means 'Sound', but means also 'Loud'. Spannung means 'Tension'.
What is singing inside the voice? In which way the abstraction and the distortion of the voice or its substitution with a new soundscape composition are able to generate a communicative element? When and how starts the relationship between what is written (field recordings) and what is performed (voice)?


In this piece, a camera is pointed to my face. I am singing, I am speaking, but my voice cannot be heard. My voice seems muted, it seems like my face is acting in a pure mimic, grimace-like. What remains, in fact, is a singing face without voice. It remains a trace of a vocal performance that will never be heard. The soundscape composition turns into an original and non-narrative soundtrack of the video. It is based on a collection of field recordings I made between 2011 and 2012 in different cities:
- in Berlin, sounds of my studio's courtyard
- in Venice, sounds of the sea and the ships
- in Taranto, sounds of Banda during the rites of the Easter Procession (Settimana Santa)
- in Prague, sounds of people chatting in an old pub and sounds of carillions on an historical market
- in New York, sounds of Afro-American people dancing and singing on the street of Manhattan, sounds of protestors of Occupy Wall Street, sounds of rain drops on the window in the apartement of my friend David, sounds of very loud air conditioners and subway.

A composition of field recordings I made in public spaces, contrasting and creating a tension with the intimacy of my singing act. The composing of a new soundtrack, like re-inventing the sound of my vocal performance, challenges the ephemeral quality of the voice, which turns into an object for the eternity.

Supported by: Harvestworks. Digital Media Arts Center New York, British Council International Development Fund