2020, Fri, Nov 132020, Sun, Nov 15


::vtol:: destructor, Interspecifics: Recurrent Morphing Radio, The Disappearance of Music


Sound installation by ::vtol::

For years, Dmitry Morozov has been working intensely under the alias ::vtol:: to one day be replaced by robots. That’s why he builds them himself, most recently a device that bursts bubble wrap, as well as an organ operated by breathing called Last Breath, with which he could literally make music until his last breath. At HKW, he presents the sound installation destructor, in which music and radio noises are recorded on a looped tape while being exposed to electromagnetic radiation that disrupts or destroys the sound. The destructive process becomes a creative one – and the material becomes absolute music that is constantly evolving.

Recurrent Morphing Radio

Sound installation by Interspecifics

Why, although personalization is increasing, does music sound increasingly streamlined? The Interspecifics collective, founded in Mexico City, consists of Leslie Garcia, Paloma López, Emmanuel Anguiano and Felipe Rebolledo. Their work deliberately takes up their local environment where precarity enables new forms of creativity and ancient technologies meet cutting edge forms of production. They aim for social inclusion, cross-disciplinary practices and open knowledge transfer. The Recurrent Morphing Radio is a system that is trained daily with music. After it has extracted and restructured the music’s features, it generates new sounds from it. In an installation at HKW for The Disappearance of Music, Interspecifics use the result to make audible how economic processes homogenize the reception and production of music.

The Disappearance of Music

Video installation

Most live performances have been canceled indefinitely, and yet life goes on for musicians. In the video series The Disappearance of Music, Lucrecia Dalt, Barbara Morgenstern, Lamin Fofana, Matias Aguayo, Meridian Brothers mastermind Eblis Álvarez and SOTE, among others, document the genesis of new pieces of music, mostly digitally produced, in videos they shot themselves. This offers lively insights into their work as long as the shared experience is impossible.