‚Phantom Streams (Zyklus I)‘
6-channel sound installation,
curtains, lights, bench
10 min 20. sek
Installation at 'Inhabiting basis'
Frankfurt am Main 2020
‚Untitled (diffusers)‘
wood, paint,
variable dimensions,
Inhabiting basis 2020
'erwartung (feld)'
Photopolymer etching on paper
54 cm x 38 cm
Inhabiting basis 2020
’Wanderer’
Aquatint etching
50 cm x 35 cm
Inhabiting basis 2020
Figur (Diffusion, Synchronisierung, Ausgleich) 2017
Museum für moderne Kunst Frankfurt
2-channel sound installation.
Audiofile (8 min loop)
Silkscreen print
'Vierkantrohre Serie D' (1967)
by Charlotte Posenenske
borrowed from the MMK collection,
reconfigured and installed by the artist
'Vierkantrohre Serie D', 1967
Steel plates, screws
Charlotte Posenenske (1930 - 1985)
Reconfigured and installed by the artist
'Stimme', 2017
100 cm x 60 cm
Silkscreen on canvas
'Vierkantrohre Serie D', 1967
Steel plates, screws
Charlotte Posenenske (1930 - 1985)
Reconfigured and installed by the artist
Figur (Diffusion, Synchronisierung, Ausgleich), 2017 combines two sound sources: White noise as used in private and public spaces to mask distracting and unwanted sounds and to provide privacy. The piece also contains voice samples of the inner monologues of the protagonist Eleanor Lance from the 1963 feature film The Haunting by Robert Wise. "As part of the installation a configuration of Charlotte Posenenske‘s Vierkantrohre Serie D (1967) isin included. Posenenske‘s work was often shown in contexts of working environments and public spaces in which white noise and sound masking was also used. The ‚Vierkantrrohre‘ functions like a modular system, analogues for the artist to a musical score, open to interpretation. Adapting to the spaces they are in, merging with the architecture they are becoming almost invisible while still maintaining a strong sculptural presence. In this way Posenenske‘s objects reminds of the impact sound and white noise has on acoustic environments. On a material level there seems to be a synaesthetic relationship between the sound and the objects both carrying metallic qualities in timbre and surface."
'assimilate' (2016)
2016, 14 min 52 sec audio, speakers,
electric light controller, curtains, bench
at Kunsthalle Darmstadt
'assimilate' (2016)
2016, 14 min 52 sec audio, speakers,
electric light controller, curtains, bench
at Kunsthalle Darmstadt
‚before character (score)‘
Etching on paper
75 cm x 45 cm (framed)
About Certain Soups, combines two modes of temporality, an immersive sound installation and a soup. The exhibition title is taken from the eponymous section in the book The Art of Cu- isine: a compilation of essays, illustrations, recipes and research done by Henri de Toulouse-Lautrec and Maurice Joyant. In Toulouse-Lautrec’s view, every artistic expression should be accompanied by some culinary festivity, itself announced by a drawing, a lithograph, and an elaborate menu. He was as well convinced that cookery is an art. Along with the serving of the soup a new sound piece is being shown in the alte- red exhibition space, which is shrouded in atmospheric light. Parallelogram (2018) is a piece that explores compositional seriality through sine waves, combined with segments of constructed Shepard tones. These were used in diverse ways in music history, ranging from the compositions of Baroque masters to recent electronic dance music. The tones in Parallelogram are consisting of a superposition of sine waves as well but separated by octaves. When played with the bass pitch of the tone moving upward or downward, it is referred to as the Shepard scale. This creates the auditory illusion of a tone that continually ascends or descends in pitch, yet which ultimately, in real, does not get no higher or lower.
'cabin fever (six chapters)‘ , 2015
4 channel sound installation
11 min 12 sec audio loop, 2015
transparent prints (variable dimensions)
Electronic Moon 2” (1966)
by Nam June Paik and „Opus IV“ (1925)
by Walter Ruttmann
Electronic Moon 2” (1966)
by Nam June Paik
‚Phantom Streams (Zyklus I)‘
6-channel sound installation,
curtains, lights, bench
10 min 20. sek
Installation at 'Inhabiting basis'
Frankfurt am Main 2020
‚Untitled (diffusers)‘
wood, paint,
variable dimensions,
Inhabiting basis 2020
'erwartung (feld)'
Photopolymer etching on paper
54 cm x 38 cm
Inhabiting basis 2020
’Wanderer’
Aquatint etching
50 cm x 35 cm
Inhabiting basis 2020
Figur (Diffusion, Synchronisierung, Ausgleich) 2017
Museum für moderne Kunst Frankfurt
2-channel sound installation.
Audiofile (8 min loop)
Silkscreen print
'Vierkantrohre Serie D' (1967)
by Charlotte Posenenske
borrowed from the MMK collection,
reconfigured and installed by the artist
'Vierkantrohre Serie D', 1967
Steel plates, screws
Charlotte Posenenske (1930 - 1985)
Reconfigured and installed by the artist
'Stimme', 2017
100 cm x 60 cm
Silkscreen on canvas
'Vierkantrohre Serie D', 1967
Steel plates, screws
Charlotte Posenenske (1930 - 1985)
Reconfigured and installed by the artist
Figur (Diffusion, Synchronisierung, Ausgleich), 2017 combines two sound sources: White noise as used in private and public spaces to mask distracting and unwanted sounds and to provide privacy. The piece also contains voice samples of the inner monologues of the protagonist Eleanor Lance from the 1963 feature film The Haunting by Robert Wise. "As part of the installation a configuration of Charlotte Posenenske‘s Vierkantrohre Serie D (1967) isin included. Posenenske‘s work was often shown in contexts of working environments and public spaces in which white noise and sound masking was also used. The ‚Vierkantrrohre‘ functions like a modular system, analogues for the artist to a musical score, open to interpretation. Adapting to the spaces they are in, merging with the architecture they are becoming almost invisible while still maintaining a strong sculptural presence. In this way Posenenske‘s objects reminds of the impact sound and white noise has on acoustic environments. On a material level there seems to be a synaesthetic relationship between the sound and the objects both carrying metallic qualities in timbre and surface."
'assimilate' (2016)
2016, 14 min 52 sec audio, speakers,
electric light controller, curtains, bench
at Kunsthalle Darmstadt
‚before character (score)‘
Etching on paper
75 cm x 45 cm (framed)
About Certain Soups, combines two modes of temporality, an immersive sound installation and a soup. The exhibition title is taken from the eponymous section in the book The Art of Cu- isine: a compilation of essays, illustrations, recipes and research done by Henri de Toulouse-Lautrec and Maurice Joyant. In Toulouse-Lautrec’s view, every artistic expression should be accompanied by some culinary festivity, itself announced by a drawing, a lithograph, and an elaborate menu. He was as well convinced that cookery is an art. Along with the serving of the soup a new sound piece is being shown in the alte- red exhibition space, which is shrouded in atmospheric light. Parallelogram (2018) is a piece that explores compositional seriality through sine waves, combined with segments of constructed Shepard tones. These were used in diverse ways in music history, ranging from the compositions of Baroque masters to recent electronic dance music. The tones in Parallelogram are consisting of a superposition of sine waves as well but separated by octaves. When played with the bass pitch of the tone moving upward or downward, it is referred to as the Shepard scale. This creates the auditory illusion of a tone that continually ascends or descends in pitch, yet which ultimately, in real, does not get no higher or lower.
'cabin fever (six chapters)‘ , 2015
4 channel sound installation
11 min 12 sec audio loop, 2015
transparent prints (variable dimensions)
Electronic Moon 2” (1966)
by Nam June Paik and „Opus IV“ (1925)
by Walter Ruttmann
Electronic Moon 2” (1966)
by Nam June Paik