Installation

Exhibited at Klangkunst und Notation, Errant Sound Gallery, Berlin

Suspended installation above a reflective board featuring a tonal layer;

steel cable, small stones, thread, micro speakers, drawing printed on acrylic glass, bronze sheets, brass rods, carbon sticks

Sound loop: composed of metallic sounds derived from the weaving of wire nets, various field recordings, digitally sourced meta-scapes, and archival audio materials

Approximate size: 200 × 140 × 350 cm

This artificial, floating landscape embodies an abstract, crystalline sound aesthetic — born from moment-to-moment recordings made during the weaving of a wire net carpet. From this foundational “carpet sound,” the acoustic qualities of the materials are layered with new sonic sequences: digitally found textures, archival fragments, and field recordings form an audible mesh of speculative, hybrid geographies.

Linear drawings on acrylic act as a score — marked with imagined coordinates and shifting place-markers. These lines don’t reflect geographic precision, but rather a sculptural mapping of time and gesture: a dislocated, intuitive terrain traced through the repeated building of the work in air. Over this „unreal ground,“ small bronze sheets, brass rods in diminishing sizes, and carbon sticks create a loose topography. Fragile stones rest across the surface, anchoring attention — as if trying to mark a here-and-now. A baby- blue square, about 10 × 10 cm, marks the cero-cero of this imagined system: a symbolic zero point from which to begin reading, listening, or navigating. Each material points to sonic references: carbon for the street, brass for brightness — a looping system where ethereal sounds and layered voices build quiet, contrapuntal echoes within the piece.

The work’s transitory nature is shaped by the interaction between sound, material, space, and the audience’s presence. Its conceptual lineage includes earlier sound-landscapes, such as From One Crystallon to the Pampia, evoking a mythic geology: once, Pangea floated as a unified plate; after the break, Pampia — the ancient land beneath La Pampa, Argentina — was born.

Where these ephemeral crystallizations occur, a dynamic tension unfolds between virtuality and physical reality, bridging cultures, languages, and disciplines — proposing new, fluid models for artistic and sonic production. The „partiture“ eventually unfolds as displaced fragments laid flat — opening itself to site-specific interpretations or improvisations. The work concludes with the performance Undo, during which it is gently dismantled, leaving only its elemental traces scattered on the floor.