VERDE is an documentary project in the tradition of expanded cinema focused on three natural landscapes of Colombia: the Sasardí nature reserve located in the Darien, Sumapaz and San José del Guaviare. All three places have special environmental conditions, and different natural characteristics and ecosystems.
They are distant from each other in the colombian geography, they are different from the biological perspective but also have elements in common: they are lungs of the planet, water factories with incalculable potential, and all are places of great fragility that have been contaminated by the socio-political conflict that has taken place in the country.
GREEN project is also the result of an audiovisual and inter-medial creation laboratory – with a strong emphasis on improvisation – of a group of artists from different institutions and disciplines. With the participation of: Nelson Vergara, Roberto Garcia Piedrahita, Javier Olarte, Ricardo Arias, Rodrigo Restrepo and Luis Negron van Grieken
Giordano Bruno marks with his work „The shadow of the Ideas“ a key work in the tradition of the art of the memory. He proposes a philosophy that unites the combinatorial of knowledge (attached to the ideas of Ramon Lull of the twelfth century) with the force of the imaginary, thus combining determinism with the unknown and unpredictable of the cosmos, the soul and its relation to knowledge. Citing Eduardo Vinatea’s introduction of the 2009 edition of Umbris Idearum, as a discursive architecture of the soul.
For this installation the bunker K101 of Cologne, Ehrenfeld is transformed into a theater of memory, operating the spaces as if of the imaginary palace
of Giordano Bruno was treated, where each ray of light, each color and each stone was placed by the same Giordano Bruno. The accumulated wisdom of Umbris Idearum grows as an autonomous organism, transforms, interferes, modulates and makes each see more difficult to decipher.
The relationship between place, literature, thought is where on stage, creating a texture that reflects the complexity of woven reality.
The sound is composed by Ali Chakav and during one night a sound performance of 6 hours was performed with the participation of Ali Chakav (electronics), Rahel Pötsch (Cello) and Axel Pulgar (electronic) at the Bunker K101 at the Körnerstr. in Cologne.
6-ch video installation, 4ch-sound-composition, light-installation
7th – April, 2017.
Founded in 2004 by Susanna Schoenberg at the Cologne Academy of Media Arts, Re-active platform is also the name of an artistic production formula for letting different conceptual, material-specific and technical design approaches work together free from a hierarchical model.
In this case the installation at the Contemporary Art Fair reacts on sound from space, by vibrating the foil and the laser drawing in a feedback circuit of observation and monitoring acoustical and optical signals.
Computer vision custom software, camera, microphone, motors, structure, reflecting foil, custom software for laser drawings, laser-beam.
Contemporary Art Fair in Essen, SANAA Building.
In Collaboration with Susanna Schönberg and JiHyun Park.
COMPUTER AIDED INSTALLATION
re-active platform is about the logic and aesthetics of systems; circuits, signals and displays are represented as objects, images and sites, while the phenomena of the real seem to be nothing more than just mere coincidence.
Re-Active Platform, initiated by Susanna Schoenberg in 2004, embodies concepts, works, tests and exchange between students and other art and technology competencies that temporarily and repeatedly turned into site and condition themselves.
Glass Moog Cologne (2010) & Contemporary Art Ruhr (2010)
March 20 to April 14, 2010 Glasmoog Gallery of Academy of Media Arts Cologne
Ralf Baecker / Karin Lingnau / Luis Negrón Van Grieken / Ji Hyun Park and Susanna Schoenberg
COMPUTER AIDED INSTALLATION
Plastic, wood, carbon fibre, custom electronics, code, geiger counters
This Concept consists in 5 site specific installations conceived for the Museum of Contemporary Art Taipei MOCA Studio in Taipei.
Coincidence Setup is dedicated to the idea of coincidence — and the question of how to understand what is coincidence and what not. The fact that two events can take place exactly in the same time is sometimes translated into the belief that there is no reason for such contemporaneity, If not some kind of chance.
A so-called coincidence circuit is made of 2 Geiger counters, which is supposed to detect particles from cosmic showers — so-called muons. The experimental set-up of a coincidence circuit is connected to a modular display made by 2 groups of vertical louvers, reaching from ceiling to floor.
A computer controlled motor is mounted to each louver to rotate it around its axis. The regular kinetic choreography will be disturbed by events supposed to be related to cosmic showers detected by the coincidence circuit. The movements of the louvers are visible also as shadows — a kind of circuit of 2nd degree, where the physical is dematerialized into the shape of a projection.
One of the main aims of this part of the installation complex is to focus the tension between the representation of pre-set events, and the possibility
of interruptions in their representation— so that observers can suddenly imagine to have misunderstood or misallocated the object of their observation.
Museum of Contemporary Arts Taipei – Taiwan. October 8 to November 20, 2011 (MOCA Studio).
In cooperation with Ralf Baecker / Karin Lingnau / Jihyun Park / Arthur Hölling / Susanna Schoenberg as Re-Active Platform.
Re-Active-Platform Production (2011)
Lecture-, Laser- & Sound-Performance
This multidimensional event is contained by a decentralised medial scenography, where light (and shadow), sound and voice will engage the visitor for an immersive situation of that possible labyrinth. Pointing into the more darker side of the inaugural episodes of Western thought – the myth of Plato’s cave – this space will show the engagement of shadows with knowledge.
This project is also influenced by Sohrevardi’s philosophy of Eshragh (Illumination) where light and colour are a continuum of manifestations by physical and metaphysical “bodies”.
In a luck of improvisation the images are chosen by navigating thought an analog archive of images, combined with a digital approach the space will create that sorcery moment of the image making, where also words are in the same ontological level as images.
The results of this necessarily incomplete intercultural and multi-temporal ‘reading’ of an ‘impossible’ text will be presented as an audio- visual lecture- performance post-theatrical event, using elements of light, video-projection, locational electronic sound feedback system, tonality, analytical and poetic commentary, deconstruction, and space- time illusion.
Luis Negrón van Grieken (Laser performance), Sina Seifee (Lecture performance), Ali Chakav (Sound performance)
Realtime Cinema cooperation between Istambul and Cologne
with artists from both cities in cooperation with Akademie der Künste der Welt, Cologne.
As a result of this cooperation we gave a performance on the 5th September 2015 at the spaces of the Academy of Media Arts Cologne – Germany.
From Istanbul: Sena Basoz (video), Çağdaş Dinç (Video), Korhan Erel (electronic music), Anıl Eraslan (cello).
From Cologne: Nicola Leonard Hein (Gitarre), Angelika Sheridan (flute), Luis Negron van Grieken (video), Mathias Neuenhofer (video).
Intermedia-Performance with das mollsche gesetz, telefante & Anthony Moore zu Fernand Braudels Text “The Mediterranian in the Ancient World”.
Düsseldorf: Donnerstag 10. September, 20:30 Uhr
Filmwerkstatt /Frischzelle @ düsseldorf festival 2015),
Birkenstraße 47, 40233 Düsseldorf – Eintritt 6/12€
Cologne: 11th September, 20:30 Uhr
Kunsthochschule für Medien, Filzengraben 2, 50676 Köln
- Eintritt frei !
TELEFANTE – Luis Negron van Grieken & Juan Orozco (live video manipulation)
das mollsche gesetz – Sebastian Gramss (double bass), Udo Moll (trumpet, electronics), Matthias Muche (trombone)
Anthony Moore (speaker)
Künstlerische Leitung: Matthias Muche
[FOTO] Torsten Schneider
Partner: Kunsthochschule für Medien Köln, Filmwerkstatt Düsseldorf, düsseldorf festival
Gefördert von: Kunststiftung NRW und dem Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen
Based on Sebald‘s Novel Austerlitz. This audiovisual installation with two screens jutting into the space, depicts Austerlitz’s passion for the mighty architecture of railway stations and the growth in logistics at the end of the eighteenth century and the beginning of the nineteenth century. He is particularly interested in Antwerp railway station, with the neighbouring diamond district and the Nocturama of the nearby zoo. The installation projects dominantly, architecturally into the space and as such refers to its role models.
Moving collages of the railway station building pick up on tis era of logistics but also the condition of restlessness and inner disquiet. The video sequence, generated from photos, creates a confusing effect: vanishing points and perspectives are broken up, sequences appear displaced, the images seem to fold and break like a journey through time and memory.
As part of a mid-term project developed with student, I worked together with Prof. Heide Hagebölling from 2010 with the literature adaption of W.G. Sebald Austerlitz by defining 9 Station as a dramatically resource. media-scenography.org
Moving collages of the railway station building pick up on this era of logistics but also the condition of restlessness and inner disquiet. The video sequence, generated from photos, creates a confusing effect: vanishing points and perspectives are broken up, sequences appear displaced, the images seem to fold and break like a journey through time and memory.
at St. Gertrud Church, Cologne.
2-CHANNEL AUDIOVISUAL INSTALLATION
Electro-acoustical Composition for 4 Channels (17 min)
As part of an international artist-in-residence program of the National University of Colombia in Bogotá at the Faculty of Fine Arts I did a research on the archaeology of sound by exploring the sonority and materiality of the Marimba de Chonta, a typical instrument of Colombia‘s Pacific Coast – by combining his traditional tuning system with sound synthesis pointing into the danger of extinction that is actually going through.
La pieza electroacustica se entiende como una exploración de la anatomía sonora de la marimba de Chonta. Utilizando sampleos de marimba con afinación tradicional y cromáticas, así como osciladores harmónicos y síntesis de ruido blanco consiste el concierto (des)terrorizandome (disonancias) se crea un instrumento de improvisación por ordenador, que así mismo crea un espacio sonoro compuesto de coincidencias acústicas
En una suerte de sonificación se usan datos de trayectorias, textos y grabaciones suministrando la lógica interna de la composición sonora. Las frecuencias de los diferentes osciladores armónicos cambian ligeramente según los datos recorridos de trayectos grabados por el GPS.
El concierto fue concebido para mostrarlo con 4 canales satelitales que rodeaban al publico mas un canal para las frecuencias mas bajas.
inventar / paisaje / escritura
Las coincidencias en el plano espectral del sonido generan batidos acústicos que yacen cuando dos ondas osciladores tiene frecuencias ligeramente diferentes causando en el espectro frecuencia otros componentes que antes no estaban. Ese fenómeno fantasmal lo use para generar cambios de timbre de un paisaje sonoro que reflejara esa lógica interna del sonido de la marimba. También me propuse de romper con aquella razón numérica en la básica con escalas cromáticas, para entrar en un plano micro tonal.