Polyarrythmia – Feral File

With this solo exhibition of electronic musician Jan St. Werner, the idea is to put audio at the forefront, positioning it at the same level as visual work within the framework of digital art. The nine compositions that make up Polyarrythmia—which can be taken as a set of sound works, a performance, an exhibition, an album—are being released as NFTs through Feral File, available both as individual compositions and a full set. Here’s St. Werner on Polyarrythmia, in his own words:

“Polyarrythmia is an album or an exhibition or a selection of pieces, or maybe just a narrative in sound. None of the compositions have a strict metronome; there is no click or clock. The album as a whole has these interlocking peaks, micro-moments and movements, and then larger arcs, which meet and then disperse. To me that is very much what rhythm is, thus the name Polyarrythmia.

“The compositions were mastered to be as present and intense as possible. The actual files that people download when they collect will provide the maximum resolution that people will be able to play back. I’m happy for listeners to experience the compositions separately, but to me, Polyarrythmia is a set, it’s a narrative as a whole. The pieces were all constructed in relation to each other, based on a visionary brain space, let’s call it. I was thinking, how far can I let these things drift off? How much space can I give it to unfold and go its own way? When I draw it back, that’s what becomes an individual composition or a piece.

“I think that when we work in the field of art, or creating, it’s a manifestation of thoughts. The tool that you use to make these thoughts manifest might be animation, or it might be paint, or graphics. Or the thoughts might translate into sound—sound that changes drastically, or holds a certain vibrational moment. I think of these decisions as a necessity or a convention, which is sometimes put upon us. I don’t think anyone who works, let’s say, in the field of visual arts thinks only visually, or in the field of sound arts thinks only in audio. The output is an expression of an artist’s thoughts, emotions, and connections—how you respond to the world, and how you feed those thoughts back into your world.

“What’s really interesting about working in this field of digital art is not that I’m especially interested in the aesthetics of the digital or the futuristic. For me, it’s more of an expression of intuitively interfacing with the world with the means you have at hand. With NFTs, there’s a new possibility for doing that, and there’s an intensity and sensuality to it, interfacing with direct call-and-response modes of communicating with the world and other humans. We can call it poetic, or experimental, or critical. We can call it interfering, bonding: us becoming some of that new technology, or that new technology feeding deeper into our neural-networks, maybe eventually becoming fully, intuitively performable without any physical restrictions at all. The digital realm is also a territory of unprecedented surveillance and manipulation, so we need to formulate how we want to push up against that, build alternatives, parallel strains, add bifurcations, and openings to the code.”



The sound of distance – HKW

The Sound Of Distance Oct 21 – 24 2021 HKW Berlin

If HKW were one big instrument, what would it sound like? The four-day festival The Sound of Distance takes this question seriously and seeks answers in the expanded resonance chamber of concerts, performances, talks and sonic activations, indoors and outdoors, in a radius that includes the carillon in the neighboring bell tower and the echo of the surrounding government buildings.

Curated by Jan St. Werner and HKW

Sound significantly determines the spatial perception of things and events. Sound waves are constantly in motion. The Sound of Distance makes it possible to experience them over different distances. Artists present works – some conceived especially for the festival – between guitar drones and cello sounds, sound installations and works by avant-garde composers like Annea Lockwood and Alvin Lucier. Much can be experienced by audience members in individual rhythms, with their own accents and intensities – whether the sounds reach all the way to the Bundestag or arise as otoacoustic emissions directly in the inner ear. Thus, along with acoustic perceptions, The Sound of Distance also sharpens the sense of personal location. Creating new configurations of human and object, visible and invisible, proximity and distance.

With Alvin Lucier, Andrea Belfi, Annea Lockwood, Anthea Caddy, crys cole, David Grubbs, Diana Deutsch, Dirk Rothbrust, Dodo NKishi & Tunde Alibaba, Dynamische Akustische Forschung, Hani Mojtahedy & Andi Toma, Helga de la Motte-Haber, Jan St. Werner, Judith Hamann, Louis Chude-Sokei, Marcin Pietruszewski, Maurice de Martin, Oren Ambarchi, Patricia Reed & J.-P. Caron, Sam Auinger & Katrinem, Sam Dunscombe, Stephen O’Malley, Wibke Deertz, Zwerm


Download The Sound Of Distance booklet

Fotos Silke Briel

squares will fall – ural biennial

Squares Will Fall is a multidirectional loudspeaker choreography performed by three acrobats of the Ekaterinburg Circus. Three elements of the composition are played via three loudspeakers hanging from the circus ceiling. The performers mix the sound elements in real time by moving the speakers. The audience is free to change position during the performance and also make audio recordings for personal use.

Sound features feataures Justin Vernon, Uma Barba, John Colpitts, Zach Condon, Mats Gustafsson, Hilary Jeffrey, Ben Lanz, Dodo NKishi, Kyle Resnick, Jeremy Ylvisaker

Performed by Danil Balakin, Sergey Fedorenko, Denis Karpov

Production: Anastasia Dergousova, Alexander Tkhomirov, Nikita Shvalev, Natasha Andreeva


The 6th Ural Industrial Biennial of Contemporary Art was curated by Adnan Yıldız, Çağla Ilk and Assaf Kimmel and took place in Yekaterinburg, Russia 02.10.2021—05.12.2021