Created by Jan St. Werner and Karl Kliem, this series of audio-visual compositions of constantly and subtly shifting antidromic sounds and images experiments visually and acoustically with Gestalt principles from the field of cognitive psychology, and triggers sensory irritation in the recipient.

Composed of 60 frames per second, the visual component of the “Rotationsstudien” uses complementary contrasts, sudden bursts of colour, and shifts from bright- to darkness to generate spatial effects that simultaneously give rise to new assemblages and undermine the viewer’s sense of reality. Same as the images, the installation’s sound component is completely digital in origin, and by means of granular resonance shifts, stereo movements, and phase changes prompts phantom perceptions. Every visitor listens to and sees a different installation. “Rotationsstudien” is a generative piece of abstract extended cinema, that runs for days without repetition.

CTM Festival 2015: http://www.ctm-festival.de/festival-2015/transfer/rotationsstudien/

Rotationsstudien, Sequenzen 20—5

Experimental listening enviroment & surround sound composition by Jan St. Werner featuring Mark E Smith for Cornerhouse, Manchester

Musician Jan St. Werner has created Molocular Meditation, a bespoke light and sound enviroment with a soundtrack featuring the voice of the Fall’s Mark E Smith. Smith is heard making observations on mundane objects, events and a range of meditation techniques. His voice forms the narrative component of an abstract electroacoustic composition placed in a surreal scenario evoking a state of transformation and deceleration.

http://1995-2015.undo.net/it/mostra/183980

Klanginstallation von Jan St. Werner, 2014

“Klänge, die in den Räumen der Neuen Nationalgalerie Berlin aufgenommen und mit elektronischen Elementen versetzt wurden, dienen als Material für diese elektro-akustische Komposition. Sprache und Bewegung verbinden sich auf einer abstrakten Ebene, die Möglichkeiten konkreter und absurder Aktivitäten in einem sozialen Raum thematisiert. Die Komposition mischt sich zurück in die Realität der Ausstellungshalle und erzeugt eine akustische Parallelchoreografie, die innerhalb der Ausstellung, zusammen mit der Ausstellung, gegen die und aus der Ausstellung heraus läuft.”

The festival’s program of performances, sculptures, talks, and installations by 100 artists and contributors who have been part of the past five years of the Institut für Raumexperimente will be held in and around the exhibition “Sticks and Stones” by David Chipperfield, an intervention in dialogue with the architecture of Mies van der Rohe.

NEUE NATIONALGALERIE

Staatliche Museen zu Berlin

Postdamer Straße 50

10785 Berlin

https://futurenows.net/2014/

http://futurenows.net/entry/jan-st-werner/

“The piece is 36 minutes in length and draws into itself a diverse range of sounds that Jan St. Werner has recorded during his stay in Marfa along with elements recorded elsewhere but which reasserted themselves in this place. The piece manages to be site specific, but without being orthodoxly so. The train is a representative element in that it contributes a significant aspect to the town, and to the piece, because it omes from elsewhere, appears and then returns to farther away.

“So did the poet Clark Coolidge appear; and musicians Primo Carrasco, Max and John Ferguson, Scott Hawkins and David Grubbs; so, too, the various anonymous visitors to the Marfa Lights’ Viewing Station and linguist Lynette Melnar; and almost everyone, including Jan and myself. Additionally, Jan has treated the radio event as a sculptural entity, one that can be cut from time and transferred, via recording to other times and places.

“As such, the piece, which will air on Marfa Public Radio this Wednesday, is marked by the station itself, and therefore by the people of this area, but this same marking will appear again on WDR 3 German Public Radio at some point in the future and for that performance, German Public Radio will be marked by Marfa.”

Tim Johnson, KRTS Marfa Public Radio

As the title Split Animal Sculpture suggests, this piece manages to sound simultaneously biotic and fabricated. An impressionistic rendering of church bells and organ drone is suggestive of a large man-made structure, while in-between can be heard the flutters and whistles of something animated navigating it’s way through the reverberating buzz. This circling and spatial piece illustrates St. Werner’s intelligent approach to creating sound that has both weight and aerodynamic energy. This record also exists as asound installation for a single listener using headphones and one speaker.

Infinite Greyscale

Listen

Second release of the “Fiepblatter Catalogue” series on Thrill Jockey 2013

BLACK MANUAL – Brigade Commerz, CD, 2013

On “Mordendo” the dynamics of speaker compositions intertwine with concrete Afro-Brazilian sound patterns, with special “toques”, drum beat sequences also found in Samba and Candomblé… Sounds rear up, diffuse, and rhythms dissolve into tones thereby creating a “total music”.

“Black Manual” was formed in 2012 after Jan St. Werner had heard the percussionists Valdir Jovenal, Juninho Quebradeira and Leo Leandro play at a Candomblé ceremony in Berlin Kreuzberg.

Together with his colleague Andi Toma, with whom Jan St. Werner also works as “Mouse on Mars”, he mixed this unholy conglomerate of frigidly staged disorders, digital fragments, samples, broken melodies and the vibrant, tugging sub-bass caprices of the Brazilian “voodoo” rhythms – “a fala dos atabaques” (“speech of the drums”): with violence and passion as if they were trying to force the gates to transcendence open.

A performance between concert and ceremony: When the three percussionists and Jan St. Werner really cut loose, challenging and tempting each other, then worlds collide making the earth tremble! Then the black Gods of Africa are also near as if they were amusing themselves or trying to dance with the Christian hallows… “O tempo é fora do comum!” Or: “The time is out of joint!”

 

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https://www.br.de/radio/bayern2/sendungen/hoerspiel-und-medienkunst/artmix-galerie1160.html

https://fiepblatter.bandcamp.com/album/black-manual-mordendo

https://fiepblatter.bandcamp.com/track/black-manual-live-at-ctm-berlin-2014-1

https://fiepblatter.bandcamp.com/track/black-manual-live-at-ctm-berlin-2014-2

https://fiepblatter.bandcamp.com/track/black-manual-live-at-ctm-berlin-2014-3

A2 silk screen print of fiepblatter catalogue #2 artwork by Jan St. Werner & Rupert Smyth. Limited edition of 20, signed by Jan St. Werner.

Collage of paper works, records, objects & vinyl print for the window of Kunstverein Munich

KUNSTVEREIN MUENCHEN / Das Asymmetrische Studio

first release of the “Fiepblatter Catalogue” series on Thrill Jockey 2013

Jan St. Werner – Feed Opener

Four audiovisual compositions, Kunstverein Munich, March 18th – June 18th, 2013

KUNSTVEREIN MUENCHEN

Series of performances, concerts, lectures and talks curated by Jan St. Werner at Kunstverein Munich in collaboration with Bayerischer Rundfunk “Hoerspiel & Medienkunst”

DAS ASYMMETRISCHE STUDIO 1 Black Manual concert stream
DAS ASYMMETRISCHE STUDIO 1 Black Manual concert video
DAS ASYMMETRISCHE STUDIO 2 Helmut Lachenmann / Jan St. Werner DJ session & talk
DAS ASYMMETRISCHE STUDIO 3 Andrey Smirnov: Music out of Noise, Light and Paper
DAS ASYMMETRISCHE STUDIO 4 miscontinuum opera with Kathy Alberici, Taigen Kawabe & Markus Popp
KUNSTVEREIN MUENCHEN

Wichtel & die Wuchteln: “falscher Auerhahn” 12″ picture disc, no label
Ingrid Wiener, Oswald Wiener, Rosa Barba, Klaus Sander & Jan St. Werner. Edit of a live performance at Villa Romana, Florence, 2011. Curated by Angelika Stepken.
“Sound & noise collages played live with additional singing, percussion and subtle instrumentation. Somewhere between early Franco Battiato, Throbbing Gristle, Napolitanian folk music and selten gehoerte Musik.”

order at a-musik
Wichtel & die Wuchteln interview with Ingrid & Oswald Wiener

Radio composition for WDR Studio Akustische Kunst.
“36 Sekunden dauerte der Satz, in dem Karlheinz Stockhausen während eines Vortrags in den frühen 1970er-Jahren die heute gängige kompositorische Praxis des Time Stretchings voraussah: „Wenn wir einen beliebigen Klang nehmen und ihn ausbreiten, also entlang der Zeitachse ausdehnen, bis zu einer Dauer von 20 Minuten, einen Klang, der vielleicht ein oder zwei Sekunden lang war, als wir ihn aufnahmen, dann haben wir eine Musik, ein musikalisches Stück, dessen gesamte Form entlang der Zeitachse die Ausdehnung dieser mikro-akustischen Zeitstruktur ist, die in diesem Klang steckte.“ Fünf Jahre nach dessen Tod nimmt Jan St. Werner Stockhausen beim Wort: Stockhausens Statement ist gleichermaßen Material und granulare Syntax für eine Komposition, in der sich nicht nur akustische und digitale Signale überlagern, sondern auch Substanz und Methode verschmelzen. Mit Hilfe digitaler Klanganalyse- & Synthesetechniken und Timestretching zieht Werner musikalisches Erbgut aus Stockhausens Stimme. Durch die Hinzunahme akustischer Instrumente wie Cello (Michael Rauter), Cembalo (Clemens Flick) und Perkussion (Matthias Engler) werden harmonische, tonale und rhythmische Verdichtungen herausgearbeitet und musikalisch konkretisiert.”

WDR3 Studio Akustische Kunst
stream / download

may 6th 2012 bunker eliason/rehberger
video