Electroacoustic opera featuring Kathy Alberici, Taigen Kawabe, Markus Popp & Dylan Carlson, 2015 The central concept of Miscontinuum Album explores misconceptions of time and memory, inspired by unique acoustic phenomena derived through digital phasing and musical time stretching techniques. There is an aura of doom that pervades the work. Much of the album’s evocative nature […]
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 […]
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 […]
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 […]
“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 […]
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 […]
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. […]
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 […]
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, […]
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, […]
