End: 10 Sep 2022 - 23:59

FLUS-S [Fluchtmodus]

A GLASS event, curated by Daniela Lunelli aka Munsha in collaboration with ausland.

8th to 10th September, 2022 

Door 8 p.m.

ausland - Lychener Str. 60 10437 Berlin

With three days of un-prescriptive music and soundscapes, FLUS-S [Fluchtmodus] returns on ausland's stage in its first extended version. Also this time GLASS hosts three live performances and a Dj set, for a night of un-prescriptive music and soundscapes. 

FLUS-S assembles unusual and broad planes of sound, combining microtonality, prepared objects, tampered tones through avant-garde and pulsing textures, to the border of the twitching noise. It is an unorthodox, frank, and unprejudiced project of improvised and composed music. FLUS-S is a playground for clashing combinations of sounds, which repudiate empty mannerisms, finding their landing place at ausland, from the 8th to the 10th of September.

FB event: https://fb.me/e/4R2DVdmfM

Julie Semoroz’s political posture in itself proposes a misalignment with post-industrial society and the capitalist system. She proposes views and provokes reflection on urban space, ecology, utopia, living together with an anthropological approach mixed with art. She works on the invisible and researches information, non-verbal communication and sound frequencies in collaboration with neuroscientists.
She experiments with noise-like and experimental sound forms. Voice and field recordings are the founding elements of her research. She sets up heterogeneous and multiple projects, solos, collaborations, and collectives in art spaces, theaters or public spaces. She develops performances involving visual art, sound, dance or installation.
[https://juliesemoroz.ch/]

Katharina Bévand is a sound artist based in Berlin. She creates site-specific sound installations, sound sculptures, and performs on modular synthesizers. She works with processed field recordings, extended recording techniques and the resonance of spaces and objects. In 2021 she received a research grant from the Berlin Senate and a GVL Stipend for music production, and was part of Goldrausch Project for women artists. In 2017 she was honored by “bonn hoeren – sonotopia” of the Beethoven Foundation for Arts and Culture Bonn. She exhibited internationally in Germany, Egypt, Taiwan, and in the Autonomous Region of Kurdistan in Northern Iraq. In 2022 she curated CraterXXII, a sound art oriented artist residency and event in La Palma, Canary Islands. 
She currently holds a stipend of Stiftung Kunstfonds. [https://katharinabevand.com/]

Makoto Sakamoto is a noise-ambient sound Artist. The expression of music through playing instruments, and the experimentation with mixers and the sound material in establishing soundscape.
[https://makotosakamotorecordings.bandcamp.com/]

Asja Skrinik performing the piece "The Chair" - a visualized sound piece that illuminates the dark corners of your scary self when nobody watches. You will see fragmentary snapshots (strobe light!) of a person alone in a room with a chair. The video work is accompanied by a live mashed soundscape that accompanies you out of the comfort zone. [https://vimeo.com/717964005]

Jo puzzles crooked tone songs from field recordings in which she deeply steps into the world of the sound sources and discovers her own musical terrain by falling in love with hidden and dirty sounds, shaping them sensitively and developing a unique feeling for combining them. For live performances, Jo developed a peculiar instrument, the glasambel, to present her music in her very own way.
She just started making music at the age of 48 few years ago and has released her debut album "Bumblebee", the EP "Splinter Guard", and the album “Amino Titu” as well as several cooperations with Bleedingblackwood, Mute Swimmer, Drekka, and Alligator Gozaimasu. [https://orange-ear.de/jo * https://jo-songs.bandcamp.com/]

Simon Berz work in experimental and improvised music, in sound art and new forms of performance aims at innovation, interaction and participation. Simon Berz is a drummer and sound artist. He uses improvised music to create bridges between his compositions and performances to visual arts, dance and film. As well as developing his own rhythmic and sound language through an electro-acoustic drumset called the Rocking Desk, he has also developed a “lithophone” consisting of stones producing a sound made by liquid dripping from drip bags that he amplifies and distorts electronically. In 2011, this sound installation was awarded the “Werkjahr des Kantons Zug” prize.
Simon Berz works together with instrument builders, technicians and scientists to design sound installations focussing on phenomena like resonance and feedback, considering the interaction with ice, water, stone, air, wind and fire. The sound artist explores ways of making it possible to experience human energy fields or to allow the resonance produced by a self-playing stone to sound. [http://www.simonberz.ch/]

Active in several electronic music scenes since the late 90’s through both solo and collaborative projects, Árni Valur’s practice in recent years has been revolving around novel techniques in improvisation, sound design and scoring. Currently, his work oscillates between club music, film score composition, experimental video production and performance. [https://soundcloud.com/arni-vector]

Lisa Simpson has been playing the Singer, a sewing machine, since 2003. In the daytime she tackles unwanted clothing, pins them down and cuts them up, transforming them into new wearable shapes. By transforming wardrobes she is questioning contemporary consumption habits, bringing forth a discussion around the sustainability of the fashion industry. At nighttime the Singer joins her fellow musicians and Lisa sews to the beat of the music, improvising on clothing based on rhythm and sound. The prepared sewing machine is amplified to become a musical instrument and layers of sound are looped as layers of fabric are stitched together, creating a dreamlike soundscape, enhanced by self built wearable oscillators and feedback machines. [www.agentecostura.art]

Munsha is a Berlin-based singer, cellist, and composer a d music educator, who works and performs with theatre, installation, video art, and multimedia. Her work focuses on contemporary, avant-garde music and vocal research, testing new forms of “Sound Dialogues”, alternating on stage cello, voice and electronic. Munsha merges academic experience, transcultural and rock music, experimentation, and technical knowledge into a whole. 
Over the years she has composed music for theatre, dance and performative art, sound installations, and interdisciplinary productions, besides her solo project and several collaborations. Munsha's musical research has recently been supported by Musikfonds and the Senate Department for Culture and Europe. She is also a member of 'Treffen Junge Musik' jury of the Berliner Festspiele. [http://www.munsha.it/]

Lichene is the moniker of a Dj and prolific curator of events.
In 2013 she co-founded "Ancestral Futuro Remoto", a Berlin-based event with the main focus of exploring the crossroads of ambient, ethnic and experimental music.
In her practice she investigates the possible meanings of "remote future", the traces of the faraway world of the ancestors in our present, and inside of us.
Over time, she has explored different FM radio stations as orientation for her sonic voyage. 
Synchro Radio - IBI ET NUNC explores different corners of the world by playing and mixing radio broadcasts in real time. It is not algorithmic: it is an unrepeatable and unpredictable performance, alien to expectation. The listeners have the chance to discover new geographies, unfamiliar languages, unknown horizons and unexpected sounds. Synchro Radio - IBI ET NUNC is a statement against the negation of coevalness. There is no “elsewhere”, no place backward or forward in time: we are all in the same present, beyond the geo-political constriction of time zones and borders.