https://martinalussi.com Martina Lussi Mon, 02 Jun 2025 15:21:11 +0000 https://martinalussi.com en https://martinalussi.com/City-Noise-or-Waterfall Mon, 02 Jun 2025 15:21:11 +0000 Martina Lussi https://martinalussi.com/City-Noise-or-Waterfall CITY NOISE OR WATERFALL Series of 23 monotypes on A4 paper/ 2025 <img width="2875" height="4096" width_o="2875" height_o="4096" data-src="https://freight.cargo.site/t/original/i/c2c8a075d914aae771cd6160d9256fdca9daf1c839fdfb381f5e3527354258ec/CityNoiseOrWaterfall_01_web.jpg" data-mid="235370808" border="0" src="https://freight.cargo.site/w/1000/i/c2c8a075d914aae771cd6160d9256fdca9daf1c839fdfb381f5e3527354258ec/CityNoiseOrWaterfall_01_web.jpg" /> <img width="2875" height="4096" width_o="2875" height_o="4096" data-src="https://freight.cargo.site/t/original/i/509b2f5e757a5b2d0b92ff6fa7163848db31667a5a5fd5d9d31adab4a5147f08/CityNoiseOrWaterfall_02_web.jpg" data-mid="235370809" border="0" 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data-src="https://freight.cargo.site/t/original/i/d4e3890d9d8ddef3dcf6a7336cc3753ea2fa50e38cc1f74bbdf7a8a6bb5b2174/CityNoiseOrWaterfall_20_web.jpg" data-mid="235370828" border="0" src="https://freight.cargo.site/w/1000/i/d4e3890d9d8ddef3dcf6a7336cc3753ea2fa50e38cc1f74bbdf7a8a6bb5b2174/CityNoiseOrWaterfall_20_web.jpg" /> <img width="2875" height="4096" width_o="2875" height_o="4096" data-src="https://freight.cargo.site/t/original/i/529bc9d0561e3246c031060c487f4736563580db7d5336843874210358f78f7a/CityNoiseOrWaterfall_21_web.jpg" data-mid="235370829" border="0" src="https://freight.cargo.site/w/1000/i/529bc9d0561e3246c031060c487f4736563580db7d5336843874210358f78f7a/CityNoiseOrWaterfall_21_web.jpg" /> <img width="2875" height="4096" width_o="2875" height_o="4096" data-src="https://freight.cargo.site/t/original/i/cd781ee28767e7d1f20c5af093624c96438d32588ff0e1e7fb0e023888a1a22e/CityNoiseOrWaterfall_22_web.jpg" data-mid="235370830" border="0" src="https://freight.cargo.site/w/1000/i/cd781ee28767e7d1f20c5af093624c96438d32588ff0e1e7fb0e023888a1a22e/CityNoiseOrWaterfall_22_web.jpg" /> <img width="2875" height="4096" width_o="2875" height_o="4096" data-src="https://freight.cargo.site/t/original/i/0b6d60b09757dc16ac7a2703470a8482d5069472f0905052fd52d7b4de78eb7b/CityNoiseOrWaterfall_23_web.jpg" data-mid="235370831" border="0" data-scale="77" src="https://freight.cargo.site/w/1000/i/0b6d60b09757dc16ac7a2703470a8482d5069472f0905052fd52d7b4de78eb7b/CityNoiseOrWaterfall_23_web.jpg" /> Exhibition Text (english translation)In the first room, Martina Lussi directs the audience’s attention to listening—even though she does not bring any sounds or tones into the exhibition. «City Noise or Waterfall»&nbsp;emphasizes this focus through language instead. The monotypes are a collection of thoughts and field notes, which the artist prints onto paper in her own handwriting. Through the printing process, a kind of noise is also conveyed—excess ink that is transferred to the paper. This formal transfer of color raises questions about hearing and listening. How much of what is said do we actually hear? What do we communicate, even though it is not spoken? Ausstellungstext (original german) Im ersten Zimmer lenkt Martina Lussi die Aufmerksamkeit des Publikums auf das Hören. Das, obwohl sie keine Geräusche und Töne in die Ausstellung bringt. «City Noise or Waterfall» setzt diesen Fokus vielmehr mit Sprache. Die Monotypien sind eine Sammlung von Gedanken und Feldnotizen, die Künstlerin druckt sie in ihrer Handschrift auf das Papier. Durch den Druckprozess wird auch eine Art Noise übermittelt, überschüssige Farbe, die auf das Papier übertragen wird. Der formale Transfer von Farbe stellt Fragen zum Hören und Zuhören. Wie viel von dem, was gesagt wird hören wir? Was kommunizieren wir, obschon es nicht gesagt wird? «City Noise or Waterfall» was shown in the exhibition Welcome to my Room at cc in Basel. Welcome to my Room invites you to inhabit the spaces we shape - and the ones that quietly shape us. Whether you feel at home, out of place, or somewhere in between.An exhibition with works by Enrique Lanz Jiménez, Martina Lussi and Anaïs Strübin. <img width="4096" height="2731" width_o="4096" height_o="2731" data-src="https://freight.cargo.site/t/original/i/f7af960ad0dacfe40bc8b4ebaf81f6cad5c7f8279d256254a38aa3478ff6a970/DSC_4572_web.jpg" data-mid="235366564" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f7af960ad0dacfe40bc8b4ebaf81f6cad5c7f8279d256254a38aa3478ff6a970/DSC_4572_web.jpg" /> Exhibition view at cc Basel – Courtesy Johannes Schäfer, 2025 https://martinalussi.com/The-Weiertal-EP Sun, 11 May 2025 20:25:11 +0000 Martina Lussi https://martinalussi.com/The-Weiertal-EP THE WEIERTAL EP Digital EP&nbsp; 32`58``/ 2025 <img width="1600" height="1600" width_o="1600" height_o="1600" data-src="https://freight.cargo.site/t/original/i/d6cf5201b6b2f552034a0aa91c3a7d5da6731b40e5602fc701f45cf03691552a/2b04b54e-8d9f-419b-9fe1-632c5f8a8bbb.JPG" data-mid="233060800" border="0" src="https://freight.cargo.site/w/1000/i/d6cf5201b6b2f552034a0aa91c3a7d5da6731b40e5602fc701f45cf03691552a/2b04b54e-8d9f-419b-9fe1-632c5f8a8bbb.JPG" /> Press Text Originally created for the 8th Biennale Weiertal on the outskirts of Zurich, Swiss artist Martina Lussi’s Soundwalk Weiertal invited listeners to slow down and tune in. Designed as an auditory companion for a walk from Wülflingen train station to the main site of the Biennale—located in a nearby recreational area—the piece was recorded using a range of microphones, including a hydrophone and a broadband receiver. Lussi captured the hidden sonic layers of the environment: birdsong, footsteps, underwater currents, even electromagnetic fields. These recordings were woven into a soundscape that goes far beyond documentation. Dramatic shifts in volume and non-linear structures create dreamlike acoustic spaces that blur with the listener’s surroundings and internal bodily rhythms. Two years after its debut in Weiertal, Präsens Editionen is releasing three DSP-friendly excerpts from the original work (one of which is slightly edited) on The Weiertal EP. The full soundwalk is included as a bonus track and is best experienced while walking. The Weiertal EP is available for streaming and as a digital release via Präsens Editionen, a Switzerland-based publishing house and music label. Founded in 2011 in the process of launching zweikommasieben Magazin, Präsens Editionen has since released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Audio releases include works by Anna Homler, Robert Turman, Magda Drozd &amp; Nicola Genovese’s Sopraterra, Anom Vitruv, Belia Winnewisser, and Samuel Reinhard. — Martina Lussi is a Switzerland-based artist who creates musical compositions, installations, and live performances across diverse contexts. Her artistic practice centers on the act of listening. Incorporating field recordings, synthesized sounds, and voice, she constructs expansive sonic landscapes. Her work has been released by labels such as Latency, Hallow Ground, mappa, Nonclassical, and Unguarded, among others. The 8th Biennale Weiertal took place in 2023 at the cultural venue Weiertal, near Winterthur in the canton of Zurich. Curated by Sabine Rusterholz Petko, the event featured works by artists including Uriel Orlow, Hanne Lippard, Thomas Julier, Thi My Lien Nguyen, Ishita Chakraborty, and the duo Nicolas Buzzi and Harmony. ▶︎ released May 9, 2025 Written, recorded, and produced by Martina Lussi, 2023Commissioned by Sabine Rusterholz Petko for the 8th Biennale WeiertalArtwork by OffshoreArtist photo by Anaïs StrübinExecutive production by Remo BitziPublished by Präsens Editionen, 2025 https://martinalussi.com/Proximity-1 Wed, 04 Dec 2024 23:28:55 +0000 Martina Lussi https://martinalussi.com/Proximity-1 PROXIMITY Composition40`00`` for Ensemble Proton June 18th 2024, Dampfzentrale Bern ▶︎Concert on June 18th 2024 at Dampfzentrale Bernrecorded by Joël Cormier for Radio SRF <img width="1863" height="2578" width_o="1863" height_o="2578" data-src="https://freight.cargo.site/t/original/i/f0e16367297b4881e66b98d65974c4f29cae67dff2a70ebf2533c019568fe657/PXL_20240618_1852539923.jpg" data-mid="222906545" border="0" src="https://freight.cargo.site/w/1000/i/f0e16367297b4881e66b98d65974c4f29cae67dff2a70ebf2533c019568fe657/PXL_20240618_1852539923.jpg" /> Courtesy Nadia Meyer, 2024 Programme Text&nbsp; (english translation) For this piece, Lussi collaborated with an ensemble for the first time, aiming to foster a productive dialogue between acoustic instruments and sounds projected through loudspeakers. The instruments remain unamplified, allowing the acoustic sounds and the loudspeaker output to coexist and interact naturally. During the creation of «Proximity», a variety of field recordings and specially crafted sounds, such as those of water, fire, and wind, alongside synthetic tones, were explored collectively in rehearsals. The ensemble engaged with these sounds through listening exercises, immersing themselves in diverse auditory experiences. This process was far from one-sided; the composer also listened attentively to the ensemble’s free improvisations. Through this reciprocal act of listening and a shared space of resonance, «Proximity» took shape. The piece is guided by playing instructions, evocations of sound memories, and a collective exploration of a shared sonic space where every performer can find their place. Rather than emphasising individual perfection, «Proximity» centres on the synergy of the group. The audience is invited to sit within the space among the performers, becoming part of this unique interplay.(Recordings of water and fire were recorded in collaboration with Tim Shaw) &nbsp; compositionMartina Lussi concept/curationCoco Schwarz curationMaximilian Haft Ensemble fluteBettina Berger oboeMartin Bliggenstorfer clarinetRichard Elliot Haynes bassoonElise Jacoberger harpVera Schnider live-electronicsCoco Schwarz live-electronicsMartina Lussi violinMaximilian Haft violoncelloJan-Filip Ťupa Programmtext (original) Für den heutigen Abend arbeitete Lussi erstmals mit einem Ensemble und versuchte dabei, eine Annäherung zwischen akustischen Instrumenten und via Lautsprecher gespielten Klängen herzustellen. Dabei werden die Instrumente nicht einfach mikrofoniert, vielmehr existieren Instrumentenklänge und Lautsprechersounds nebeneinander und interagieren miteinander. Für die Erarbeitung des Stückes «Proximity» wurden in den Proben unterschiedliche Feldaufnahmen und eigens produzierte Klänge gemeinsam angehört. So zum Beispiel von Wasser, Feuer, Wind, aber auch synthetisch produzierte Sounds. Durch kleine Hörübungen tauchte das Ensemble in die Klänge ein und wurde so an unterschiedliche Hörerlebnisse herangeführt. Die Annäherung fand aber nicht nur einseitig statt, und so hat auch die Komponistin der freien Improvisation des Ensembles zugehört. Durch dieses gegenseitige Zuhören und das Suchen von Resonanzräumen zwischen Ensemble und Komponistin entstand das Stück «Proximity». Es besteht aus Spielanleitungen, Erinnerungen anKlänge und der Suche nach einem gemeinsamen Raum, in welchem jede*r seinen Platz findet. Dabei steht nicht das perfekte Spiel des Einzelnen im Zentrum des Stückes, sondern das Zusammenspiel. Das Publikum ist herzlich eingeladen, sich in den Raum zwischen den Akteur*innen zu setzen.(Im Stück verwendete Aufnahmen von Wasser und Feuer wurden gemeinsam mit Tim Shaw erstellt) Text: Martina Lussi https://martinalussi.com/Listening-To-Love Tue, 15 Oct 2024 20:16:25 +0000 Martina Lussi https://martinalussi.com/Listening-To-Love LISTENING TO LOVE Listening Score/ 2024 <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/54cd0b530a6caa1f2627a565fe930a7c5c91a6abba1eb05f29accad717d30d6f/ListeningToLove_2.jpg" data-mid="219804487" border="0" src="https://freight.cargo.site/w/1000/i/54cd0b530a6caa1f2627a565fe930a7c5c91a6abba1eb05f29accad717d30d6f/ListeningToLove_2.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/c59928f4262b9bdcb768740e0ce56c352a2025c87f59f1978de1a3388980c32c/ListeningToLove_3.jpg" data-mid="219804488" border="0" src="https://freight.cargo.site/w/1000/i/c59928f4262b9bdcb768740e0ce56c352a2025c87f59f1978de1a3388980c32c/ListeningToLove_3.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/8d79d6b12339e6838bf1660b2e326dfe5225f301489ff6b9cdd9eb37c2a8e62a/ListeningToLove_5.jpg" data-mid="219804560" border="0" src="https://freight.cargo.site/w/1000/i/8d79d6b12339e6838bf1660b2e326dfe5225f301489ff6b9cdd9eb37c2a8e62a/ListeningToLove_5.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/7881829ab4a1b1da53c9c2fd3a74fb12470c839500fe8d0482e8978266083325/ListeningToLove_4.jpg" data-mid="219804489" border="0" src="https://freight.cargo.site/w/1000/i/7881829ab4a1b1da53c9c2fd3a74fb12470c839500fe8d0482e8978266083325/ListeningToLove_4.jpg" /> https://martinalussi.com/Soundwalk-Weiertal-1 Thu, 01 Feb 2024 18:52:22 +0000 Martina Lussi https://martinalussi.com/Soundwalk-Weiertal-1 SOUNDWALK WEIERTAL Soundwalkstereo on headphones, Station Wülflingen – Kulturort Weiertal25`00``/ 2023 The piece was contributed to the exhibition 8. Biennale Weiertal – Common GroundThe recordings for «Soundwalk Weiertal» were made during a walk from Wülflingen railway station to Kulturort Weiertal. The composition is intended for listening while walking. The piece contains field recordings with different types of microphones such as hydrophones, piezo, electromagnetic receiver &amp; omni-directional mic. Found sounds mix with the body's own sounds to create a soundscape. While walking the soundscape created by the artist overlaps with the soundscape the recipient finds itself in.The piece was later released on The Weiertal EP ▶︎ Exhibition Text (english translation) In her artistic practice, Martina Lussi is devoted to attentive listening—both to and with intent. The recordings for the «Soundwalk Weiertal» were made during a walk from Wülflingen train station to the cultural site. We hear a rumbling road, chirping birds, footsteps on gravel. Various microphones were used for the recordings—known as field recordings. Among them, for example, a hydrophone, which captures the sounds of flowing movements underwater. Or a broadband receiver that registers electromagnetic fields imperceptible to the human ear. This gives the Selecta vending machine at the station its own unique presence with scratchy noises. The recordings were shaped by the artist into a «soundscape composition.»They are not used chronologically or purely for documentary purposes. Instead, new sound spaces open up through the sounds, which relate to the real surroundings of the walk. By playing with different volume levels, Martina Lussi weaves the composition together with ambient and bodily sounds, such as breathing or footsteps. The meandering between these sonic realities creates a landscape that feels almost dreamlike. The soundwalk can be experienced on the way to the Weiertal cultural site or directly in the garden via personal headphones, and is accessible through corresponding QR codes. Ausstellungstext(original german)In ihrer künstlerischen Praxis widmet sich Martina Lussi dem aufmerksamen Hin- und Zuhören. Die Aufnahmen für den «Soundwalk Weiertal» entstanden während eines Spaziergangs vom Bahnhof Wülflingen zum Kulturort. Wir hören eine rumorende Strasse, zwitschernde Vögel, Schritte auf dem Kies. Für die Aufnahmen – sogenannte Field Recordings – kamen unterschiedliche Mikrofone zum Einsatz. Darunter etwa ein Hydrophon, das die Klänge fliessender Bewegungen unter Wasser aufnimmt. Oder ein Breitbandempfänger, der die für Menschen nicht wahrnehmbaren elektromagnetischen Felder registriert. So erhält der Selecta-Automat beim Bahnhof mit kratzigen Geräuschen eine ganz eigene Präsenz. Die Aufnahmen wurden von der Künstlerin zu einer «Soundscape Composition» verarbeitet. Sie sind nicht chronologisch und werden auch nicht rein dokumentarisch verwendet. Vielmehr eröffnen sich durch die Sounds neue Klangräume, die sich zur realen Umgebung während des Spaziergangs verhalten. Indem Martina Lussi mit verschiedenen Lautstärken spielt, verwebt sich die Komposition mit umgebenden und körpereigenen Geräuschen wie der Atmung oder Schritten. Das Mäandern zwischen diesen Klangrealitäten lässt eine fast schon traumähnliche Landschaft entstehen. Der Soundwalk kann auf dem Weg zum Kulturort Weiertal oder direkt im Garten auf den eigenen Kopfhörern gehört werden und ist über entsprechende QR-Codes abrufbar. Text:&nbsp;Giulia Bernardi https://martinalussi.com/What-Remains Sun, 11 Dec 2022 22:41:10 +0000 Martina Lussi https://martinalussi.com/What-Remains WHAT REMAINS Performancetrycheln*, mallet drum sticks, head torches performed by Nikalus Achermann, Manuel Gloor, Lea Kuster, Carla Maurer &amp; the artist on November 11, 2022 in the Art Museum Lucerne / 2022 <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/74fff02d5b4145706f508d49774c5d9e721e5714f2e216aa84a96e4b1a73476d/W_221111_khl_luishartl_performancepreis_kml-132.jpg" data-mid="161643593" border="0" src="https://freight.cargo.site/w/1000/i/74fff02d5b4145706f508d49774c5d9e721e5714f2e216aa84a96e4b1a73476d/W_221111_khl_luishartl_performancepreis_kml-132.jpg" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/cbfebc131549acbfd04293e744983eca38b98fa11a945bc4df9cae5337d0311d/W_221111_khl_luishartl_performancepreis_kml-125.jpg" data-mid="161644188" border="0" src="https://freight.cargo.site/w/1000/i/cbfebc131549acbfd04293e744983eca38b98fa11a945bc4df9cae5337d0311d/W_221111_khl_luishartl_performancepreis_kml-125.jpg" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/bf53d2189f65ae9b0a9a7382a9c03b9063c61a379f9ba57473910ccc080174f0/W221111_khl_luishartl_performancepreis_kml-126.jpg" data-mid="161644218" border="0" src="https://freight.cargo.site/w/1000/i/bf53d2189f65ae9b0a9a7382a9c03b9063c61a379f9ba57473910ccc080174f0/W221111_khl_luishartl_performancepreis_kml-126.jpg" /> Courtesy Luis Hartl, 2022 * «Trycheln» are large cowbells made of hammered sheet metal. They are lighter than bells, which are made of cast metal.&nbsp;«Trycheln» are mainly found in the northern Alpine region. They are used in carnival and New Year's Eve customs and during the Santa Claus procession in Switzerland. Their sound and noise are said to drive away evil spirits during the dark season. Since autumn 2020, in Switzerland, the bells are also used for Anti-Covid rallies.&nbsp; The rooms of the museum are dark. Each performer wear a head torche, a «Trychel» and a pair of mallet drum sticks. Throughout the performance the group moves through 3 big rooms of the Art Museum Lucerne. The performance is an attempt to find new ways of working with the sound of the «Trychel». The focus is on the sound-spatial aspects and the active listening to the sounds. The performers move in the dark rooms of the Art Museum, partly in a group, partly alone. They communicate primarily through their hearing and the sounds they produce with the bells. The rooms of the Art Museum become resonance spaces. The listeners can move freely in the rooms and around the performance, defining their own listening perspective themselfs. The work was commissioned by the Arts Commission of the City of Lucerne. The sound was recorded from an audience perspective and was handed over to the Art Collection City of Lucerne.&nbsp; https://martinalussi.com/Subpolal-Birdscapes-In-Transformation Wed, 23 Nov 2022 14:32:02 +0000 Martina Lussi https://martinalussi.com/Subpolal-Birdscapes-In-Transformation SUBPOLAR BIRDSCAPES IN TRANSFORMATION 4-Channel Installation Composition by Martina Lussiwith Recordings by Patricia Jäggi25`00`` Loop/2022 ▶︎ Die Arbeit wurde komponiert und gezeigt als 4-Kanal Installation. Sie entstand als Teil des Forschungsprojektes Projektes Seeking Birdscapes der Hochschule Musik und Hochschule Design und Kunst Luzern. Nicht nur die Rufe und Gesänge der für viele unvertrauten Vögel, sondern auch ihre Flügelschläge oder Bewegungen auf dem Wasser und in der Luft werden hörbar. Der Wind und das Rascheln von Gräsern, das Meer, aber auch die menschliche Stimme, Jackengeräusche, ein Auto oder ein Konzert aus der Ferne werden in die Komposition eingebettet und skizzieren nicht nur die Welt der Laute der Vögel, sondern auch die Klänge ihrer Lebensräume. Das Stück orientiert sich am organischen Rhythmus der Vögel, die ihre eigene Zeitlichkeit besitzen. Es spielt mit der Koexistenz unterschiedlicher Pulse und Frequenzen. Die Komposition mäandert zwischen hohen und tiefen Klängen, spielt mit nahen Geräuschen und offenen, fernen Klanglandschaften. Sie eröffnet Raum für unterschiedliche Hörperspektiven auf die boreale Vogelwelt. In der Komposition werden nicht nur Birdscapes, die im Rahmen der Feldforschung entstandene Aufnahmen arrangiert, sondern diese werden gefiltert, prozessiert, geschichtet und mit synthetisch produzierten Klangtexturen angereichert. Imaginierte Perspektiven werden in Klang umgesetzt. So werden zum Beispiel die an Land aufgenommenen Recordings mittels Layering, Equalizing und Spectral Freezing so bearbeitet, dass der Eindruck des Abtauchens unter Wasser entstehen kann. Oder es kreisen künstliche Windgeräusche, generiert aus Noise und einem sich ständig bewegenden Bandpassfilter, auf den vier Lautsprechern, während gleichzeitig Vogelaufnahmen zu hören sind, in welchen sich der Fokus mehr und mehr auf die tieferen Frequenzen verschiebt und so ein komponiertes, kreisendes Aufsteigen entsteht. (original text in german)The work was composed and shown as a 4-Channel Installation. It was created as part of the research project Seeking Birdscapes at the Lucerne School of Music and Lucerne School of Art and Design.&nbsp; Not only the calls and songs of the birds, which are unfamiliar to many, but also their wing beats or movements on the water and in the air become audible. The wind and the rustling of grasses, the sea, but also the human voice, jacket noises, a car or a concert from afar are embedded in the composition and sketch not only the world of the birds' sounds, but also the sounds of their habitats. The piece is oriented towards the organic rhythm of birds, which have their own temporality. It plays with the coexistence of different pulses and frequencies. The composition meanders between high and low sounds, plays with close sounds and open, distant soundscapes. It opens up space for different auditory perspectives on the boreal bird world. In the composition, not only are birdscapes arranged that were recorded during the field research, but these are filtered, processed, layered and enriched with synthetically produced sound textures. Imagined perspectives are transformed into sound. For example, recordings made on land are processed by means of layering, equalising and spectral freezing in such a way that the impression of diving under water can be created. Or artificial wind noises, generated from noise and a constantly moving band-pass filter, circle on the four loudspeakers, while at the same time bird recordings can be heard in which the focus shifts more and more to the lower frequencies, creating a composed, circling ascent. https://martinalussi.com/The-Listener Wed, 15 Jun 2022 13:31:23 +0000 Martina Lussi https://martinalussi.com/The-Listener THE LISTENER Installation10`00``/2022 <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/07a08d119803a398ae76a3ecd3ae67ef99a7f988521b9bf4d5ba75da34815c4e/_H2A3424.jpg" data-mid="145512915" border="0" src="https://freight.cargo.site/w/800/i/07a08d119803a398ae76a3ecd3ae67ef99a7f988521b9bf4d5ba75da34815c4e/_H2A3424.jpg" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/c440aca0930bc4130be50fa29b40658dbcbfcf5dfa483db9b248e72e4f991a3d/_H2A3414.jpg" data-mid="145514186" border="0" src="https://freight.cargo.site/w/1000/i/c440aca0930bc4130be50fa29b40658dbcbfcf5dfa483db9b248e72e4f991a3d/_H2A3414.jpg" /> <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/a60d5f6b9e1feb69333088f345d0096ec1b8a6045df40fb9593489c6cb04216f/_H2A3423.jpg" data-mid="145512913" border="0" src="https://freight.cargo.site/w/800/i/a60d5f6b9e1feb69333088f345d0096ec1b8a6045df40fb9593489c6cb04216f/_H2A3423.jpg" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/5f1fe1bcfa4d9188fbc0e7cbe91bbbe82415249477fdee2b3dcfb3b3492ae727/_H2A3417.jpg" data-mid="145514187" border="0" src="https://freight.cargo.site/w/1000/i/5f1fe1bcfa4d9188fbc0e7cbe91bbbe82415249477fdee2b3dcfb3b3492ae727/_H2A3417.jpg" /> <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/7ffb2cedd87f15abebfefe3c21849038e1bcb92be7350879292095557a683917/_H2A3425.jpg" data-mid="145512916" border="0" src="https://freight.cargo.site/w/800/i/7ffb2cedd87f15abebfefe3c21849038e1bcb92be7350879292095557a683917/_H2A3425.jpg" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/01c236d7fb80cd6cb6f46d4eb9d12b2c7761b97a60ffd7f5f348513d139da500/_H2A3420.jpg" data-mid="145514189" border="0" src="https://freight.cargo.site/w/1000/i/01c236d7fb80cd6cb6f46d4eb9d12b2c7761b97a60ffd7f5f348513d139da500/_H2A3420.jpg" /> <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/be949c2e689804b010c8a1fd77b70e0b10b60ae4132fa52ff40e173f2ebb7cab/_H2A3427.jpg" data-mid="145512918" border="0" src="https://freight.cargo.site/w/800/i/be949c2e689804b010c8a1fd77b70e0b10b60ae4132fa52ff40e173f2ebb7cab/_H2A3427.jpg" /> Courtesy Andri Stadler, 2022 Exhibiton Text (english translation) Martina Lussi (*1987) creates installations and compositions through a variety of sonic material. Her artistic practice is based around the act of listening. Her soundscapes invite the listener to walk through them. Lussi's artistic practice has been concerned with field recordings. Recordings of sounds that are not specifically produced, natural sound events or found soundscapes outside of a recording studio. Currently she is particularly interested in recordings of natural or environmental sounds, which she captures with the help of a portable recording device and different types of microphones. Being still and reducing one's own movement and noises plays an important role in this process. The question arises to what extent the noises produced by the artist itself can be included in the recordings. Body sounds are characterized by the acoustic expression of physiological or processes of the human body. Various sound phenomena are created: heart, breathing, joint or swallowing sounds. But also the sounds of materials such as clothing are an important part of the auditory experience. Such sounds are often suppressed. We know such processes also from buying headphones that advertise «noise cancelling». Headphones that can eliminate ambient sound with the help of a computer chip. In Martina Lussi's case, such unwanted and disturbing background noises become the main actors. At sic! Elephanthouse, Lussi is showing a new work. The sound installation «The Listener» is based on studio recordings of Lussi's self-generated jacket noises, which are caused by friction, grasping or rustling of the different textures of the jackets. Four different jackets, whose surface and texture sound and feel different were each put on by Lussi for 10 minutes and where explored sonically by moving around. The results are four sound tracks, which are played on four loudspeakers, so that a new random composition, a new sonic environment is created in the exhibition space. The jackets become the main instrument and their use creates a space that goes beyond the sonic documentation. Ausstellungstext Martina Lussi (*1987) kreiert Installationen und Kompositionen aus einer Vielzahl unterschiedlicher Klangfragmenten und bearbeitetem akustischem Material. Dabei basiert ihre künstlerische Herangehensweise hauptsächlich auf dem Akt des Zuhörens. Ihre vielfältigen Soundlandschaften laden zum Flanieren ein. Bisher beschäftigte sich Lussi in ihrer künstlerischen Praxis mit Field Recordings. Es sind Aufzeichnungen von nicht eigens erzeugten Klängen, natürlichen Schallereignissen oder vorgefundenen Klanglandschaften ausserhalb eines Tonstudios. Ihr Interesse liegt insbesondere in Aufnahmen von Natur- beziehungsweise Umgebungsgeräuschen, die sie&nbsp;mithilfe von portablen Aufnahmegeräten realisiert. Das Still sein und reduzieren der&nbsp;eigenen Bewegungsgeräusche spielt dabei eine wichtige Rolle. Es stellt sich die Frage,&nbsp;inwiefern die eigens produzierten Geräusche in den Aufzeichnungen von&nbsp;Naturaufnahmen Platz finden. Körpergeräusche zeichnen sich durch den akustischen&nbsp;Ausdruck von physiologischen oder Vorgängen des menschlichen Körpers ab. So&nbsp;entstehen diverse Schallphänomene: Herz-, Atem-, Gelenk- oder Schluckgeräusche. Aber&nbsp;auch die Geräuschkulisse von Materialien wie die der Kleidung ist ein wichtiger Teil der&nbsp;Hörerfahrung. Solche Geräusche werden oftmals unterdrückt. Wir kennen solche&nbsp;Rauschunterdrückungsverfahren beim Kauf von Kopfhörern, die mit «Noise Cancelling»&nbsp;werben, d.h. die Kopfhörer können mithilfe eines Computerchips den Umgebungsschall&nbsp;eliminieren. Bei Martina Lussi werden solche ungewollten und störenden Nebengeräusche&nbsp;zu Hauptakteuren. Im sic! Elephanthouse zeigt Lussi eine neue Arbeit. Die Klanginstallation «The Listener» basiert auf Studioaufnahmen von Lussi's selbst verursachten Jackengeräuschen, die durch Reibung, Greifen oder Rascheln der unterschiedlichen stofflichen Beschaffenheit der Jacken verursacht wurden. Vier unterschiedliche Jacken, dessen Oberfläche und&nbsp;Textur sich andersartig anhören und anfühlen wurden von Lussi je während 10 Minuten&nbsp;angezogen und mittels eigener Bewegung klanglich erforscht. Entstanden sind vier&nbsp;Klangspuren, die auf vier Lautsprechern abgespielt werden, sodass eine zufällige&nbsp;Komposition, eine neue klangliche Umgebung im Ausstellungsraum entsteht. Die Jacken&nbsp;werden zum Hauptinstrument und ihre Verwendung erzeugt einen Raum, der über die&nbsp;klangliche Dokumentation hinausgeht.Text: Sabrina Negroni Press Text of the compilation:When you listen to birds, they usually talk about food, sex/family, or anxiety. If they knew about the true nature of humanity's cruel and exploitative relationship with birds, they would be discussing rebellion. Humanity's current trajectory about birds is to cause the extinction of one-third of all bird species by the end of this century. This record crystallises the borders between memory, beauty, and anxiety. At the core is an amalgam of all the birds we have met and heard, their sounds synthesised from a blend of memories. Esthetically it simulates the qualities of bird sounds, hitting similar frequential sweet spots. There is a great variety of birds captured here, from high to low frequencies, from solo voices to groups, from birds standing on their own to complex world-building, where the bird voices are part of an ecosystem, becoming one of the instruments. You could stop there, enjoying this record on a musical level, but it invites us to do one step further, to consider reconfiguring our relationship with the Earth and its inhabitants. To question our impact, and to ask why we need synthetic bird music. Is it just a visionary endeavour or is it because we are failing at fostering a world in which organic birds and other creatures can thrive? 32 artists from the whole world, including our favourite artists from Eastern Europe, have contributed to this compilation both with new and previously released music. Their music is ordered from dawn to dusk and into the night. For many of the artists it's their first time on mappa, but some have previously released an album with us. Profits from the record will be donated to the SOS/BirdLife Slovakia, organisation protecting the bird biotops by river Ipeľ, in south of Slovakia, where mappa has been formed. &nbsp; «The Listener» was later released as a shortened stereomix version of the installation piece on the following compilation: «Synthetic Bird Music» <img width="700" height="700" width_o="700" height_o="700" data-src="https://freight.cargo.site/t/original/i/ca5f29a41b6a0e7ff47fbbf1f01bb10d497a79deaafbaf3d8a77601c3125708b/Cover-Mappa.jpg" data-mid="203647204" border="0" src="https://freight.cargo.site/w/700/i/ca5f29a41b6a0e7ff47fbbf1f01bb10d497a79deaafbaf3d8a77601c3125708b/Cover-Mappa.jpg" /> Compiled by Jakub Juhás (mappa) RELEASE DATE: November 7, 2023FORMAT: Casette / digitalMASTERING: Adam Badí Donoval ARTWORK &amp; DESIGN: Roberta Di Paolo LABEL: mappa ▶︎ARTISTS: Jonáš Gruska, Dialect, Makakinho do Amor, Baldruin, Olli Aarni, Øyvind Torvund, Vic Bang, Grykë Pyje, Tomutonttu, Native Instrument, HMOT, Artificial Memory Trace, Floris Vanhoof, JAB, Cheryl E. Leonard, Mike Cooper, Matthias Puech, Enchanted Lands, Ursula Sereghy, Ecka Mordecai &amp; Malvern Brume, Banana (Alexandra Spence &amp; MP Hopkins), Rie Nakajima, Martina Lussi, James Rushford, Maria Komarova, Misha Kurilov, Kate Carr, Infant, Andrew Pekler, Atte Elias Kantonen, Kensho Nakamura, Felicity Mangan https://martinalussi.com/Inner-Voices-Soundwalk Wed, 15 Jun 2022 12:01:08 +0000 Martina Lussi https://martinalussi.com/Inner-Voices-Soundwalk INNER VOICES Soundwalkwith Tim Shaw, Patricia Jäggi, Christoph Brünggel, Martina Lussi 1`00``/2022 <img width="1200" height="900" width_o="1200" height_o="900" data-src="https://freight.cargo.site/t/original/i/ab7af11bc9274bd1ab95a2019c95d8fe81aca461577c75a4366505699a0149e2/Soundwalk_Altdorf_CreditsMathiasArnold2022-8951_Web.jpg" data-mid="145549371" border="0" src="https://freight.cargo.site/w/1000/i/ab7af11bc9274bd1ab95a2019c95d8fe81aca461577c75a4366505699a0149e2/Soundwalk_Altdorf_CreditsMathiasArnold2022-8951_Web.jpg" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/6ed0bfdd05bb6c9d8f8bf05f9509102e7e8ba0df7d13c7f3f5c691963264c38a/013A0827_EDIT_Web.jpg" data-mid="146118242" border="0" src="https://freight.cargo.site/w/1000/i/6ed0bfdd05bb6c9d8f8bf05f9509102e7e8ba0df7d13c7f3f5c691963264c38a/013A0827_EDIT_Web.jpg" /> <img width="1200" height="900" width_o="1200" height_o="900" data-src="https://freight.cargo.site/t/original/i/6cc1abd22a1c2c57cafdadb75ff10ccfb19e28e28030a1907c05aee2fdaca0d9/Soundwalk_Altdorf_CreditsMathiasArnold_2022-8906_Web.jpg" data-mid="145499911" border="0" src="https://freight.cargo.site/w/1000/i/6cc1abd22a1c2c57cafdadb75ff10ccfb19e28e28030a1907c05aee2fdaca0d9/Soundwalk_Altdorf_CreditsMathiasArnold_2022-8906_Web.jpg" /> <img width="1200" height="900" width_o="1200" height_o="900" data-src="https://freight.cargo.site/t/original/i/38ae2723a896c85e74d53b33b115a7d8187389391e0b471ab5f2164a9ec9c357/Soundwalk_Altdorf_CreditsMathiasArnold_2022-8940_Web.jpg" data-mid="145499745" border="0" src="https://freight.cargo.site/w/1000/i/38ae2723a896c85e74d53b33b115a7d8187389391e0b471ab5f2164a9ec9c357/Soundwalk_Altdorf_CreditsMathiasArnold_2022-8940_Web.jpg" /> Courtesy Mathias Arnold, 2022 «Inner Voices» is a series of soundwalks presented between March 15 to June 15, 2022. The project took place in the frame of the cultural project «Innereien» initiated and supported by the Albert Koechlin Foundation (AKS). Partner Institution: Lucerne Music SchoolAdditional Cooperation Partners Haus für Kunst Uri Kulturkloster Altdorf Nidwaldner Museum Festung Fürigen Sust Stansstad The walks took place in Central Switzerland. During the soundwalk, everyone wears headphones through which sounds are played live to them. In the process, sounds from central Switzerland that were found along the way as well as previously recorded sounds become audible. Such as underwater sounds or electromagnetic fields that are present in the villages and seemingly imperceptible are made audible. The different microphones are used as «instruments». The sound artists process the captured sounds live on a micro computer and improvise together in a duo. In the process, various inner lives are made audible and thus more conscious. The walks build on everyday listening and deepen one's own listening experience by directing their listening into an inner space. Each walk lead in a specific interior where the headphones are taken of an the soundwalk ends.Technical Specs: For this project we used a Soundwalk System Tim Shaw initally developed for his work «Ambulation». We extended the system to be able to play in pairs and added prerecorded sounds and further effects. Each player runs a personalized Pure Data patch on a Bela Board. The documentation of «Ambulation» you find on the Bela Blog: https://blog.bela.io/ambulation-sound-walk-tim-shaw/ https://martinalussi.com/Sound-Library Sat, 23 Apr 2022 14:38:10 +0000 Martina Lussi https://martinalussi.com/Sound-Library SOUND LIBRARY/2021/2022 <img width="1600" height="1600" width_o="1600" height_o="1600" data-src="https://freight.cargo.site/t/original/i/42f29edfbd30fb39e466e5e3387466801840f52f6a9b55ad39b017d8452d15d8/EOSRadio_MartinaLussi_quadrat.png" data-mid="140460146" border="0" src="https://freight.cargo.site/w/1000/i/42f29edfbd30fb39e466e5e3387466801840f52f6a9b55ad39b017d8452d15d8/EOSRadio_MartinaLussi_quadrat.png" /> The artist invites you to a one-hour listening sessions through her sound library. Samples, studio recordings and field recordings provide insight into her artistic practice and are contextualized with commentary. Sound Library #2in the Radio Show “Resolution” on Balamii Radio, 2022 invited by Henrik Blomfelt▶︎ Sound Library #1at Tonfunktion – Festival für Gebrauchsmusik on EOS Radio, 2021 organized by Künstlerhaus Mousonturm(Sound is not available)▶︎