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Artisti invitati Prima Parte
Vito Acconci, Nanni Balestrini, Massimo Bartolini, Riccardo Benassi, Roberto Benigni, John Cage-Nam June Paik, canecapovolto, Gino De Dominicis, Maria Thereza Alves-Jimmie Durham, Jan Fabre, Emilio Fantin, William Furlong, Al Hansen-Jerry Mulligan, Douglas Henderson, Jacob Kirkegaard, Marc Kostabi-Ornette Coleman, La Monte Young, Donatella Landi, HH Lim, Arrigo Lora-Totino, Walter Marchetti, Martux_m, Marzia Migliora, Liliana Moro, Maurizio Nannucci, Alva Noto, Luca Patella, Steve Piccolo, Cesare Pietroiusti, Albert Pinya, Vettor Pisani, Roberto Pugliese, Steve Roden, Michael Schumacher, Peter Schuyff, Donatella Spaziani, Staalplaat Soundsystem, Alberto Tadiello, Cesare Viel, Martin Daske

Le opere di 80 artisti internazionali – forme sonore musicali, verbali, rumoreggianti, – disseminate in tutti gli spazi – interni ed esterni, pubblici e segreti, umili e nobili – del Parco della Musica

La mostra presenta l’originale ricerca di artisti internazionali di diverse generazioni che hanno lavorato e lavorano sulla smaterializzazione dell’opera, approdando a inedite forme di sonoro. La mostra si svolgerà in due tempi e le opere saranno disseminate negli spazi interni ed esterni dell’Auditorium: foyer, corridoi, bar, ristoranti, sale da concerto, sale di registrazione, toilette, scale, spazi di passaggio, biglietteria. In tal modo la fruizione della mostra avverrà attraverso la ricerca sonora dell’opera invisibile che a sua volta intercetterà l’attenzione anche imprevista dello spettatore. Da John Cage e dalle Neo-avanguardie fino a un panorama sugli artisti d’oggi, le opere sonore introducono un’attesa e una sospensione delle difese che colgono lo spettatore di sorpresa, circondandolo da ogni parte e aggirando così l’invalicabile frontalità delle cose. Attraverso la vaporizzazione di ogni forma visiva gli artisti coinvolti capovolgono l’affermazione di Paul Klee “L’arte rende visibile l’invisibile”. Il risultato di tale operazione sviluppa un nuovo tipo di contemplazione aperta ad esperienze polisensoriali e integrazione nell’architettura dei luoghi. Il catalogo- dvd, edito da Pier Francesco Aiello per la P.F.A. Film, è frutto di una soggettiva del critico curatore in esplorazione in tutti i possibili spazi dell’Auditorium, interni ed esterni. In tal modo diventa anche una descrizione visiva di tutti i luoghi architettonici dell’Auditorium progettato da Renzo Piano

It seems were mentioned in La Repubblica.

We have video and audio documentation on this website under MEDIA
BUT:
our VIDEO’S on youtube klick Here !
our PHOTO’S on flicker klick Here!
our SOUND (aif) on Soundcloud klick Here!

Staalplaat installation video

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Staalplaat performance video

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Our Teen workshop at LACE

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LACE hosts Dutch sound artist collective Staalplaat Soundsystem for a 10 day residency 20 Feb. – 1 March 2012. Within the current mood of worshipping the latest technology in media art, Staalplaat Soundsystem provides a breath of fresh air, reminding us of the 100-year tradition of noise-making machines, in which “mad” inventors and various kinds of artists operating in the margins of the art world meet. During their residency Staalplaat members Geert-Jan Hobijn and Carlo Crovato will construct a site specific, interactive sound installation that will also serve as the focal point for a participatory sound performance.

Using “everyday electronic junk” scavenged from thrift stores and donations, Hobijn and Crovato will fashion new “sound machines” that will be controllable by the audience via mobilephones. As the residency proceeds the artists will create and add more machines to an ever-growing installation in LACE’s main gallery space. In the final phase of the residency they will re-locate the installation to the storefront space and set it up so that LACE visitors and the general public can conduct the “orchestra” via their mobile phone both inside and outside from the Walk of Fame.
They will also lead a two-day youth workshop, culminating in a concert.

SUPPORT
This project is supported, in part, by public funds from the Netherlands Cultural Services (New York), in partnership with the Dutch Centre for International Cultural Activities (SICA); Music Center, the Netherlands; Netherlands Theatre Institute; and the Dutch Fund for the Performing Arts. Additional funds have been provided by a grant from the City of Los Angeles, Department of Cultural Affairs, and the Mondriaan Fund.

Yokomono-Pro is a car horn concert performed by vehicles moving through a city. Each city and each type of vehicle has its own tone and each combination results in a different concert. The project was developed and written as a commission by the International Sonic Residency 2008 for The KHOJ Artists’ Association in New Delhi and was presented one year later at the India Art Summit. In New Delhi we focused on the traffic and the amazing amount of noise it produces. One of the most prominent noisemakers is the three-wheel taxi, which uses its horn very frequently in situations where we would use our indicators, headlights or mirrors. Taxis are the most recognisable means of transport here, playing a dominant role in the city’s soundscape. We arranged for the collaboration of thirty so-called ‘tuck tuck’ taxis and operated their horns via remote by means of transmitters. By playing this ‘taxi horn choir’ in combination with spatial manoeuvres an urban sound choreography was created. Yokomono-pro has also been performed at the Transmediale in Berlin and at TodaysArt in The Hague.

More info at
timelab.org/residency/en/geert-jan-hobijn

LOLA landscape architects and Staalplaat Soundsystem present a new installation Composed Nature, developed for the Centrum voor Beeldende Kunst Dordrecht, it consists of a matrix of 64 trees. Controllable, mechanical vibrators are mounted on each individual tree and are operated by custom made software. The sound of each tree can vary from a barely audible noise to a heavy “Green noise”, thereby offering different sound textures to be played. To play the trees, many spatial sonic patterns have been programmed, and a musical composition titled “Shiver Me Timbers” has been written. The piece is shown as an installation, and enables visitors to activate patterns via their mobile phones interactively. What is left unspoken is who is in control: nature, mankind or technology.

Listen to a sound recording of our installation:

For the Urban Explorers Festival 16-17-18 June.

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side B
- pure white noise
- Mika Vainio -Telakka
- Gramm by Jaap Blonk

Press review:
This whole Yokomono thing dealt with vinyl, vinyl killers and such like. To which end Staalplaat goes as far as to pressing records for these installations and invite composers to deliver sound material. I am not sure how this will end up in the installation pieces, but if its still the same thing as with the vinyl killers, then this ’3.5′ is worthy one. To explain what it is, I have to copy the original text by Staalplaat: “Our first attempt was the release of Yokomono 03 where we hoped to cut two tracks, one spiraling from outside in and the others from inside out. So that the needle would move in different directions. This attempt failed (for reasons that we will not go in to at this moment). This new record has three parallel soundtracks where the cutting needle was lifted twice with short intervals, in order to make the needle used during “wiedergabe” to jump tracks randomly.
To play this record you must not see your turntable as a reproduction machine that reproduces the music on the record. You can not put it on and sit down to listen. See the record and turntable much more as a music instrument that with each turntable model and with each setting if your machine you will create a different sound and mix of this record. As with any instrument you have to learn how to play your turntable and find what setting you like best. Of vital influence are the skate settings en the wait [sic] on the tone arm, these and others you must very to experience the options of the record.” There is a brown noise (inserts quote again: “In science, Brownian noise, also known as Brown noise or red noise, is the kind of signal noise produced by Brownian motion, hence its alternative name of random walk noise. The term “Brown noise” comes not from the color, but after Robert Brown, the discoverer of Brownian motion.” with sound pieces by Cynthia Zaven and Merzbow, and a white noise
side with Mika Vainio and Jaap Blonk. Now this is certainly a most strange record. I stood by my turntable, changing the weight of the tone arm hearing say Blonk, but then moving into Vainio and back, or the piano tones which I assume are Zaven’s going into Merzbowian noise, sometimes with white/brown noise blocks coming in, quickly and disappearing equally fast. Stuff you can do on vinyl only and which have a highly added value to what you get. Hardly plain music, but also not just a DJ tool. Very nice, even without the art installation itself. (FdW) (VITAL)

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“Fluxus Biennial 2010-2011″
Staalplaat soundsystem presented a new installation/concert  ‘Musica povera al dente’ or fluxYOU commissioned by Fondazione Musica per Roma, Rome Auditorium”
For the set up we build 20 hand driven turntables, made from siple neadle, paper horn and  found opbjects like a salad-dryer or yogurt box. We  put contact mic’s on the paper horns and used our ownthe white and transparent model loop-records. For the composition we tailored the frame work of Cartridge Music by John Cage and it was played with a set of 6 volunteers and members of the public.

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In their workshop the Staalplaat Soundsystem will show participating kids that fancy Japanese devices or expensive instruments are not at all needed to make great music – instead they will demonstrate that all you really need can easily be found in everyone’s own kitchen or cellar, if combined with a little bit of research and some playful modification.

During their performances and installations, usually featuring odd machine orchestras constructed from a plethora of found objects, Staalplaat Soundsystem noticed early on that children were fascinated by their way of playfully misusing everyday household utilities. On the invitation of Avanto Festival in Helsinki, they consequently developed their first instrument building workshop for children in the year 2005, and have been refining their concept and approach ever since. At the core of the workshop is the idea of avoiding the ‘copy’ or ‘rebuild’ of what already exists, and instead embarking with the children on a ‘research quest’ for new sound sources and noise-making devices – quite similar to the Soundsystem’s regular working methods: play, experiment, test, trial and error.

Guided by the members of the Staalplaat Soundsystem, the kids will work together in small groups and help each other with their ideas. The end of the workshop will see a joint performance of the young participants together with the Staalplaat Soundsystem in the form of a variation of John Zorn’s ‘Cobra’ concept.

Yokomono-Pro’ is an outdoor sound-performance-intervention using cars and traffic by Geert-Jan Hobijn / Staalplaat Soundsystem and sound artists Ilpo Väisänen and Mika Vainio (Pan Sonic) that engages with the connections between sound, transportation and the urban environment.
A choreographed sound performance with 24 Nissan Cube’s vehicles have their car horns remotely trigger as they drive along a programmed route.
Using the horns as a choir, we will have a combination of voice patterns and dynamic spatial movements creating sound choreography as if for a car ballet.
Staalplaat Soundsystem featuring compositions from Mika Vainio & Ilpo Väisänen (Pan Sonic). ‘ The Staalplaat Sound System is a sound art, installation and performance group; sound activists with a Dadaist motor who create installations from everyday electronic objects: from vacuum cleaners and washing machines to a fleet of trains.

Presented in Den Haag @ Today’s Art festival
Friday 24 and Saturday 25 september at the Spuiplein

Click here to view the embedded video.

Click here to view the embedded video.

one firts edit to listen

01. Track Yokomono-pro Den Haag

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