1st Oct – 30th of Oct 2020
»VORTEX« »tingles & clicks«  »Metamorphose« »AIDOL 爱道«  »Micro Loop Macro Cycle« »Flora Self«
»CACHE/SPIRIT« »Deep Surroundings« »Emptea Ceremony« Schedule Save in Calendar
1st Oct – 30th of Oct 2020

In the year of falling masks CYNETART 2020 presents over 30 days of electronic music, performance, lectures and dance in the art spaces GEH8, C.Rockefeller Center for the contemporay Arts Dresden, objekt klein a, Festspielhaus Hellerau as well as on the CYNETART Online Portal. wAtch oUt!

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The full programme is presented during the next weeks. Stay tuned.

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künstlerische Leitung: Ulf Langheinrich
Projektmanagement: Thomas Dumke
CYNETART Online Portal: parsecmonitor
Social Media Management: Anne Lippert
3D art by @shifting.phases
Visual identity by @sinosc & @shifting.phases
weitere freie Mitarbeiter*innen

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Impressum & Datenschutz


16.10.2020 – 17.10.2020


Maria Chiara de’ Nobili & Ulf Langheinrich

Festspielhaus Hellerau, premiere openstreetmap
Highly limited seats!

Elastic joints. Dancing as a drill of jaktations. Slower and slower. More and more nervous. Progressing in senseless loops, circling around the same feverishly throbbing memories, which are not memories at all but inventions, wandering in sensory deprivation. There is no reason. There was nothing. And there is nothing. This is how it can work, the metamorphosis from beast to borg. Behind the Schwarzschild radius all bodies, all images, all light, all sense and all hope are silted up, forgotten, lost in the Hades of the New Age.

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Fri 16th Oct 18:00 17/8 € BUY
Fri 16th Oct 21:00 17/8 € BUY

Sat 17th Oct 18:00 17/8 € BUY
Sat 17th Oct 18:00 17/8 € BUY

Admission from 16 years of age

⚠️ During the event, stroboscopic lighting effects are used over considerable periods of time. The event is therefore not suitable for people with epilepsy, serious heart problems or claustrophobic anxiety and for pregnant women. The event must not be attended under the influence of mind-altering drugs.

The video projections show images that could be experienced as disturbing or repulsive.

Ulf Langheinrich
Ulf Langheinrich was born in 1960, in Wolfen, GDR.

After studying industrial design, he conducted audio experiments using pipe organs, harmoniums and multiple tape machine environments, as well as engaging mainly in drawing. In 1984, he left East Germany for West Germany, where he started to develop the basics of his language in painting, photography and electronic music. In 1988, he moved to Vienna pursuing his activities in his studio in the WUK (Werkstätten und Kulturhaus).

In 1991, in Vienna, he co-founded with Austrian artist Kurt Hentschläger the duo GRANULAR-SYNTHESIS. In more than a decade, they created monumental multimedia installations and performances, such as AREAL (1997-2004), FELD (2000), MODELL 5 (1994-2007), NOISEGATE (1998) or the latest POL (1998-2008).

Since 2003, Ulf Langheinrich has been producing a new series of large scale solo projects, among others PERM (2005), an interactive abstract film created for the EVE Interactive Cinema system, designed by Jeffrey Shaw, HEMISPHERE (2006-2016) and LOST (2017), designed for a hemispheric screen, or LAND, a stereoscopic installation commissioned by Liverpool Biennial 2008.

He is involved in the education project Sup de Sub, conceived by the LFKs collective and its director Jean Michel Bruyère, whose first campus opened in Marseilles in September 2019 and in Seine Saint Devis in January 2020. Since 2016, he is also Artistic Director of CYNETART Festival, Dresden.

Maria Chiara de’ Nobili
Born in Naples (Italy) in 1995, Maria Chiara de’ Nobili got her Bachelor in contemporary dance in Dancehaus (Milan). Afterward, she moved to Israel and joined the KCDC dance journey program for ten months. Between 2016 and 2018 she worked as a dancer for the Elephant in the Black Box dance company in Madrid, creating short pieces for other company members. Furthermore, Maria Chiara became choreographic director of the small multidisciplinary company Suite Oblique, based as well in Madrid. In 2018 she was one of the choreographers hosted by La Biennale di Venezia College Choreographers (Venice) to produce a 20 minutes piece. In the same year, she joined Palucca University of Dance Dresden for the Master of Choreography program. In February 2019, she created “QUBE”, premiered first in Mendrisio and later performed in Berlin and Dresden. In April she choreographed “Dandelion Clock”, premiered as well in Dresden. In June 2019, she worked again for La Biennale di Venezia as a guest choreographer, creating and dancing “Wrap”, a full evening piece commissioned by Marie Chouinard. While being involved as a dancer with the Staatsschauspiel Dresden for their newest production, Maria Chiara is working on two new creations, one of them will be her final Master Project co-produced by TANZPAKT Dresden that will be premiered in July 2020.

Limited number of seats.
The event will take place in consideration of the necessary hygiene measures within the framework of COVID-19 regulations.
Reservations are not possible - only online or direct purchase at the advance booking offices and in the Visitor Centre. Remaining tickets are available at the box office.

Concept, artistic direction, music and audio-visual conception:
Ulf Langheinrich

Choreography: Maria Chiara de’ Nobili
dancers*: Jasmine Chiu, Tamura Emiko, Yunjin Song, Huang Yu Yuan, Jiamin Zhang

original concept: Yubeing Luo & Ulf Langheinrich

Loop software: Matthias Härtig

Technical pre-production: Endre Ketzel

Production: EPIDEMIC

Duration: 1 hour 10 minutes

The stage production "Vortex" is a co-production between the Schauspielhaus Bochum, Le Volcan Le Havre, Le Manège Maubeuge and HELLERAU - European Centre for the Arts Dresden.

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tingles & clicks

Interactive Online 3D Sound Experience

Wear a facemask, keep a safe distance, reduce social contacts, etc. Social-distancing instructions have accompanied us in this global health crisis from the very beginning. Interpersonal relations have been curtailed to protect the individual. Tingles & Clicks strives to explore and resurrect this lost physicality in commissioned works for which outstanding musicians create quasi-tactile experiences.

Interactive audio works by Natasha Barrett, Andrea Sodomka, Marco Donnarumma, Svetlana Maraš, kӣr, Ulf Langheinrich and Cam Deas.

Inspired by an approach to music making that uses sound in a minimal and abstract manner, relies on field recordings, and with a view to the ASMR (autonomous sensory meridian response) movement, extremely spatial and intimate listening experiences are created in the place where most people have recently spent or were forced to spend a majority of their time: within their own four walls. With a computer, webcam, and headphones, everyone can immerse themselves in interactive, auditory one-person experiences.

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>> More info on the project at Musikprotokoll.

Audio Works

Natasha Barrett

Many years ago, when recording and composition technology was of the analogue world, the tiny sounds that I tried to capture as a teenager were lost in a floor of noise. I remember exploring the sounds of a bay, which was deserted due to the sea being too cold to attract the sun loungers. My recordings and musical ideas merely peaked above the equipment's analogue noise, just as my memories of those places now merely peak above the hundreds of thousands of events that have since passed.

In this new interactive work composed especially for musikprotokoll 2020, I have revisited these sounds with digital means, spiced their simplistic nature and drawn them closer, to excite areas beyond the ear. As a sonic beachcomber you can explore and find your own narrative and your own sensations:

The waves will take you,
the waves will take you back,
early in the twilight,
late in the dusk,
finding sensations in the sounds that others let pass,
the barnacles' tentacles,
the cockles' shells,
the wild flower, the bee, the wave, the glass, the sharp stone, the wind-blown field of silica.

Natasha Barrett

Natasha Barrett's (*1972, UK/NO) composition is inspired from the natural and social world around us: the way it sounds and behaves, systems, processes and resulting phenomena. These interests have led her to use cutting-edge audio technologies, geoscience, sonification, motion tracking and some exciting collaborations involving instrumental ensembles, visual artists, architects and scientists. The musical application of spatial audio in its contemporary music context has guided her work since the late 1990s. Her work is commissioned, performed and broadcast throughout the world. Since 1999 Norway has been the basis and resource for her work.

From deep blue to crystal white – The colours of distance
Andrea Sodomka

Travel bans, cancelled concerts, no studio productions, no musicians with whom to work and explore new sounds.
A yearning for the sea; however, all marinas around the world are closed.
So much is lost, just memories and dreams remain.
I travel with the sound of past journeys to imaginary places and dreamed worlds.

Keeping in touch with friends, improvising a bit, exchanging ideas in video conferences isn’t really satisfactory. The longing for open space, for the world, for exchange, for contact persists.
Somehow the anchor to reality has been lost, the anchor point has shifted.
But don’t I actually work and communicate and feel in the virtual world anyway?

When I open the window:
Silence, crystal clear like crackling ice. Hardly any sounds from outside, no airplanes, little traffic. No sounds of children laughing and yelling on the playground.

On the way to my studio I am alone on the underground. Even during rush hour at the central interchange just five people. A lone guitarist, wearing a mask, takes the chance and plays for himself.

Where is everyone? Fear rises from a dark corner of my mind: Will I be alone forever?
A lost city, a city between the times, a city in the space between.
A strange acoustic backdrop I’ve never heard before. Similar to the sound of nature, only louder.

Andrea Sodomka (Translation: Friederike Kulcsar)

Andrea Sodomka (*1961) is a composer, media artist and curator and works in the fields of intermedia art, sound art, radio art, and interactive art. Sodomka studied at the Academy of Applied Arts and at the Academy of Music (Institute of Electroacoustics), Vienna. She is also co-founder of alien productions, a network of artists established in 1997 that focuses on the theory and practice of technology and new media and stands especially for co-operative projects with other artists, technicians, theorists and scientists. Andrea Sodomka lives and works in Vienna.

Marco Donnarumma

Inanis (2020) – from the Latin word for ‘void’ or ‘stupid’ – is a spatial sound piece inspired by the auditive experience of unhearing and its mediation through technologies. Drawing on Donnarumma’s severe hearing loss, the composition invites the listener to experience the void of the unheard. What is unheard is not absent; it stubbornly exists in a sensorial dimension that cannot be accessed – at least not by everyone. But then, this is true also for out-of-body, hallucinatory and mystic experiences. It’s not a question of whether a phenomenon exists, but of how to access it.

Inanis is constituted by two, interdependent sonic forms and the void that technological mediation creates between them: one sonic form is the piece as it would be heard through the artist’s naked ear, hence, through a particular type of hearing loss; the other sound form is the same composition processed and played back through Donnarumma’s hearing aids, that is, a computational approximation of the frequencies he cannot hear unaided. What lies between the two sonic forms, both sonically and conceptually, is the listening void, the gap, the hole, the unheard, which can, nevertheless, be heard by others. Does it exist and where?

Media: hearing aid recordings, extended bass guitar techniques, field recordings, analogue feedback mixing and dubbing. Mastering by Daniele Antezza at Dadub Studio.

Marco Donnarumma (*1984) is an artist, performer and scholar weaving together contemporary performance, new media art and computer music since the early 2000s. He manipulates bodies, creates choreographies, engineers technology and composes sounds, combining disciplines and media into an oneiric, sensual, uncompromising aesthetics. He is internationally renowned for solo performances, stage productions and installations where the body becomes a morphing language that speaks critically of ritual, power and technology.

Marco Donnarumma

Ulf Langheinrich

Most of the material for this piece was created in 2017 during many hours of night-time work sessions in a then standard environment consisting of the Roland-MKS80, Oberheim OBMX, Jomox SUNSYN, and Alesis ANDROMEDA-A6 synthesizers, which were controlled in parallel by a shared keyboard.

The intuitive improvisational approach doesn’t distinguish between sound design and composition. The microtonal scaling of the fundamental tones played on the keyboard is ultimately analogous to the distribution of the frequencies in the sounds produced on the respective instruments. Created in a sound-design-improvisation-composition these differently drifting layers merge into an all-encompassing sound experienced by the author as a colour field (green-yellow tones, which is very unusual), and without temporally and spatially discrete objects. The properties, or rather, look-and-feel qualities of this field are, for instance, viscosity, temperature, density, and emptiness, but also homogeneity, from a leaden pasty to a crumbly, granulated consistency. This description is an attempt to put intuitive experience and creation into words. And creation here doesn’t mean activity with the aim of doing something to achieve a goal, but flooding a space and drifting in it or actually sinking into it.

Composition as formatting is the spectacles through which something from these sessions becomes visible. Because it will be heard, it is organised within the precise framework of a listening situation intended to be interactive. However, turning your head won’t earn you any event nuggets in this virtual environment. Here, head movement means the endless jactations of the children of the night.

Ulf Langheinrich (Translation: Friederike Kulcsar)

Ulf Langheinrich (*1960, Wolfen) left East Germany in 1984 and settled in Vienna a few years later where he founded Granular-Synthesis together with Kurt Hentschläger in 1991. The duo created groundbreaking monumental multimedia installations and performances. Internationally recognised as a solo artist, he lived in Ghana and Hong Kong for many years and is currently based in Dresden where he has been serving as artistic director of the CYNETART festival in Hellerau since 2016. His work mainly deals with non-narrative environments and performances focusing on a specific approach to time, space and body. Besides his artistic activities, Langheinrich has taught at the most prestigious universities in Europe as well as in Australia and China over the past years.

L'ampleur du souffle
Svetlana Maraš

Because of the pandemic we are confined to our private spaces, inner spaces, and our views are constantly obstructed by walls. And while vast open space, fresh air and nature have become unattainable to most of us living in the city, we still crave it as a distant yearning for a kind of ultimate liberation. This puts an emphasis on our sense of space, it becomes overly present in our lives, and we actively play with its alternatives either by redecorating and rearranging the furniture or by dreaming of traveling. Swift changes between alternative spaces are possible in music thanks to advanced technology and compositional techniques. By sculpting the space with sound, we can create a fictional reality that engages the ear and amuses the brain, bypassing the walls that surround us.

To breathe is to activate a certain space. Short breaths, deep breaths, dying breaths or sensual ones – each of these various types evoke different aspects and peculiarities of the overall act of breathing. Breath is also a precondition of voice and, further, of the spoken word. Paving the path for every physiological and philosophical activity, breath is essential to all we are and everything we do. Yet nowadays not only is our breath being stifled but fresh, clean air is becoming an endangered resource.

With the innate musicality of these concepts I have been able to create a framework for a number of fluidly changing auditory situations. The constant fluctuation and transfiguration of musical material is intended to stimulate the ear – not to adapt but to adopt the heterogeneity of content – and to invite the mind to do the same.

Svetlana Maraš (*1985) is a composer and sound artist from Serbia. She works at the intersection of experimental music, sound art and new media. Her musical work focuses on finding an adequate form of expression in different media, genres and representational contexts and encompasses live electronic music performance, electro-acoustic composition, radiophonic art, sound and media installations. She graduated from the renowned Aalto University (Helsinki) where she also worked as a research assistant. As composer in residence and artistic director of Radio Belgrade’s Electronic Studio since 2016, she has initiated various projects and activities, artist residencies and educational programs.

Listening Heterotopias

We are constantly surrounded by an audible environment. We, humans and non-humans, are its witnesses and its makers. Every action that we take or that is taken upon us leaves a trace, and those traces all have their sound components – just a tiny fraction of this is physically recorded, the rest we try to recreate or resound by leaning on our knowledge of written and spoken history, relying for the most part on our imaginations. With imagination, the past, present and future intervene. We are free to introduce subjects and objects into our fantasies and their accompanied soundscapes, which may or may not be of this world. These fantasies can remain private; they can be shared as works of art or as tools for creating alternative realities of what we perceive as objective truths, in this way creating uncertainty and altering our judgment of the present (and past) and influencing the way we interact with it.

The Tingles & Clicks platform gives the listener the interactive possibility of gliding between three different sectors of soundscapes, i.e. alternative realities, plus it creates six different sound objects aimed at enhancing a feeling of special presence. In my Listening Heterotopias I address on this concept applying the format of the radio drama and introduce one unspecified historic episode with three different 8 minute alternatives. The first one will depict “true” historic narrative, the second will offer the “losing side” version and the third will be completely fictional. This will in a very haptic way symbolically recreate how our realities are rendered for us and by us and maybe give us a different sense of the world and of us in it.

Bane Jovančević

kӣr is the solo production epithet of Bane Jovančević, resident live artist and program manager of the Drugstore Beograd club. By combining traditional and experimental influences in electro-acoustic music, kӣr creates a sound in which drone-navigated post-industrial logos transforms into a tribal mythos, in search of the traces of the future. The clash of synths and acoustics invokes an audio landscape of Byzantine sacral traditions and Balkan folklore rhythms. kӣr’s symbolic language layers up with an ancient temporality and its logic of being that is not of the past but of our own time. The basic concept is to challenge conventional and predominant rhythmic structures in music by juxtaposing traditional rhythms with contemporary electronic sound design.

Milieus & Rhythms
Cam Deas

This work was imagined as a physical installation where the listener is able to move around and combine different sound sources and velocities within a space. I wanted to make something where layered generative patterns, which as a whole would be chaos, are interconnected and the webcam tracking system would allow the listener to choose those connections within this simulated space.

As the project is a simulated space I used nearly entirely physically modelled sounds, synthesised percussive sounds which act and sound similar to an acoustic instrument. It is made up of layers of generative rhythms, tuned in just intonation, which build over 8 minutes. There is a base layer and pitch which always runs to give a grounding, while the other layers are running on different tempos, calculated with the same ratios as the intervals between the pitches. This gives different degrees of rhythmic phasing, smaller ratios for simple intervals (for example 3:2 for a perfect 5th) create a simple polyrhythm, whereas less simple ratios give a sense of rhythmic dissonance where you might not be able to follow the structure of the pattern, but the sense that they are connected is still there. If all the parts were to play at once it would be indecipherable, however when the listener is able to combine these different combinations they are able to physically explore these varying superimposed velocities, and the patterns, simple and complex, that they create.

Cam Deas is a musician and sound artist based in London. His practice concerns abstract sound, polytempos, irregular tuning systems and stochastic and computer generative systems to create immersive environments of sound and music. He has presented his work internationally, performing around 300 live concerts. His work is not subject to straightforward categorisation, with output ranging from solo acoustic guitar exploration through live electro-acoustic performance, to pure synthesis and computer generative music. In 2018 he released Time Exercises on The Death of Rave, consisting of five works for synthesiser and computer, his first release of purely electronic work. The pieces explore polytempos and relative ratios between pitch and rhythm in a dense electronic space, described as “disembodied music playing out a thrilling dramaturgy and syntax of alien dissonance and disorienting rhythmic resolution”.

Start The Audio Art


With commissioned compositions from Natasha Barrett, Andrea Sodomka, Marco Donnarumma, Svetlana Maraš, kӣr, Ulf Langheinrich and Cam Deas.

A project of ORF musikprotokoll. Concept, production: Fränk Zimmer. IEM - coordination: Robert Höldrich, IEM - technical development: Matthias Frank and Franz Zotter. The composition by Svetlana Maraš was commissioned by In cooperation with IEM - Institute for Electronic Music and Acoustics (IEM), SHAPE - Sound, Heterogeneous Art and Performance in Europe. Supported by the program "Creative Europe" of the European Union. Svetlana Maraš, kӣr and Cam Deas are SHAPE Artist 2020.

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Sat 10th Oct 8p.m. CET

Ya-Wen Fu »Metamorphose«

Ya-Wen Fu / Charles Washington
in collaboration with Daniel Romero & Bert Palm


Interactive sound installation and performance

GEH8 Gehestraße 8, 01127 Dresden openstreetmap

Extra: So 11.10. artist talk

Our body is shaped by and reflects culture and society. Taking a stand is also about positioning oneself through posture. What do we carry within us and what do we carry with us. How do we walk, stand or throw? Movement, Torture and more recently AI have dealt with this, and the Taiwanese artist Ya-Wen Fu, who lives in Leipzig, has addressed these issues for many years.
Reports about her research process or the deconstruction of the artistic instruments (metal, wood, leather, acrylic glass, motor, sensor, the master herself, as well as a helpful colleague and the audience) reveal nothing about the actual poignancy of her work. Her entirely unsentimental aseptic laboratories are media rooms, in which belts become vectors, and screens and other artifacts of media art are placed like the objects in Yves Tanguy's landscapes, senselessly significant fetishes of media art. Ya-Wen Fu will wear one of her wonderful Beckett-Bondage constructions and harassed by this new spinning apparatus, it will change her usual posture and then ours too.

Ya-Wen Fu was born in Taiwan in 1980. She lives and works in Taiwan, Berlin and Leipzig, where she received her Meisterschüler’s degree in media art from the HGB Academy of Fine Arts Leipzig. Her work focuses on the relationship of body and space. Ya-Wen Fu grasps this relationship not only through the description of a subject and its surroundings, but by a differentiated conception and critical analysis of the subject in space. She examines the space in which you feel and act, the space in which the self that perceives exists and likewise where this self begins in its surroundings.

Within the framework of the CYNETART Festival 2018, the Saxon State Ministry of Science and Art (SMWK) in cooperation with the Office for Culture and Monument Protection of the State Capital Dresden) has awarded the Artist-in Residence Scholarship to Ya-Wen Fu for the realization of her artistic work "Ein verwandelter Wurf". After an artist-in-residence at the TMA Hellerau in 2019, the final work will be presented for the first time at the Kunstraum GEH8 and subsequently at the POCHEN Biennale Chemnitz as well as at the Taipei Municipal Art Museum.

The public presentation is sponsored by the Cultural Foundation of the Free State of Saxony and the Ministry of Culture Taiwan.

Our personal thanks go to chin chin pottery Tainan and Studio Perkūnas Kaohsiung City.

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GEH8 Ministerium für Kultur Taiwan Kulturstiftung des Freistaates Sachsen


From TUE 13th October 2020, 20 o'clock CET

»AIDOL 爱道« (online)

Lawrence Lek

CGI fantasy movie / screening

Movie stream & interview. 120 min

introductionary talk between Mary Maggic & Lawrence Lek

Online, with secret link

"Beware your fans, Diva. First they need you and then they'll delete you."

VOD: From TUE 13th of October 2020, 20 o'clock CET. free donation

Online, with secret link. Please get an autoreply email at Just say hi or send an empty mail, it's okay.

Featuring a score written and orchestrated by the artist, this computer-generated fantasy tells the story of a fading superstar, Diva, who enlists an aspiring AI songwriter to mount a comeback performance at the 2065 eSports Olympic finale. Set in a smoke-and-mirrors realm of fantastical architecture, sentient drones and snow-deluged jungles, AIDOL revolves around the long and complex struggle between humanity and Artificial Intelligence. Fame - in all its allure and emptiness - is set against the bigger contradictions of a post-AI world, a world where originality is sometimes no more than an algorithmic trick and where machines have the capacity for love and suffering. AIDOL is the sequel to 2017's Geomancer.

Lawrence Lek

Lawrence Lek is a London-based artist, filmmaker and musician who creates virtual worlds, simulations, and soundtracks. He uses advancing technologies, such as computer-generated imagery, virtual reality, 3D animation and gaming software as well as installation and performance to simulate and develop digital environments described by the artist as ‘three-dimensional collages of found objects and situations.’ By rendering real places within fictional scenarios, his digital worlds reflect the impact of the virtual on our perception of reality.

Mary Maggic

Mary Maggic is a non-binary artist working within the fuzzy intersections of transfeminist hacking, body/gender politics, and eco-alienations. Maggic's most recent projects Open Source Estrogen generate DIY protocols for the extraction and detection of hormones from bodies and environments, demonstrating their micro-performativity and potential for increased body autonomy. They hold a MS in Media Arts and Sciences from MIT Media Lab, and have exhibited internationally including Philadelphia Museum of Art (US), Science Gallery London (UK), Haus der Kulturen der Welt (DE), Jeu de Paume (FR), and Institute of Contemporary Arts London (UK). Maggic is a recipient of the Prix Ars Electronica Honorary Mention in Hybrid Arts (2017) and a 10-month Fulbright research award in Yogyakarta, Indonesia (2019).
Lawrence Lek in conversation with Steve Goodman

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»Micro Loop Macro Cycle«

Aloïs Yang

Installation & Concert

THU 15th OCT, 8 p.m., Installation
Fri 16th OCT, 6 p.m., Installation
Sat 17th OCT, 4 p.m., Installation
Sat 17th OCT, 7 p.m., Concert

Location: C. Rockefeller Center for the contemporary Arts openstreetmap

entry: free donation

»Micro Loop Macro Cycle« is a series of installation, performance, video, and digital release that investigates the environmental cycle system through studies of different states of water. It invites us to consider our interdependency with the element of water, technology, and the natural/artificial environment.

Sound is the primary material of this project, it is used as the communicational medium revealing comprehensive sonic information about the dynamic states of present time and space, as well as an instrument of reflection and embodiment of one’s self within.

Along with water, the most common substance on Earth, carrying life and present in almost every biogeochemical cycle systems. For this reason, water is highly connected to its surrounding conditions: from large scale environmental changes to molecular scale variations, from energy waves to shifts in chemical substances. Through these notions and the observation of water, we gain insights on systematic interactions. It provides measurement and connection that indicate our relationship with nature.

The focal point of this project is to present how a tiny event – a drop of water, or a sound of cracking and melting ice – in a given cycle system, creates feedback loops that eventually can be seen as the whole. And also how every aspect inside the system is connected to others and capable of revealing the bigger picture on its own.

Through bespoke software and sound design, a chain reaction begins from the sound of one drop, which is amplified to fill up a whole room geared with a multi-channel sound system. Two microphones placed at the centre of the room capture the sound from the speakers in relation to specific positions and motions, created from the gravitational interaction with the hanging ice. It eventually creates a sonic feedback loop that describes this fragment of reality.

This unique sonic event – the result of inter-connection between air temperature, moisture, physical materials, architectural characters, and the presence of viewers, is then fed into the underwater speaker inside the vessel.
From sound waves to water waves, from large scale air vibrations to small physical movement – tangible manifestations of time: suggested by the water level. And space: as the cymatic pattern reveals spatial information.

Aloïs Yang, born in France, raised in Taiwan, now based between Berlin and Prague, is a media artist, performer and experimental musician who produces work that explores the relation and interaction between people, sound, and the external world. His work is influenced both by scientific reference and human imperfection of understanding the nature, and investigates the perception of time and space on both “outer” physical world and “inner” metaphysical levels of awareness – as a manifestation of how we contextualise the overlapping realities in between body and mind, objective explanation and subjective projection, analogue and digital, certainty and unknown.

He aims to engage viewer’s sensation and comprehension to the given moment of reality, portrayed by experiential phenomena and existential ideas – as an invitation to an incomplete journey waiting to be explored by active, participatory, intimate interactions that incorporate individual’s consciousness as the piece itself. He is interested in the crossing line between the general explanation/application provided by science and technology, and how we actually grasp and make use of it on personal perspective. By combining conclusive theory and hard scientific data with integrated technological approaches, he aims to reveal the information in tangible and playable art forms, which create open spaces for imagination, speculation, and self-reflection.

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C. Rockefeller Center for the contemporary Arts Depart.One SHAPE
Ministerium für Kultur Taiwan


»Flora Self«

Katharina Groß

Installation & Performance

THU 15th OCT, 8 p.m., Installation
Fri 16th OCT, 6 p.m., Installation
Sat 17th OCT, 4 p.m., Installation
Sat 17th OCT, 7 p.m., Concert

Location: C. Rockefeller Center for the contemporary Arts openstreetmap

entry: free donation

Flora Self is a plant-generated sound installation.

neue raeume; built a device with which the electrical conductance of plants is measured, translated into MIDI notes and interpreted by a synthesizer. In this media-technological way the vitality of the plants is sonified. In this artistic observer system, the connection between plant-generated sounds, physiological processes and environmental conditions is examined and the media-ecological correlations of the human, technological and plant species become perceptible. The aesthetic dimension of the media situation reveals the living conditions of a plant world that has come under pressure due to the changed climatic conditions. As a result of environmental stimuli - such as drought stress or human touch - the conductance of the plant and thus the sound changes. By touching the plants, visitors can interactively influence the sound landscape.

In her live performance, the artist and researcher Katharina Groß will guide a mediation and visionary, traveling through the secret world of plants, their intelligence and sensitivity. Based on historical plant talks and experimental settings, she outlines a diegesis of future living and technological infrastructures based on relationships of care, respect and interdependence.

credits: Björn Bergelt (Hardware-developer), Marcus Degenkolbe (Arduino-Software-developer), Peteris Ziepel (Audio engineering)

Katharina Groß is an artist and media science researcher living in Dresden. In her texts, installations and performances she deals with the invisible, the latent, the indeterminate and ambivalent in intimate systems and techno-aesthetic events. Inspired by socio-technological interactions, the history of technology and media ecologies, she currently focuses on processes that lie below, outside or independent of human perceptual habits, but which transform them. Groß investigates how the medium not only transmits, but also filters and co-constitutes a structure of meaning. The virtual and the physical overlap by (re)animating personal and environmental data, whereby the boundaries between the fictive and the actual dissolve.

Groß is co-founder of the collaboration neue raeume; whose fellows share an interest in questioning technological developments artistically, playfully and critically. In changing line-ups, neue raeume; works as a self-organized and interdisciplinary team, testing and exploring the artistic-technical possibilities in software for virtual environments and sensor technology.

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THU 15th OCT, FRI 16th OCT, SAT 17th OCT; 8 p.m.


Animistic Beliefs & Jeisson Drenth


objekt klein a objekt klein aMeschwitzstraße 9, 01099 Dresden openstreetmap

registration: with ticket here

CACHE/SPIRIT is the alien love child of Animistic Beliefs and media artist Jeisson Drenth. Originally conceived in conversations in Rotterdam, this project now lives as a digital network of ideas and files that manifest in different configurations. CACHE/SPIRIT is a space where studying ‘the self’ and the ‘other’ meets avant-garde audiovisual production using a rich collection of techniques, instruments, moving images and languages from different times and territories.

This next instalment of CACHE/SPIRIT presents the development of the three artist’s live A/V show from event to living and breathing artefact. It brings together an expansive collection of diverse techniques for artistic expression that the three love to work with. Drum machines and synthesisers create new worlds of sound; (un)edited conversations and writings inform moving images; the unearthing of the artist‘s ancestor’s history shapes their ways of being. The project introduces both the artists and their audiences to different languages and instruments e.g Vietnamese and Colombian writings, percussion instruments native to the Maluku Islands and contemporary image production techniques like visually similar image search algorithms and 3D scanning. These both technical and emotional research trajectories come together physically in a design of video projection and multiple palm computers - a space for new audiences to visit, (un)learn, move and (dis)connect.

CACHE/SPIRIT with both its frenetic and contemplative character, combines Animistic Beliefs other-worldly sounds with Drenth’s unique visual language of techno-spirituality. It is a warm invitation into the minds of three distinct artists that passionately try to make sense of the visible and invisible world.

CACHE/SPIRIT [Installation] Erstpräsentation, eine Auftragsarbeit der

Linh Luu und Marvin Lalihatu sind Animistic Beliefs, ein DJ- und Produzent*innen-Duo für futuristische Clubsounds aus Rotterdam. Beide setzen eine protofuturistische Spürbarkeit in ihrer künstlerischen Arbeit ein, indem sie fesselnde, okkulte Strukturen einbauen, diese verdrehen und verzerren. Zusammen mit New-Media-Künstler Jeisson Drenth arbeiten sie zu dritt an den Ausdruckswelten der Arbeit »CACHE/SPIRIT«.

Marvin Lalihatu received his BA in Music and Sound Design from The Rotterdam Academy of Pop Music before studying Electrical Engineering at the Rotterdam University of Applied Sciences. His work is based on his experience as a Moluccan-Dutch eccentric in Rotterdam, being stuck between a multitude of cultures and his life as a teenager in the Y2K era.
As part of techno/electro duo ANIMISTIC BELIEFS, Marvin Lalihatu has drawn inspiration from the rave, bubbling and fluxwork scenes as well as social anthropology, fashion, politics and new media artforms. Building on these experiences, he is now looking to expand his research and output as XAKALELE, focusing on his indigenous Moluccan heritage as well as the vibrant melting pot of music scenes in The Netherlands and those far beyond Europe.

Linh Luu acquired her BA in Leisure Management and Event Production from Willem De Kooning Academy before diving into the music scene as an artist. Her work tells a tale about her challenge with self-acceptance and identity, drawing inspiration from punk, early hardcore and 00s R&B.
As half of techno/electro duo ANIMISTIC BELIEFS, Linh Luu explores her Chinese-Vietnamese roots and expresses her (bi)sexuality through a combination of rhythms, vocals, visual images and fashion. With her new project rbf.linh, she plays with dark and unpolished dance floor sounds as a protest against asian female stereotypes.

Jeisson Drenth is a media artist dedicated to making experimental and meaningful contributions to contemporary visual culture. His ongoing research translates to both commissioned and self-initiated projects which are shared with different audiences in different online and offline experiences. In an effort to make sense of the visible and invisible world, Jeisson brings together texts, both in writing and speech, data, poetry and numerous image production techniques.

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So 18.10. 14:00 - 17:00 Uhr

»CYNETART Deep Surroundings«

Konzerte von Svetlana Maraš, Simina Oprescu & Hugo Esquinca; Live Digital Performance Lecture: Kiraṇ Kumār

Festspielhaus Hellerau, Great Hall openstreetmap

17/8 € (Day Ticket) Get tickets

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Concept: & Ulf Langheinrich

Hugo Esquinca


Interventions of unfixed timeframe carried out in digital-to-analog systems, adapted and adjusted to a given set of audio amplification equipment and the acoustic properties of the location Festspielhaus Hellerau. Preferably executed at high sound pressure level.

(short and dense modulated noise / feedback (max 10 mins)

Born in Mexico City, 1990, Hugo Esquinca’s research-as-intervention/ intervention-as-research in sound focuses on exploring different degrees of exposure to erratic processing techniques, indeterminate occurrences, spectral de-gradation, abrupt irritation, the potential of involuntary modifications, opaque functioning and excessive levels of amplification.
His work has been presented in different contexts such as Stedelijk Museum (Amsterdam), National Centre for Contemporary Arts NCCA (Moscow), Fondazione Antonio Ratti (Como), Ujazdowski Castle for Contemporary Arts (Warsaw), Ploschad MIRA for Modern Art – Siberia (Krasnoyarsk), A4 (Bratislava), Goethe Institut (Athens), MAYHEM (Copenhagen), Aalto University (Helsinki), BEARS (Osaka), Haus der Kulturen der Welt and Berghain (Berlin).

SUN 18th OCT
2 p.m., Festspielhaus Hellerau, Dalcroze-Saal openstreetmap
17/8 € (Day Ticket) Reservix-VVK


Simina Oprescu
»The Hidden Environment - The feeling of the cave«

SUN 18th OCT
2 p.m., Festspielhaus Hellerau, Dalcroze-Saal openstreetmap
17/8 € (Day Ticket)

There are always two worlds in which we move. We are connected with all other people, but we nevertheless each experience what is happening around us in a very different, individual way. Particularly in times of isolation, when one is thrown back on oneself, we occasionally become painfully aware of this dichotomy. In The Hidden Environment – The Feeling of the Cave, Simina Oprescu spans a bridge between the interior and the exterior, these two realities of life, which are in constant flux. Our diverse technological extensions along with special vocal techniques that make one’s innermost core vibrate serve as the artist’s instruments.

Simina Oprescu is a composer, video and mixed-media artist living in Bucharest with a fully attention on sound and composition for the past 3 years. In 2015 she graduated from the Department of Photography and Dynamic Imagery at the National Art University in Bucharest and in the period 2017-2018 she did one year in the acousmatic composition department of the Royal Conservatory in Mons, Belgium.

The artist focuses on several concepts, starting with the analysis of how the fixed image and the moving image are mutually reinforcing*, being interested in how the depth of the background can be used as a tool for remodelling our perception of the environment and the movement; to the use of sound as a way of expression, with or without an image as a constitutional environment.(*Like sound and silence). Using different instruments, ‘sound objects’ and digital programs, into her compositions, the artist uses sound as an experiment and as a deep understanding of the self and the surroundings. Also interested in the possibilities of integrating sound (and rhythm) into visual environments (internally** or externally), and the ability of the sound to radically change the understanding of the image: “In the Beginning was the Sound compared after Image….”

**thoughts, fears, moods, synesthesia.

We are all connected but we live and feel different experiences on the same planet, on deeper levels.

As Andy Clark and Donna Haraway argued, we are natural born cyborgs which means we are capable of changing and inventing, using technology as a tool for growth and exploration of the hidden environment that is our mind and future. It is believed that the use of voice like singing, chanting or gargling can be a healing method through the Vagus Nerve - the trauma nerve. Reflecting on the trauma reminded me of this feeling that more or less all of us have felt, a feeling like the old ways of the world couldn‘t continue as before, thus finding ourselves reinventing new forms of proprioception and communication all alone. While this reinvention is committed to a stable point, we find ourselves in a schizoid dichotomy between an old environment and a new one.

This feeling reminded me of two expressions I’ve read from Leo Frobenius in Paideuma: ‘the feeling of vastness’ and ‘the feeling of the cave’, which call the dimensions of the possibility of having a conception of the world as soul dimensions, meaning ‘the vastness of the world‘ and the ‘cave of the world’.

‘The feeling of the cave’ is characterised by a narrowness of consciousness, by a permanent uneasiness, by the feeling of lack of freedom and therefore by fatalism, by an uninterrupted pressure and under such pressure, by explosive discharges in the form of fanaticism. On the contrary, nostalgia and the feeling of infinity push towards constructive deeds; the convincing impulse towards creation and the natural joy of the freedom of the world. Both fundamental conceptions are only manifestations of a soul way - the so-called ‘Inner sounds’ - sound you hear as part of your conscious and unconscious mind, similar to but different from an inner voice. We are found in a duality - the soul space and the living space.

Therefore, inside this hidden environment lay the monsters, the angels, the shadows, the hope, the mystery - the universal complexity of thought inside the speed of sound.

*commissioned work by ÖRF musikprotokoll kunstradio, Austria in collaboration with SHAPE platform

Kiraṇ Kumār'
Archipelago Archives Exhibit #8:
Im/Material Beings

Matthias Härtig
online & at Festspielhaus


stereoscopic glasses needed when watched online

SUN 18th OCT
3 p.m. CET, Festspielhaus Hellerau, Great Hall openstreetmap
17/8 € (Day Ticket), 60 min Reservix-VVK

3 p.m. CET, online [URL needed]
Please register before at Just say hi or send an empty mail, it's okay.

A piece of (speculative historical) fiction for a pioneer of (theoretical computer) science. Alan Turing (1912-1954). Born to a civil servant of British India in the Madras Presidency, Turing’s (lost) childhood in colonial India becomes a provocation to engage the mathematician with conceptual and empirical practices of tantra. Using temple sites in India and dance practices in Indonesia as quasi data points, the work speculates on the implications of tantrik art-science on Turing’s thinking, and consequently on decolonising machine learning and artificial intelligence. The work takes form as a digital performance in single channel stereoscopic video.

A research phase for this work was funded by the “Crossing Borders” program, Robert Bosch Foundation and the Literarisches Colloquium Berlin (2019).

Kiraṇ Kumār is an interdisciplinary artist, researcher and writer. His work focuses on unpacking understandings of the human body-mind through a trifold practice of dance as art, science and ritual, and on proposals for change that these understandings hold for our contemporary world. Rooted primarily in his somatic practices of Haṭha-Vinyasa yoga and traditional Indic temple dancing, his research unfolds through critical, conceptual and artistic inquiries into premodern Indic cosmologies and cosmotechnics. In his works, these transdisciplinary inquiries come to dialogue with pressing personal and planetary problems, through performance, writing, video, installation and archiving as modes of publication.

Following initial study in mechanical engineering at National University of Singapore (2016), he holds an MFA in new media art from City University of Hong Kong (2012) and an MA in dance from Inter-University Centre for Dance Berlin (2014). Since 2015 his independent artistic research has been supported by the National Arts Council Singapore, Dance Nucleus (Singapore), Centre42 (Singapore), Einstein Foundation, Literary Colloquium Berlin and Robert Bosch Foundation. Recent and upcoming research fellowships include the Berlin Centre for Advanced Studies in Arts and Sciences (2016-18), Volkswagen Foundation’s ‘Arts & Science in Motion’ program (2016-19) and Academy for Theatre and Digitality (2021). He is currently based in Bengaluru.

Svetlana Maraš
»L'ampleur du souffle«


SUN 18th OCT
4 p.m., Festspielhaus Hellerau, Great Hall openstreetmap
17/8 €

Enforced by the pandemic, we are being confined to our private spaces, inner spaces, and our views are daily being obstructed by the walls. And while the vastness of open air and nature remains distant for most of us living in the city, we still crave for it as for the final form of liberation. The sense of the space thus, becomes emphasized and overly present with us and we actively play with its alternatives either by moving the furniture around the house and changing the decoration, or by dreaming of traveling. Swift changes between alternative spaces are possible in music thanks to advanced technology and compositional techniques. By sculpting the space with sound, we can create a fictional reality that engages the ear and amuses the brain, bypassing the walls that surround us. To breathe, is to activate a certain space. Short breaths, deep breaths, dying breaths or sensual ones - they evoke variety of features and peculiarities that the breath embodies. Breath is also a precondition of voice, and further, of a spoken word. Paving the path for every physiological and philosophical activity, breath is essential to all we do and all we are. Yet, it is being endangered nowadays. With the innate musicality that these concepts contain, they served me to create a framework for a number of auditory situations that are fluidly changing from one to another. Constant fluctuation and transfiguration of musical material aims to stimulate the ear not to adapt, but to adopt the heterogeneity of content, inviting the mind to do the same.

Svetlana Maraš (1985) is composer and sound artist from Serbia. She works at the intersection of experimental music, sound art and new media. Her musical work is finding adequate form of expression in different media, genres and representational contexts and encompasses live electronic music performance, electro-acoustic composition, radiophonic art, sound and media installations. She has been musically educated from an early age. Graduated at the renowned Aalto University (Helsinki) where she worked as a research assistant, she also received training in composition and art at places like Bang on a Can Summer Institute (MASSMoCA), Columbia University - School of the Arts, Mozarteum Summer Academy, KlangKunstBuhne at UDK (Berlin), The Berklee Summer School, Darmstadt International Summer Course and many other places.

Maraš was awarded Vitomir Bogić prize by Radio Belgrade in 2013, for best, young radiophonic composer. Her composition Dirty thoughts was recommended work at the International Rostrum of composers in Wroclaw in 2016, and her piece Jezik, commissioned by ORF was shortlisted for Prix Italia award.


SUN 18th OCT 18:00-20:00

»Emptea Ceremony«

Xïola Yin & Al Yakubouskaya


Location: C. Rockefeller Center for the contemporary Arts openstreetmap

Prior registration mandatory []

»Emptea Ceremony« is a multi-dimensional & sensual happening brought by Xïola Yin – the opposite yet not contradictory side of Aloïs Yang, together with performer and visual artist Al Yakubouskaya.

The project investigates the underlying emptiness of self-centered and algorithmic-personalised cultural consumption brought by the internet and technology, in connection with the empty-state-of-mind that is commonly required in a traditional tea ceremony, in order to appreciate the unrepeatable nature of the moment.

With this participatory performance, Yin and Yakubouskaya ask – how a modern technological ritual could function as a gateway to find the stillness within us? What is the experiential collectiveness among human, machines, matters, and the digital/physical environment ? Can a decentralised ritual (co)exist with the help of technology?

Al Yakubouskaya is a visual artist and performer, who works with costume design, performance and audio-visual installations. Through the costumes-based performances she explores the possibilities of transforming and shifting the perception of consciousness to the outer world and experience of becoming another species. Her latest research is based on the beliefs that we all as entities including machines are influencing each other’s neural networks through the flow of information and energy.

Xïola Yin is the opposite yet not contradict side of Aloïs Yang. In his work he investigates the perceptions of time and space on both “outer” physical world and “inner” metaphysical levels of awareness – as manifestations of how we contextualise the overlapping realities in between body and mind, objective explanation and subjective projection, analogue and digital, certainty and unknown.

Related Collaborative Project:

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Depart.One SHAPE
Ministerium für Kultur Taiwan



30th Oct
»tingles & clicks« (online ) / Natasha Barrett / Andrea Sodomka / Marco Donnarumma / Svetlana Maraš / kӣr / Ulf Langheinrich / Cam Deas
10th Oct

Ya-Wen Fu & Charles Washington »Metamorphose«, GEH8 Gehestraße 8, 01127 Dresden, free donation
11th Oct

Ya-Wen Fu artist talk, GEH8, free donation
13th Oct
20:00 Lawrence Lek, »AIDOL 爱道« (online )
15th Oct

CYNETART A glimpse of a Cybernetic Garden : C. Rockefeller Center for the contemporary Arts, free donation

Aloïs Yang »Micro Loop Macro Cycle« Installation

neue raeume; & Katharina Groß »Flora Self« Installation

objekt klein a
Animistic Beliefs & Jeisson Drenth »CACHE/SPIRIT«, Installation, objekt klein a
16th Oct

Maria Chiara de' Nobili & Ulf Langheinrich »VORTEX«, Festspielhaus Hellerau, Großer Saal, 17/8 €

objekt klein a
Animistic Beliefs & Jeisson Drenth »CACHE/SPIRIT«, Installation, objekt klein a

Maria Chiara de' Nobili & Ulf Langheinrich »VORTEX«, Festspielhaus Hellerau, Großer Saal, 17/8 €

CYNETART A glimpse of a Cybernetic Garden C. Rockefeller Center for the contemporary Arts, free donation
Aloïs Yang »Micro Loop Macro Cycle« Installation
neue raeume; & Katharina Groß »Flora Self« Installation
17th Oct

CYNETART A glimpse of a Cybernetic Garden C. Rockefeller Center for the contemporary Arts, free donation
Aloïs Yang »Micro Loop Macro Cycle« Installation
neue raeume; & Katharina Groß »Flora Self« Installation

Maria Chiara de' Nobili & Ulf Langheinrich »VORTEX«, Festspielhaus Hellerau, Großer Saal, 17/8 €

CYNETART A glimpse of a Cybernetic Garden C. Rockefeller Center for the contemporary Arts, free donation
Aloïs Yang »Micro Loop Macro Cycle« Konzert
neue raeume; & Katharina Groß »Flora Self« Performance

objekt klein a
Animistic Beliefs & Jeisson Drenth »CACHE/SPIRIT«, Installation, objekt klein a

Maria Chiara de' Nobili & Ulf Langheinrich »VORTEX«, Festspielhaus Hellerau, Großer Saal, 17/8 €
18th Oct

CYNETART »Deep Surroundings«, Festspielhaus Hellerau, Großer Saal, 17/8 €
14:00 Hugo Esquinca, Konzert, 10 min
14:15 Simina Oprescu »The Hidden Environment - The feeling of the cave«, Konzert, 45 min
15:00 Kiraṇ Kumār, digital performance, 60 min
16:00 Svetlana Maraš »L'ampleur du souffle«, Konzert, 45 min
18:00 - 20:00

»Emptea Ceremony« by Xïola Yin & Al Yakubouskaya, C. Rockefeller Center for the contemporary Arts