Timo Kahlen. Sound sculptures and installations (page 2)           (see page 1)      






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Timo Kahlen
Media Dirt, 1989 - 1997, 2001
and Staubrauschen, 2001

Archive of hissing, gurgling, scratching,
whirring, singing, dirty radio noise
of interfering frequencies in between stations,

recorded 1989 - 1997

Several of Timo Kahlen's early
sound installations and sound sculptures
make use of empty spaces (voids) to visualize
sound waves and radiation occupying or filling
the apparently 'empty', transparent volume of air
.


Timo Kahlen's earliest sound sculpture based on
the ephemeral sound of interfering radio waves,
Vitrine (1993), was first presented at the
Hochschule der Kuenste Berlin in 1993 and 1994,
at Galerie Voges + Deisen in Frankfurt in 1994
and finally in the exhibition "Zeitskulptur.
Volumen als Ereignis" (Time Sculpture. Volume as
an Incident) at the Oberösterreichische Landesgalerie
in Linz in 1997. The site-specific installation Interference
(see image below)  occupied the public restroom of the
DCAC Arts Center in Washington D.C. in 1994.
Schwirren, 1993 and Luftraum, 2001 (see images below)
are variants of this concept, installed at Schwartzsche
Villa and Galerie Pankow in Berlin (in 2000/2001).


Media Dirt
, 2004, the most prominent and iconic
installation of this type, consisting of three monumental
glass cylinders filled with the dirty, raw sound
of interfering radio waves
(see previous page)
was conceived for the "Wireless Experience" exhibition
at ISEA 2004 / Kiasma Museum of Contemporary Art
in Helsinki, Finland, before its presentation
at the Ruine der Kuenste Berlin in 2005.






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Timo Kahlen

Schwirren (Whirring),1993,
Interference, 1994 and
Luftraum (Head Space), 2001


Display cases / marmalade jars,
speakers, and the enclosed beeping,
whirring, pulsing, dirty sound of interfering radio waves.


Installation views Washington D.C. 1994
and Galerie Pankow / Schwartzsche Villa, Berlin 2000 - 2001






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Timo Kahlen. UR, 2006

Generative net art / interactive sound work.
In "UR" (2006) surfaces and vessels become
the containers of unwanted noise and 'dirt'
generated by technological media and communication.
Bits and pieces of sound create complex microcosms,
generated by the viewer when he touches and
rolls over the given objects with his cursor.
The multi-part sound piece, made up of grinding,
creaking, humming sounds and white noise, is conceived
for the projection in the gallery space.

http://www.staubrauschen.de/ur/

Not visible on Android and iOS. Flash player required.







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Timo Kahlen. In's Grüne (Into Green), 2007

A pair of rubber boots (Wellingtons) filled with
abstract chirping, beeping sounds. The boots are placed
in a fragile field of porcellain dishes. "The sense of
a walk in the meadows - yet so reduced and abstract..."

Weltecho Galerie, Chemnitz 2007





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Timo Kahlen. Noise & Beauty, 2007

Perpetual movement of static, twittering, chirping,
floating sounds across fields of loudspeakers
placed on two plateaus.

18-channel sound composition, chance movements
generated courtesy of Dieter Kohtz, Kiel.
Based on radio static noise and synthetically
produced 'natural' sounds

"Timo Kahlen: Noise & Beauty", Weltecho Galerie, Chemnitz 2007






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Timo Kahlen
Watch Your Step, 2010

Circling, cascading sounds travel
up and down a spiraling staircase
.


Site-specific sound installation for the entrance stairway
of Concent Art Gallery, Berlin 2010





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Timo Kahlen
(Pedestal), 2011


An immersive sound sculpture:

a pedestal filled with inaudible vibration.
As the visitor steps onto the pedestal, the vibration carries sound
through his body, culminating in the craneum.

Pedestal, transducers, low frequency vibration.
Prototype for Berlin Fashion Week 2012







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Timo Kahlen. Brûte, 2010

Mainly silent sound sculpture. Several cables
and small, barely audible, organic sounds
come from an aluminium container and the
supporting pedestal beneath. Perforations in
the container, various knobs and controls seem
to allow for organic growth inside the vessel

Sound sculpture at "Timo Kahlen: Noise & Beauty",
Stiftung Starke, Berlin 2010





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Timo Kahlen. Datenaustausch, 2010

A spoon, several small loudspeakers, and
audio components on a plate. Particles of sound
ready to be served.

Conceptual photographs,
presented in conjunction with synaesthetical
sound sculptures and sound installations, e.g
"Zart" (Tender), 2010: various plates filled with
miniature loudspeakers, emitting soft, subtle
microcosms of sound


Exhibited at "Timo Kahlen: Noise & Beauty", Stiftung Starke, Berlin 2010.
Courtesy Stiftung Kunstfonds, Bonn 2010





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Timo Kahlen. Doppelter Boden, 2012


Complex, spatial sounds of echolocation
bounce out of a simple basin






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Timo Kahlen. Infusion, 2010

Minimal sounds created by the slight vibration
of several small piezo loudspeakers
against the porcellaine rim of a tea-cup.
A very instable setup

Sound sculpture at "Timo Kahlen: Noise & Beauty", Stiftung Starke, Berlin 2010






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Timo Kahlen. Gurgeln (Gurgle), 2014

As if sound was pouring from a jug, contained

and spluttering, gurgling inside and out.
A sculptural and acoustic reference, possibly,
to Vermeer's painting of the milk maid, frozen in time
as she holds and pours the viscuous liquid.

Sound sculpture: broken ceramic jug, two loudspeakers,
cables, sound of the artist gurgling.

"Hear XL2" sound art exhibition, Heeren, the Netherlands 2014





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Timo Kahlen. Reposition, 2016

A chair with armrests: a kinetic

sound sculpture, in fact static,
yet with the strong sensation of being slid,
repositioned and
moved across the room.

Strong, tangible vibration and acoustic sensation
is induced into the visitor's spine and back
by two transducers driven by mid- and
low-frequency sound and vibration.
Take a seat.






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Timo Kahlen. Fallout, 2010

Dry leaves dance on the aluminium membrane
of a loudspeaker. Undefined, dark rumbling
and high-pitched clicks - resembling those of a
recording of radioactivity with a Geiger counter -
keep the leaves alive


"La Révolte des Choses", MIM & more Gallery, Berlin 2011
curated by Heiko Daxl & Ingeborg Fülepp





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Timo Kahlen
Circe, 2006

Two state-of-the-art, prototype

directional loudspeakers
(Sennheiser Audiobeams)
keep the gallery space in continual motion
as the humming, buzzing sound of flies
seems to float throughout the space,
along the ceiling, the walls and across
two clusters of metal constructions
-  yet the flies are invisible to the eye.


Other, more stationary and lower, softly moaning
and singing sounds (again, re-pitched sounds
of insects) travel by chance across nine smaller
loudspeakers attached to the rigid metal frameworks,
which trap and pin down a series of delicate
porcellaine plates carefully laid out on the gallery floor.
The work's motif is a scene from Greek mythology,
in which Ulysses is trapped by the wonders of Circe.


11-channel sound installation with two Sennheiser
prototype directional loudspeakers
at the Ruine der Kuenste Berlin, 2006.
With kind support by Sennheiser Germany.

Chance generation of sound courtesy Dieter Kohtz, Kiel





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Timo Kahlen. Tanz für zwei Fliegen
(Dance for Two Flies) , 2005

Black-and-white silent video of two flies
rotating, struggling, dancing on the membrane

of a loudspeaker.

The work anticipates the related sound sculptures 'Zwiebelmuster', 2006,
'Dance for Insects', 2010, and the chance-generated flash film interactive loop 'Drama', 2011.







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Timo Kahlen. Carpe Diem, 2011
Interactive sound art / net art

An image of vanitas, a ripe yellow fruit (a quince),
showing first signs of deterioration, decomposition and mold,
is at the base of the work 'Carpe Diem' (2011) by Timo Kahlen.
The soft, fragile surface of the object is enclosed by particles
of possibly organic noise and vibration, activated by
the viewer as he moves his cursor across the responsive,
interactive texture of the sounding object.

The interactive work develops individually,
is generated - always different - as the viewer
moves across, pauses or clicks at the responsive texture
of the sound objects. Roll over & click to generate
the live audio composition at your own pace.
For headphones or speakers.

Supported by a scholarship of Stiftung Kunstfonds, Germany 2010.
Not visible on Android and iOS. Flash player required.

http://www.staubrauschen.de/carpe/



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Timo Kahlen. Wabe (Hive), 2002
Electronic / audio beehive

The sound of bees contained in
marmalade jars, clustered and
tied up. Frequent disruptions by the
sudden, strong vibration
of the small loudspeakers
against the glass walls







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Timo Kahlen
Sketches and models for
Electronic Beehive,
New Delhi 2007 - 2010

Interactive multi-channel sound sculpture
based on the sound and vibration of

bees whirring through the air.

In cooperation with Ranjit Makkuni,
Gandhi Multimedia Arts Museum, New Delhi 2007 - 2008







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Timo Kahlen. Out of Order, 2015

Out of control and under stress: a chaotic swarm of bees,
floating in mid-air, with abrupt changes in speed, direction
and interval
. Unable to track individual bees in the
excessive chaotic flow of the swarm, the viewer's sense of loss
of control, of stress, is augmented by the unsettling
loss of clearly defined visual contours, however slight
and created by the disalignment of the red, green and
blue components of the video image, and by the video's
subtle composition of harsh cutting and whirring,
potentially aggressive and unsettling, droning sounds
of what seems a disoriented, possibly polluted
swarm of bees under pressure.

HD video






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Timo Kahlen. Frösche (Frogs), 1996

Jam jars in a display case, enclosing the sound of frogs.
Reminiscent of "collecting pond life as a child
(often saved in old jam jars) and... a visual prompt
to thoughts about the sound still allowed
while the freedom (so necessary for the frog to survive)
is denied through containment."
Joanna Littlejohns, Guernsey 2001

"I like it to be on a second layer, more abstract.
Getting away from nature, but imitating it
at the same time."


Timo Kahlen in a conversation with Joanna Littlejohns
International Artist in Residence Programme, Guernsey 2001







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Timo Kahlen. Zurück zur Natur
(Back to Nature), 2005/2012

A dismantled, empty birdcage,
a void filled with sizzling, static noise.
A strong sense of loss, of absence.


Collection of the artist





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Timo Kahlen. ping tschae tschae, 2005
Generative multi-channel sound installation


In "ping tschae tschae" (which is the scientific,
ornithological description of a specific birds' song
- read aloud by the artist, amongst other descriptions,
from a bird watcher's book) the gallery space is filled
with complex, yet seemingly mechanical,
artificial or descriptive sounds of birds' songs,
appearing / disappearing at random
locations in the room.

How do we experience nature today, in the
digital age ? The complexity increases
as more descriptive sounds can be generated live
from the only object in the room, a touchscreen
monitor showing an interactive section of a wood.

Exhibited at Ruine der Kuenste Berlin, Berlin 2005 /
Netart Features, JavaMuseum 2010.
Not visible on Android and iOS. Flash player required.


http://www.staubrauschen.de/ping/






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Timo Kahlen. Zewidewit Zizidäh, 2001 - 2002

Sound installation based on the scientific,
ornithological description of birds' songs,
on the mimetical (re-) construction of (and difference to)
nature through language: three large glass cylinders
contain small loudspeakers presenting scientific
descriptions of common local birds' voice and song.

Exhibited at "Timo Kahlen: Zewidewit Zizidaeh", Galerie im Saalbau, Berlin 2002
and "Der Gesang ist eine muehsam klingende Folge von knarzenden, knirschenden

und kurz floetenden Toenen", Universitaet der Kuenste Berlin 2006.





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Timo Kahlen. Twitter, 2010

Proposal for sound installation
at Klankenbos, Nerpeelt / Belgium:

In Dutch, Flemish and - as the 'lingua franca' -
in English, metal sound objects attached
to the stems and branches of trees
send out ornithological, scientific descriptions
of the songs, voices and behaviour of
local bird populations, common to the region
at the borderline of Dutch and Flemish interests.
A work about cultural difference and concensus
- as expressed in the differing perception
of local nature; using the
identical birds' utterances, translated
into three different local languages
,
as its conceptual example.


See related proposal "Diodenzwitschern",
Deutscher Klangkunst-Preis 2006, Skulpturenmuseum Marl 2006.
Not visible on Android and iOS. Flash player required.





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Timo Kahlen. Without Title (Nests), 2010

Electrical wire, audio tape
and cables, plugs


See earlier kinetic and static installations
related to the "Works with Wind",
many of which employ birds' nests, such as
"To Brancusi" (1991), "Wehen" (1990) etc.
Solid bronze casts of birds' nests e.g. were part of
Kahlen's final presentations at the Hochschule der Kuenste
(now University of the Arts) Berlin in 1992 and 1993







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Timo Kahlen
Cinch, 2001


Gained in translation:
a percussive sequence of abstract information
and visual 'drop-outs' is created
by sound data inserted into the video input
of a video monitor, initially by mistake.

Digital video and related earlier experiments







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Timo Kahlen. Transfer, 2004

Can images be translated into sound ?
This sound sculpture is based on the
sound of images of a miniature model of the
gallery space itself, transferred via modem
from Timo Kahlen / Berlin to Ian Andrews / Sydney
when developing their net art work Sound Drift (2005).

The modem sounds recorded while transferring
the images of the miniature models of the
exhibition space from Berlin to Sydney, and vice versa,
are now played back in the exhibition space itself,
engaging two cardboard sculptures,
abstract black boxes, in a complex,
aleatoric digital dialogue

"Timo Kahlen: Media Dirt", Ruine der Kuenste Berlin, 2005







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Timo Kahlen. Schneidende Stille
(Cutting Silence), 2011

A dismantled, empty, 'censored' radio
emitting only a sharp, cutting,
whirring, deafening noise

Collection of the artist





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Timo Kahlen

Out of Date, 2014

Outdated art magazines,
crunched and laid out on the gallery floor,
emitting a meandering soundscape
of reading, turning and crumbling
the pages of out-of-date art magazines





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Timo Kahlen. (180 min of Wind), 1996

Series of audio tape sculptures.

A curtain of 'wind' recorded on tape.
Lines of audio tape, installed in
an open window : forming a visual 'screen'
of multiple horizontal lines interacting,

interfering and flickering - like 'white noise' -
in the draft of the open window

Collection of the artist





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Timo Kahlen. Prototypes and proposals, 2012
for projected sound sculptures
and installations of various dimensions
employing innovative, state-of-the-art 'paper loudspeakers'

Copyright of the artist / VG Bild-Kunst, Bonn 2012
Proposals for Technical University of Chemnitz, Germany



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Timo Kahlen. Summa Summarum, 2012


Proposal for eight-channel acoustic object
employing state-of-the-art, recently developed

'paper loudspeakers'

Copyright of the artist / VG Bild-Kunst, Bonn 2012
Proposals for Technical University of Chemnitz, Germany






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Timo Kahlen
Clusters
, 1991- 2005

From a series of
sculptural models
(variable dimensions)
for projected sculptures and installations.
Cardboard and paint, speakers and sound

Installation view at "Timo Kahlen: Media Dirt",
Ruine der Künste Berlin, 2005





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Timo Kahlen
Fishing for Compliments, 2012

Fishermen's hooks and wires connected to speakers
driven by low-frequency sound. Based on an earlier wind installation
at the gallery / St. Peter Port, Guernsey 2001

HD video and related kinetic sculptures






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Timo Kahlen
fragile, 2016

Shaped steel wire, suspended from loudspeaker
driven by low-frequency sound. The fragile text quivering

slightly at random intervals

Installation view in exhibition "handschreiben"
at Ruine der Kuenste Berlin, 2016






>>> see more sound sculptures (page 1) >>>...






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