Circuit Fantôme S5 Ep12

curated by Anton Iakhontov (Patrick K.-H.) and Daniel Teruggi

Christian Tschinkel / Matthias Makowsky / Monika Jantschnig aka Harley, “EXA”
“EXA” is a transdisciplinary cyborg composition and sound art project by Matthias Makowsky and Christian Tschinkel that combines acousmatics, cybernetics, and science fiction. Tschinkel composes the fixed-media music, while Makowsky controls the interactive sound design in real time. Performers, as “EXA,” move through a multi-layered soundscape in a sensor-equipped body suit as exoskeleton—their movements additionally generate and shape sound via synthesizers, samples and Max/MSP. This creates a hybrid work that oscillates between sound, music, dance, performance, and musical theater.
The title opens up numerous semantic and aesthetic associations, from witch (Hexe) to ex machina, from hexatonics to exabytes, and plays with concepts of transhumanism, mechanical sensuality, and digital execution. “EXA” adds new dimensions of physicality and embodiment to Tschinkel’s acousmonautic works, while simultaneously referring to astronomical expanses, cybernetic dream worlds, and the question of the mind within the machine.
Duration: ~45 min.

Ukio Kido, “Museums in the head”,
exhibition.
The theme of the “Museum” echoes that of the Tower of Babel: a construction begun long before the invention of the museum itself, before this idea took shape and acquired form. The museum did not yet exist, yet humanity was already exhibiting, accumulating, collecting.
In the modern imagination, the museum appears unshakable, almost timeless. Yet it remains fluid, shifting, traversed by psychological and historical layers: architecture and architectonics, archaism and archetypes. Within each mind these connotations intersect and intertwine, generating a unique museum: a gathering of perceptions, a weaving of experiences, a play of associations, a network of new resonances opening into a field of possible universes, atmospheres, and unexpected comparisons.
“Museums in the head”—such is the name we might give to these constellations of images: always new and yet strangely familiar, sometimes intuited before they are seen. They are the fruit of the human capacity to construct mental and visual perspectives.
What is the “Museum in your head”? A polyphony of voices, a multiplicity of languages and palettes, a vibration ranging from the deep to the delicate, a flux of waves and resonances, a drift of associations, memories, and invisible dreams. Here the museum becomes master of ceremonies within the society of spectacle: it takes us by the hand, leading us through circles of experience and sensation, refracting light, unsettling familiar forms, dismantling perceptual clichés.
Each of us carries within a “premonition of the Museum”: for where else but in the mind can ancient frescoes meet the whispers of Goya, the fury of Artaud, and the metaphysical tenderness of Badiou? “True art,” writes Badiou, “is not a form of knowledge but a form of love.” This phrase could be the keystone of the inner museum: a place where performative practices encounter video-plastic technologies, where all art, past and present, becomes intimate experience, an immersion into one’s own grand museum.
Baudrillard once warned: “the museum is a simulacrum of culture, a trap of memory.” Yet perhaps it is within this trap that the chance of inner liberation hides. For the museum is not merely a container—it is a territory of dream, a space of encounter with oneself, a threshold to an imagination forever in motion.

Patrick K.-H. / Ukio Kido, “SoundPhrenia”, diffusion sound ballet.
“When illness becomes sound, and sound becomes illness”.

Michael Nits, “Coil of spoil”,
exhibition