Aernoudt Jacobs

The site-specific work Glass Vibration Gaze (2023) transforms window panes into an installation that merges architecture and music. Electronically generated musical patterns are induced into the windows using audio transducers. Stethoscopes attached to the windows function as microscopic listening devices which allow visitors to eavesdrop on the sonic world inside the glass while observing the flow of city life outside. 

Aernoudt Jacobs is a Belgian artist working primarily with the medium of sound. His work is both phenomenological and empirical. It has its origins in acoustic and technological research and investigates how sounds can trigger sonic processes that will affect the observer's scope of perception. His work focuses on a central question: how can one experience the complexity, richness, and stratification of their direct, daily environment? Glass Vibration Gaze is commissioned by Rewire in collaboration with iii, The Hague and Amare.

Location: Amare Windows.

After Rewire, Glass Vibration Gaze will remain in Amare until April 23rd.

Amos Peled

Phantom Limb (2023) is a project exploring the enigmatic and poetic relationship between a human being and the black box that is their interior through the use of a medical ultrasound machine. Amos Peled has been developing methods to perform audio-visual manipulations which transform the ultrasound machine into an instrument that illuminates the inside of the body and expands the space of the artistic act into the organs, under the skin. The work investigates conceptions such as the distance of the human body from the self, the hierarchical relationship between the inside and the outside, pain as a poetic message, and the lack of internal symmetry.

Amos Peled – born in Israel in 1997 – is a multidisciplinary artist focusing on experimental music, audio-visual installations, and performance art. He graduated in 2022 from the ArtScience Interfaculty in The Hague. 

“In my work I am trying to create the feeling of returning from a long trip back to your room, to the most familiar space. When you first enter the room the physical dimension feels suddenly foreign, the space that is burned deepest in the brain’s place cells becomes curved, not bigger, not smaller just different . . . you place your bag on the side of the space and sit down where the physical shape of your body has been assimilated into a foreign object. Before everything is enough to return to the normal dimension you look to the other end. A place you have never seen . . . a hidden layer of blue under your peeling wall. You start to wonder what’s under the blue . . . scratching the wall for a few hours discovering all colours of light, history itself, and layers of physical knowledge. 

I want to overwhelm the viewer with doubt, so that after experiencing my work, they will have doubts about the contraction between shadows and light, or at least open up an alternative nature to curiosity. A shadow for me is a two-dimensional representation of the three-dimensional, a shadow omits a dimension from the world, and represents only the contours of a being, without its volume. A shadow can represent the essence in varying magnitude, several times, in varying sharpness.” Phantom Limb is commissioned by iii in collaboration with Rewire, Amare and Tetem.

Artistic and production assistant: Andrejs Poikans, Software development and Artistic assistant: Daniel Treystman, Sound: Liza Kuzyakova, Amos Peled, and Andrejs Poikans.

Location: Amare Escalator.

After Rewire, the installation Phantom Limb will remain in Amare until April 23rd.

Dominik 't Jolle & Maria Komarova

Dominik ‘t Jolle has been suffering from ringing in her ears and sound hallucinations for much of her life. Already as a child she observed vibrations and flashes of light with realistic resonances in the room where she was. She woke up one morning with a deafening, high sine tone that never stopped. Tinnere. Behind the Tune (2020), originates from her wish to translate into an audiovisual artwork and share with others these auditory hallucinations, a process in which she has collaborated with artist Maria Komarova and Jan Ost from BRAI3N, Ghent, a multidisciplinary centre for brain research.

Dominik is interested in people, culture, place, and misplacement, with a focus on building personal relationships and living with rural and urban communities for extended periods of time. Over 20 years she worked and lived in Cameron, Guinee, Niger, the Philippines, and Belgium, raising the profile of rural and marginal communities through film, sound recordings, visual arts projects, and community-based projects such as the building of water wells in Niger, community health support in the Philippines, and social cohesion projects.

Maria Komarova is an interdisciplinary artist whose practice is situated on the borders of performing arts, scenography, sound, and installation art. She is interested in creating spatial settings that foster a sense of curiosity and attention towards the quotidian. By staging and technically repurposing commonplace objects, Komarova's works emphasise sonic and visual potential of the non-human world. Working with sound as a performative medium, she continuously develops DIY electro-acoustic objects and lets them temporarily inhabit the sites of performances and installations. Tinnere. Behind the Tune was co-produced by Overtoon, BRAI3N, and STUK.

Location: Amare Swing.

Frederique Pisuisse

I’m Just Lying There is a ficto-memoir about Frederique Pisuisse’s teenage relationship with her first boyfriend who was a 36 year old man. Through poems and pop songs, the film brings back memories of their grown-up dates: having dinner at a restaurant for the first time without parents, and being picked up from her birthday in his Mercedes. The coming-of-age film looks at the shaping experiences in which the female body is subjected to the male gaze and becomes an object of desire for the first time. The protagonist, who is 14 years old at the time of their affair, is pulled towards the sensual experiences of being with this man, and simultaneously feels the danger in them. Through film, writing, music, and performance, Pisuisse explores the topics of memory and trauma and out-of-body experiences. Frederique's poems, films, and music are dissociative episodes in themselves, exploring the creative potential of this dissociation by giving voice to the experience of the otherness of bodies, and how to live with this. 

Pisuisse produces music and DJs under the name snailaway playing high-nrg dance music. Landing from a fascination for syncopated drum patterns and ecstatic hypnotism, snailaway is dedicated to bringing sweat and joy to the dance floor. Her psychedelic crossovers are a contagious form of effervescent editing through storytelling and somatic trance. 

Location: Amare Garderobe.

Naomi Rincon Gallardo

In Sonnet of Vermin (2022), a legion of unwanted creatures related to the Mesoamerican underworld attempt to syntonise with each other and the dead in the midst of a planetary cataclysm. They seek for a subaltern solidarity and queer relationality as a form of re-existence within the ruins. Sonnet of Vermin was presented at the Mexican pavilion of the Venice Biennale in 2022. In The Vermin’s Radio (2023) created during her residency at iii, The Hague in 2023 the characters of Sonnet of Vermin are further explored as interactive wearable sculptures populating the exhibition space. 

From a decolonial-cuir perspective, Naomi Rincón Gallardo's research-driven critical, mythical, dreamlike worldmakings address the creation of counter-worlds in neo-colonial settings. In her work she integrates her interests in theatre games, popular music, Mesoamerican cosmologies, speculative fiction, vernacular festivities and crafts, decolonial feminisms, and queer-of-colour critique.

“My (under)worldmakings tell entangled stories of creatures who craft obstacles for progress and development. Or more precisely: creatures who become themselves the obstacles. In my practice I try to articulate an embodied theory intertwined with nature and matter: a theory that can be danced, smelled, and touched. I build exuberant, crafty, and low cost elaborate handmade paraphernalia and attires. I embrace degraded aesthetics that involve no mastery but inventive capacities and affective manual labour.In my aspiration to interanimate a queer reasoning with a decolonial imperative, I find a zone of contact that attempts to recover the pulse of life in its multiplicity, ambiguity, and unpredictability.”

Location: Amare Jazz 2.

Vica Pacheco

Vica Pacheco seeks to create a dialogue between animism, ritual, and technology in her series of works Animacy. Revolving around the whistling vessel, a hydraulic sound instrument that existed in pre-Columbian times throughout Mesoamerica, the series presents a symbiosis between two types of technology: one contemporary, electronic and digital; and the other pre-Columbian, made of mud, fire, air, and water. 

A collection of ceramic instruments which the artist produced at EKWC form the basis for two new works: the kinetic installation Mitote (2023) and the dance performance Ollin (2023) created with Siet Raeymaekers, Francesca Mariano, and Fernanda Soberón. The word mitote comes from Nahuatl mitotiqui, meaning “dancing,” and from itotia, meaning “to dance”. Mitote is a term from contemporary Mexican popular culture used to designate a riot or a party. Earlier the term was associated with a Mayan creation myth. In Mitote the artist conceived a kinetic sculpture to which she refers as the Bionic Mangrove, where zoomorphic creatures emit their songs thanks to the energy of the components of this tree. In the performance Ollin, meaning “constant movement” in Nahuatl, the movement of the vessels and their sounds is generated by the bodies of three dancers in combination with the Bionic Mangrove. With this encounter Pacheco seeks to produce a ritual in which minimalist and repetitive movements and sounds transport the listener towards an expanded state of consciousness.

Ana Victoria, aka Vica Pacheco, was born in Oaxaca, southern Mexico in 1993. She studied art at La Esmeralda, México City before graduating from Villa Arson, Nice in 2017. Her practice is rooted in experimental music and composition, but she also has a plastic practice working through ceramics and 3D animation. Her work is above all eclectic and energetic, inspired by mythological crossbreeding, prehispanic technologies, and syncretism. She likes to arrange the most heterogeneous or hazardous elements between them to produce sound performances and installations. Pacheco lives and works in Brussels.

Mitote and Ollin are commissioned by iii in collaboration with Rewire, Amare, Overtoon, STUK, and iMal.

Location: Amare Traptheater.

After Rewire, the kinetic installation Mitote will remain in Amare until April 23rd.

Proximity Music: Visceral Acts takes place from 7-9 April. Find out more here.