On confluence is a body of work that crosses new ecologies and personal mythologies through bodies of water. The approach is aligned with anti-extractive and diasporic frameworks, considering land(& water)scapes as characters, and bodies of water as contact zones of many worlds. Through research, spatial and sonic practice, themes of confluence, the submerged and the turbid are explored in the face of extractive assimilation.

AMBIENT TREMOLOGY

Installation at Display Gallery Prague (September 5-29, 2024) with the collective Drift Signal [Mae Lubetkin, Mižu Mitro and me].
A short essay on »Ambient Tremology« can be found here

Ambient Tremology reorients the act of listening from the sonic to the vibrant, by gaining contact with trembling matter of amphibious worlds. Echoing the vibroscape of the Danube Delta through sculptural fragments and an audio-tactile composition, the installation attunes to granular memory and ambient force. The works are based in a research residency in the Romanian Danube Delta, where we explored the vibratory linkages of the soaked landscape through an adapted contact-accelerometer.

With gratitude to the people of Sfântu Gheorghe who shared the vibrant Delta region with us during our stay in April/May 2024. Many thanks to the Danube Delta National Research Institute for the guidance about local Delta habitats. Thanks also to Rok Šturm and Juan José López Díez of the Slovenian National Institute of Biology for sharing their knowledge and fieldwork on vibroscapes and ecotremology.

Produced during the 2023-2024 research-based art program 'Bodies of Water' - Inspirační Forum Lab Additional field sessions and residency in the Romanian Danube Delta supported by Culture Moves Europe and hosted by Qolony.eu

SAY GONE

»Hallucinating distant home-lands and waters, Kosmas Ðinh performs an ambient set and sends out postcards. A haze of touristic illusions and diffracted rhythms fills the lacunas of unspoken stories.«

Through the fog we glimpse
the unconscious of the ocean.

LISTENING TO LEAKS

»Listening to Leaks« is a body of sound and body based community formats, often carried out in proximity to bodies of water, relating participants to their own fluid systems and to hydrological time. Bodies oftentimes are prepared for more porous listening through somatic exercises (body scans, shaking, cupped hands). The format has taken on the forms of listening sessions based on field recordings and aquatic ambient textures with notes on spa industries and extractive tourism in southeast asia. Other iterations are urban soundwalks that employ listening exercises, life field recording and sonic transmissions. The activations share that they invite the listeners into a moment of collective (un)rest and into intimacy with the rhythms of the attended lakes, reservoirs and streams as well as the bodies of water in confluence with them. A As a platform for collaboration the formats have been shaped and inspired by friends and colleagues, especially dancer and choreographer Stella Covi.

The format has taken place at:
»Ways of Knowing« Floating University Berlin, 2025
»Metabolic Futures« Akademie Schloss Solitude & Künstlerhaus Stuttgart, 2025
»Studium Planetare« UDK Berlin, 2025
»Klein und Haarig« festival, 2024
»Future of Life School« HFG Karlsruhe, 2023
Public interventios at the Enz river, 2023 - 2024

SONIC REMNANTS

Part of the intervention 'We?' at Matadero Madrid during the exhibition 'climate fitness'.
The sound based lecture performance that I presented attended hydrological currents and shared pollutants but also the currents of desire that link the site of the Matadero, with its past as a large scale slaughterhouse, to the site of the German meat production company Müller Fleisch. The re-activation of the space was based on recordings of contact microphones that enabled (sonic) access into the production facility of the german company at the riversite of the Enz. The sounds were extracted at the only point of access in the highly securitized slaughterhouse complex, a 30 meter high windowless wall. With the eye and even the bare ears, the building succeeded in obscuring its inner workings from me, but through employing the contact microphones I managed to access a ghostly soundscape consisting of eerie drones and the rhythms of logistic machinery. The only recently constructed building serves as a refrigerated warehouse facility that cools up to 9000 tonnes of meat to -25°C. It is a space devoid of humans, being operated exclusively by machines and state of the art logistic robots, that rearrange the meat on the high shelves. In its fully automated precision this is the metallic cold and razor sharp vision of the Capitalocene slaughterhouse of the 21st century. The lecture text was referencing research of Filippa Ramos that attended the history and construction of the Matadero as a 'modern and efficient' slaughterhouse, inspired by the German slaughterhouse model.