Errant Bodies project space is dedicated to experimental work in sound, performance, voice and spatial practices. Through residencies, workshops, events and exhibitions, Errant Bodies emphasizes an engagement with process and dialogue, encouraging a dynamic and diverse approach to the sound arts. As a project space, it also intends to foster social and public activities, contributing to the creative scene in Berlin. It is organized and developed through its working group comprised of Berlin-based sound artists and researchers.


Jodi Rose - Bridge Reception

Jodi Rose - Bridge Reception

Saturday, December 3, 7pm

Errant Bodies
Kollwitzstrasse 97
10435 Berlin

Direct from the Arctic Circle, Jodi Rose invites you to share recent works in progress and celebrate the upcoming ten year anniversary of Singing Bridges. Recordings from the construction of 'Sleep Span,' the ice bridge artist suite Rose made at the Ice Hotel in collaboration with Justin Tyler Tate, the High Coast Bridge in Sweden, with Björn Eriksson and working day at Lab Gallery with Nathalie Fougeras, radiphonic works from ABC Radio Residency and her plans for 2012 will be presented at Errant Bodies.

Photo: Jodi Rose recording the Höga Kusten-bron/High Coast-bridge, 26th Nov 2011. By: Björn Eriksson.


Born in Sydney, Jodi Rose recorded the cables on the Anzac Bridge in 1995 while it was still under construction: even then she dreamed of creating a Global Bridge Symphony. Rose created Singing Bridges in 2002, listening to the sounds of bridges singing around the world. After ten years dedicated to recording and amplifying the sounds of over sixty bridges; making on-site live installations and bridge compositions, she is ready to embark on realisation of the Global Bridge Symphony. In her ongoing process of responding to the specifics of the structure and location Rose embraces a philosophy of Art in Context, working in collaboration with artists, researchers, engineers and architects. Rose produces sonic and conceptual interventions in diverse environments, working in the context of urban spaces, sound, philosophy, media, performance and technology. Tracing her engagement with local cultural practitioners and communities, she co-creates unique ephemeral, performance, improvisation and musical works adapted to the conditions of each specific location and concept. Jodi Rose lives and works in Berlin since 2007.

Her works have been produced, broadcast, exhibited and performed internationally at: Inter-Format Symposium Nida Art Colony Lithuania 2011, Traces Tea Lounge in the Open Zone of Transmediale, Berlin 2011, Glasgow International Festival 2010, ISEA08 Singapore National Museum of Singapore, Pixelache Festival of Electronic Art and Subcultures 2004/2005/2007, Mal au Pixel 2008, European Sound Delta & L'Ososphere Festival 2008, Dragonfly Sweden 2010, CitySonics Belgium 2009, Sonorama-Besancon 2009, Break 2.3 Ljubljana 2005, Transit Lounge Berlin 2007/08, Electrofringe Newcastle 2005 & Liquid Architecture Melbourne 2005.



dilettantin produktionsbüro / Michael Fesca


Thursday, October 6th, 8pm
dilettantin produktionsbüro, talk and tasting
Saturday, October 8th, 8pm
Michael Fesca
featuring dilettantin produktionsbüro

Errant Bodies
Kollwitzstrasse 97, 10435 Berlin


October 6th, 8pm
dilettantin produktionsbüro, talk and tasting

Anneli Käsmayr will talk about her recent work as dilettantin produktionsbüro with focus on the three year long gastronomic project dreijahre Gastraumprojekt which took place in Bremen 2007-2010. Currently she works on a book about this project bringing together eight different writers' perspectives on the (im)possibility of running a restaurant as an art project. She will give an insight to her work structure, play some music as well as provide a tasting of her current taste products.

Anneli Käsmayr studied at the University of the Arts in Bremen. Since 2003 she works under the synonym dilettantin produktionsbüro which functions as a conceptual research field operating in the space between art and everyday life. Terms like space, sensual experience, work, taste and sound are being explored in their relationship to art and non-art. In doing so it always comes back to the question of art in general - can something be art that does not look like art?
Käsmayr often collaborates such as with music and art collective SEX (with Michael Rieken and Branka Colic) with whom she also forms the DJ-collective sexsoundsystem and has just released their first EP - Can't find no sex in the record shop.
She has had exhibitions and projects amongst others in Städtische Galerie Bremen, KW Institute for Contemporary Art Berlin and GAK Gesellschaft fur Aktuelle Kunst Bremen. With different group collaborations she had the honor of receiving the Bremer Förderpreis fur Bildende Kunst 2005 and the Kunstpreis des Freundeskreises der HFK 2007 and this year she was rewarded a 2months residency grant in New York.

On October 8th she'll support artist Michael Fesca with his performance Swinging Plasticine at Errant Bodies.

more Info on dilettantin produktionsbüro:

October 8th, 8pm
Michael Fesca
with dilettantin produktionsbüro

In a process over several weeks Michael Fesca has produced a five-piece set of tableware with Plasticine - sensitive vessels for beverages and dishes, which can be deformed with every touch and are never fully hardened. A soft, oil copy of "fine tableware" was built, which in turn will be brought into ritual use on one evening. The dilettantin produktionsbüro created a five-course meal especially for this dinner set, of which courses will be served individually to the evening's guests.

Michael Fesca investigates the perfomative, time based phenomena of static images. His concepts require unusually long realization periods during which the performative act is often brought into the realm of everyday life, questioning the role of obsessive craftmanship and technical virtuosity in Fine Art.
Utilizing handcraft to experience the progression of time, Fesca risks losing the large-scale overview with an exorbitant intent on excessively virtuous details.

After an apprenticeship as a fine goldsmith, Fesca studied Fine Arts at the Bremen University of the Arts. Michael Fesca developed a number of collaborative art projects using research methods into the relation of art and life, among those as co-founder of the Projektraum Berlin, and at Acadèmie Galan in southern France and Haus Köbberling for Dokumenta XI. In 2010 he started the long-term project "Occidental Bonsai," produced by the Schöppingen Art Endowment. Michael Fesca's work has been exhibited at numerous theatres and art institutions, such as the Shedhalle Tübingen, Volksbühne Berlin, Gesellschaft für Aktuelle Kunst Bremen, Schwankhalle Bremen, Schauspielhaus Bremen, and the Künstlerdorf Schöppingen.

For "Swinging Plasticine" he invited the dilettantin produktionsbüro to contribute culinary support. Fesca and the dilettantin produktionsbüro have been connected for a long time through their various exchanges on the edges of art and "non-art".

more Info on Michael Fesca:


baghdassarians / baltschun

Saturday, October 1, 8pm

baghdassarians / baltschun
bodybuilding (2011)

speakers: marcus gammel (center), serge baghdassarians (left), boris baltschun (right)
commissioned by deutschlandradio kultur


Errant Bodies
Kollwitzstrasse 97, 10435 Berlin

- performance version for 2 performers, 3 loudspeakers and portable radio -

bodybuilding is based on a trip to rio de janeiro in december 2010.
the three-sided largo do guimaraes on the hills of santa teresa became the point of reference.
its name, urban situation and sonic appearance get acoustically triangulated.
in a studio setting this field trip into an urban environment becomes a sonic body building.
at the end stands a place in ideal shape - an artificial body.


serge baghdassarians (*1972) & boris baltschun (1974), musicians and artists, live and work in berlin. collaboration since 1999.
they have realised installations, sculpture, performances, video, composed for radio and performed live-electronic music.
numerous collaborations with other musicians and artists.
exhibitions and performances at places such as diapason gallery (new york), singuhr hoergalerie (berlin), bridge (osaka),
moderna museet (stockholm), musée d´art moderne et contemporain (strasbourg), beyond baroque (los angeles),
tina b. (prague), sonic acts (amsterdam) and ibrasotope (sao paulo).


Anna Bromley's BON NOIR ALIEN

Thursday, August 25, 8pm
Anna Bromley`s BON NOIR ALIEN


Errant Bodies
Kollwitzstrasse 97, 10435 Berlin

Visual Artist Anna Bromley and Composer Jeremy Woodruff will give an insight to their collaborative performance project and its background.

Bon Noir Alien is a site specific musical performance which was conducted at the professional preview of the 54th Bienniale di Venezia at the invitation of Mona Schieren and Andrea Sick. After setting off, vocalists on a local venetian water bus presented an acapella musical performance whose text is borrowed from the small talk customary in the art profession, with its increasingly mixed blend of private and technical utterances.

Anna Bromley studied Social Sciences in Berlin, worked in production for free projects of performing arts before she studied at the University of the Arts in Bremen. Her mostly auditive works discuss the relation between authenticity and public art at political and cultural locations and focus on language as an instrument of influence. Bromley's excerpt-like re-productions that remind of radio plays meander through independent spaces that have been especially constructed for the respective context. Apart from exhibitions and projects, amongst others in the Carpenter Center Cambridge, the NCA Gallery Lahore, Thealit Bremen and Haus der Kulturen der Welt in Berlin, Bromley produces the radio show Lautstrom Project on together with Jeremy Woodruff.

Jeremy Woodruff studied composition with Michael Finnissy at the Royal Academy of Music in London and thereafter studied South Indian music and Ethnomusicology at the Conservatorium van Amsterdam, including field research in Chennai, Bangalore and Mysore, India. Woodruff's pieces deconstruct the interpreter's/collaborator's own artistic practice by using their everyday and personal experience, attitudes and abilities as material from which to create new acoustic worlds. He collaborates on film, dance, visual art and broadcast/podcast projects in Germany and in the U.S.A. His work with artists has recently been shown at the Künstlerhaus Bremen, Kunst Hier und Jetzt in Wolfsburg, Pittsburgh Filmmakers, Robert Wilson’s Watermill Center, Clocktower Gallery in New York and with Anna Bromley in the Venice Biennale 2011. Jeremy is also an active performer of experimental/electronic music with live electronics, also using Brain Computer Interfaces with traverso, shakuhachi, Arabic and Turkish ney, kaval, and North and South Indian flute. Since 2006 he is the Director of the Neue Musikschule Berlin and is currently a PhD candidate at the University of Pittsburgh.


Performance Event

Performance Event
Friday, July 29, 8pm
with Betta Senesi

Errant Bodies
Kollwitzstrasse 97, 10435 Berlin

The project aims to explore field recordings and new technologies as a creative tool for location-based practices and the possibilities of working with sound as a means to engage with public places. I draw attention into sound within the context of architecture, the city and the built environment by exploiting different sourced architectural materials as instruments of sonorous and spatial interaction. According to the given space, people detect and initiate the sounds/noises through a monitored electronic system I have conceived and designed. All the playbacks have been taken from everyday places I have lived during the last four months in Berlin area. They have been edited afterwards by choosing and cutting small snippets of time and space in order to question the nature of perception. All urban artifacts I chose for the sonic interplay act as a symbolic reference for expectation and hope, loss and separation, unconscious desires and irrational fears – emotions experienced by everyone but deeply connected with the private sphere of the body where new and curious spaces can be discovered.

She was born in Central East of Italy in 1977. She moved to Florence in 1999. She studied and trained in art photography since 2001. In 2010, she graduated from the University of Brighton with a Master in Digital Media Arts. Since 2003, she has been tutoring film-based and digital photography, theory of photography, projecting artwork. She also has been lecturing history of photography and contemporary art practices. In 2006 she created and directed over four years the Studio Luce Project in Florence. She showed her photo artworks in Milan, Turin and Florence – and she published some of them in several Italian issues. In 2009 and 2010, she showed her last artwork in Lodsz, Warsaw and Berlin. In the last two years, she has worked with sound as an artistic form by incorporating physical computing systems in public and urban environments. In 2010 she achieved two interactive sound installations in Brighton. She is a PhD candidate at Goldsmiths and she is currently based in Berlin.


sound and image event

sound and image event:
Thursday, July 14, 8pm
Rinus van Alebeek & Marco Montiel-Soto

Errant Bodies
Kollwitzstrasse 97, 10435 Berlin

Rinus van Alebeek: Lecture and A Story in Sound

Though many people may think 'field recording' is an art form, I think it is not. It is just sounds that enter the microphone when the red button of the recording device is pressed. I have many of those recordings on tape. I consider them conceptual recordings, because any description of its contents is valid, even if I make them up.

There is some meanings to errant, all of them uniting in a place one can call the unknown. This movement, to me, is one important reason to perform.

Rinus van Alebeek (1956, Heerlen, The Netherlands) is a writer who uses his (environmental) recordings on tape to narrate a story. Thanks to a great number of concerts, sometimes an average of ten in a month, he developed an approach of which people say it is ‘ between noise and pure poetry.’

“Rinus van Alebeek is a peculiar observer of reality and an artist who instinctively transforms lo-fi tape recordings into evocative sound poems, being able to create a “détachement” towards the used media, which is a characteristic of the most original artists.” (Luis Costa, president of Binaural and Associação Cultural de Nodar)

Marco Montiel-Soto: DIAPOSECION / Narrative Visuale : multiple slide projection with sound

Marco Montiel-Soto (Maracaibo, Venezuela 1976). Lives and works in Berlin.

He not follow a straight line, use the photography as a paper copy of an idea, writes slides symphonies, videos and constructs installations with found objects.


"Down a Little Road" - Heimo Lattner presents audio memories

Saturday, July 2, 8pm
Errant Bodies
Kollwitzstrasse 97, 10435 Berlin

Sound is the cinema of the mind where all associations are possible.

Even when it tries to be silent, it can't stop talking. And once it is over it still adds postscripts.

A visual artist by trade pays tribute to the marginalised sphere of the ear and steps in for an art that overthrows the privileging of one (the eye) above the other (the ear).

Heimo Lattner will present recordings from his acoustic travelogue; a guided tour from Brooklyn to the shores of the Arabic Emirates, from Berlin to Beijing, from Newcastle to Budapest, from Mexico to Massachusetts and from Vienna to Sardegna.

Duration: appr. 90 min.

Heimo Lattner collectively and individually develops performances, films, videos, walks, works for radio, installations and writings as reflections of a multifaceted investigation into location, social identity, landscape, and the public sphere of information.


Alessandro Bosetti - A Collection of Smiles presentation April 2, 8pm

Chatting inside the Monad : notes on a "A Collection of Smiles".
by Alessandro Bosetti

What happens when we talk to each other ? Behind the meaning. Behind the words. Behind the people themselves. What is that reticular tangle, map or rhizome we call a conversation ?

What happens when a small group of individuals find themselves in an isolated room and have a totally casual, unprompted verbal interaction ?

"A Collection of Smiles" is an acoustic portrait of such a situation - trivial and precious at the same time - intended as a monad, a self contained space where everything lives within, already encapsulated, already implied.

Several people, some already acquainted to each other, some not, are left alone in a room in front of microphones. They are not told what to talk about, they have an hour of time. Voices are recorded separately so that they could thereafter be cut, spliced, repeated, reorganized in different and ever changing constellations.

Afterwards speech is not only reorganized but also progressively transformed into musical material. Spoken phrases are transcribed into pitches and melodic profiles and arranged and re-composed for a small chamber ensemble with guitar, oud, contrabass-clarinet, violin, piano and celesta.

In this process words and phrases turn themselves into melodic progressions. Infinite recombinations are possible. Counterpoint is the perspective and the motor. The relations between the speakers - that could even be though about as a polyphonic vocal ensemble performing ready-made spoken madrigals and motets- are contrapuntal . The relation between melodic phrases and progressions in the instrumental ensemble is contrapuntal. The relation between spoken phrases and their melodic shadows played by the instruments is contrapuntal.

Speech and its instrumental shadows face themselves as in a mirror. Melodies and their spoken aliases claim a primacy that's hard to establish. The antiphonal game of imitation between speech and music continues indeterminately as in the infinite bouncing of reflections between two mirrors placed one in front of each other.

What are those individuals talking about ? It's nothing special, really.

Such a simple conversation is the stuff of everyday talk wrapping around reality and itself in a circular and enclosing movement. It is something we know all too well. Is what we just did a short time ago while been talking to the last person we met. We surely have been talking about something, no matter what, just something...

This conversation is - and re-tells - the utterances of our social existence. Small talk. Not so important and at the same time all that there is.

Small talk is neither small nor big. It is undimensional and rather stretchable. Small talk, big talk, we always keep ourselves busy by telling something. We fill the space with our important or negligible words. Most of times - when we don't do it - somebody else does it. When nobody else does it there are good chances that we are alone. Thats is why we always keep up the talk in an enactment of "aboutness" that wraps itself around reality like a warm coat.

There are cases in which we pull the words apart stretching the space between them. This crevice is always a loaded territory and the theater of tension. Likewise, when we pull two words apart the space between them is miraculously filled up by other words as if those always have been there. An implied and hidden texture unfolds when we try to make the knots of language looser. I believe this often becomes apparent in "A Collection of Smiles"

The acoustic space where this all happens is closed and - in a Leibnitzian perspective - has no windows, just an infinite net of internal implications and textures ready to unfold. As in a baroque painting, where no background is visible - and the light seems to come from within - no sounds from the outside world have been used. No field recordings, concrete samples or ambiances are there to comment, integrate or signify the meaning of words. Where the concrete world should be are instruments as placeholders, totems, abstract interval-machines.

In several pieces I've dedicated much attention to the sonorous potential of speech and language. So far my focus has been monophonic : speech is what "somebody says". Still no language is possible if there is no interaction. In language's nature is inscribed that I should go from an emitter to a receiver - even if the receiver is an imaginary one - and somehow exist in the empty space between the two.

In "A Collection of Smiles" it has been my intention to observe, capture and portrait the acoustic manifestation of language as something that happens in between. Between multiple people, multiple voices, multiple mouths.

A relation rather than a fact, tension between- rather than an object itself-.

One speaker says : I am smiling again.

Another answers : I can hear it.

Berlin, February 2011.


Setting for an Open Source No. 1

The Setting is an open participatory situation where visitors contribute to a collective writing action. A set of laptops are located within an installation, connected to projectors, allowing visitors to write, to witness others’ writings, to read what is happening. The writing is freely directed by curiosity, questioning, fictions and speculations aimed at stimulating thoughts on the contemporary condition of “public intimacy” – common strangers, overhearing others, sharing here and there. It is imagined that a series of silent collaborations will unfold within the writing gesture, as one visitor writes while also witnessing what others are writing; one may read what others write and may feel inspired to counter, to balance, to interject; or writing might act as a form of diary, capturing the moment and giving voice to the present. The Setting may become a durational space, an open source for materializing a temporary meeting and multiplying narratives around commonality, publicness, artistic strategies, global culture, intimacy.
January 28 - 30th, 2011