arminlorenz.net
Introduction
1
Armin Lorenz Gerold (*GRAZ/AUSTRIA) is an artist and composer based in Berlin. Working across a multitude of media, Gerold primarily focuses on voice and sound, making audio plays, live-performances, broadcasts, and installations.
His work has been presented at Halle für Kunst Steiermark, Austria, KW Berlin, LambdaLambdaLambda, Kosovo; fluent, Spain, Mint, Sweden, and the Gothenburg Biennale for Contemporary Art, Sweden (in collaboration with Doireann O’Malley).
In 2021, the artist published his first artist book including his most recent play Manuel or A Hint Of Evil, alongside a collection of essays and texts. The publication was published by Mousse Publishing, Milan, supported by the Ruisdael Stipend.
In November 2022, Manuel or A Hint Of Evil premiered as a live audio play at Haus der Kulturen der Welt, Berlin.
In September 2023, Gerold presented a new commissioned work at Mint in Stockholm.
Projects
Index
2
Stadt & Land
cittipunkt e.V., Berlin
25 February 2024, 7pm
An evening of readings by Sanabel Abdelrahman, Sanna Helena Berger, miss certainly, Bitsy Knox, Armin Lorenz, François Pisapia.
Stadt & Land is an irregular reading series initiated by Alex Turgeon in 2022 which investigates themes of capitalism in relation to cityscapes, public space as well as the personal and impersonal relationships between landscape and its inhabitants. With particular focus on omnipresent systems of economic control, privatization, the policing of bodies within space in concert with divisions reified by nation and statehood, *Stadt & Land* looks to provide a platform for critiquing the on-going methods of oppression in relation to our built environs.
Documentation by François Pisapia.
29 September 2023
Klosterruine Berlin
Spoken word, sound, approx. 20 Minutes.
Performance on the occasion of the opening of the solo exhibition The Fragiles by Barbara Kapusta at Klosterruine Berlin.
Download
Temporal Unease (Text)
Armin Lorenz Gerold’s performance involves the reading of new text material over ambient sound design. Focusing on his recent work on time and temporality, short story segments revolve around a hazy morning after hour in Berlin, when a seemingly innocent gaze out of the window suddenly turns into a meditation on time, labor and the constant re-shaping of urban landscapes. Referencing Warren Sonberts’ 1966 film Amphetamine, a melody eventually emerges from the background, asking: Where did our love go?
Documentation by PNiedermayer, 2023. Images courtesy of Klosterruine Berlin.
Mint, Stockholm
20 September–4 November 2023
Video and 12-channel sound installation, 2023.
With works by Lori E. Allen, Anne Boyer, Jay Bernard, Reece Cox, Andrew Yong Hoon Lee, Mara Lee, Thuy-Han Nguyen-Chi, Alex Turgeon and James Schuyler.
This autumn, Mint presents a new commission by the Austrian artist and composer Armin Lorenz Gerold. The artist invites visitors into an audio-visual system of ceramic sculptures, vibrating devices, sounds and screens, transforming the exhibition space into a sensory acoustic landscape.
The artist draws inspiration from Anne Boyer’s work The Fallen Angel of the Senses, in which the author and poet maps the decay of the minor senses; touch, taste, and smell, in our “present arrangement of the world”, hyperextended or fractured from “capitalism’s distortions and pressures”. Gerold has invited a range of artists and poets to contribute texts that negotiate questions about time and temporality through a variety of cultural, political and poetic angles that disrupt, alter or shape the present. Works by Lori E. Allen, Anne Boyer, Jay Bernard, Reece Cox, Andrew Yong Hoon Lee, Mara Lee, Thuy-Han Nguyen-Chi, Alex Turgeon and James Schuyler are performed on multiple screens in the space with writer and translator Mara Lee and Gerold as voice actors. Gerold and his co-reader therefore interpret the words of the contributors, voicing these texts through their own individual reading. Throughout his practice, Gerold has been concerned with finding a nuanced approach to this ambivalence.
The recordings were made in the Stockholm building of the Workers' Educational Association (ABF), the very place in which the works are displayed, and in the Labour Movement’s Archive, the organisation that houses the Workers' Educational Association’s history. Gerold and Lee read from bleachers, a stage, in corridors and reading rooms. In the background, we hear the ticking of the archive's clocks, or the ringing bells of the adjacent church.
The sounds of the motorway as heard from the archive's courtyard in the periphery of the city are also included, as well as the inclusion of archival recordings from the early period of ABF's interaction with electronic sound art, in the early 1960s when EMS (The Centre for Swedish Electroacoustic Music), the Golden Circle Jazz Club and the concrete poetry of the Happening movement were all featured on the building’s stage. Echoing the way that the Swedish artist and electronic musician Åke Karlung once played on the stairwell's bannister and turned the house into an instrument, Gerold evokes a rhythm from its interior and surroundings.
There is a sensual intensity in Gerold's language and the way he investigates multiple aspects of sound using the spoken text as a recurring point of departure. The text is dramatised through voices but is also extended through the effects that succeed in evoking the experience of a place during a particular moment in time. Based on a cinematic logic, the artist suggests a feeling for how one listens to the moment and the complexity by which sensory experience overlaps. This is where aspects of time become palpable, they become components and language, elevated. With this approach, Gerold creates movements between distraction and absorption, like walking between situations where listening feels different, sometimes intimately whispering, sometimes eavesdropping from afar. The production's composition is translated into the exhibition space, where you move between voices, sounds and music. You can approach the vibrating sculptures and gently touch them, and you can understand the room as a montage for which your presence and distraction creates an individual cutout. Wandering through the authors' recorded texts about the contested presence, songs and sounds creates a sonic theatre with many crossroads. Many ways lead to many nows. —EMILY FAHLÈN
Text spoken by Mara Lee and Armin Lorenz Gerold.
Voice recording by Armin Lorenz Gerold and Cara Tolmie.
Video, music and sound composition by Armin Lorenz Gerold.
Additional music by Reece Cox. Additional recordings by Thuy-Han Nguyen Chi.
Camera, editing and montage by Armin Lorenz Gerold
Filmed with kind permission on the locations of ABF Stockholm and Swedish Labour Movement’s Archives and Library.
Artistic director Mint: Emily Fahlén
Exhibition producer: Alice Söderqvist
Exhibition technician and steel constructions: Theodor Ander
Ceramics: Christian Ingolf
Light design: Ines Bartl
Graphic design: Thomas Bush
Invigilators: Charlotte Keegan and Ida Edin
Coordinator of residencies: Sona Stepanyan
The exhibition is supported by the Swedish Arts Council, the City of Stockholm, the Federal Ministry Republic of Austria: Arts, Culture, Civil Service and Sport, and the Austrian Embassy in Stockholm.
Exhibition views by Johan Osterholm.
Haus der Kulturen der Welt, Berlin
2 November 2022
Spoken word, sound, approx. 46 Minutes.
Spoken by Armin Lorenz Gerold and Hanne Lippard with voice recordings of Heike Geißler. As part of Alphabet Series by Haus der Kulturen der Welt, curated by Mathias Zeiske.
The story of Manuel unfolds around the thoughts blending into an inner monologue of an unnamed observer, as he regularly visits the Olympic swimming pool in West Berlin in the summer of 2020. It is the story of a failed flirt, of urban bodies travelling across the city for a brief summer escape that is told in this live audio play. It is the story of their sounds mixing in the hallway, showering, murmuring on the meadows, of their arms and legs slashing the water, forming rhythmic patterns that echo through Nazi architecture.
A live audio play by and with Armin Lorenz Gerold, with Hanne Lippard and the voice of Heike Geißler reading extracts from The Third Reich of Dreams by Charlotte Beradt.
Text, sound and recordings by Armin Lorenz Gerold. Read by Armin Lorenz Gerold, Hanne Lippard, Alison Midgley and Heike Geißler. Text translations by Shahin Zarinbal. Text copy editing by Edward Fortes. Sound engineering by Jochen Jezussek of Poleposition d.c. Video animations by Michael Amstad.
Text contains quoted segments by Charlotte Beradt, Das Dritte Reich des Traums. (Munich: Nymphenburger Verlagsanstalt, 1966). Charlotte Beradt, The Third Reich of Dreams. (Chicago: Quadrangle Books, 1968).
Manuel or A Hint Of Evil originally published by Milan: Mousse Publishing, 2021, supported by the Ruisdael Stipend.
Kind thanks to Hanne Lippard, Alison Midgley, Heike Geißler, Mathias Zeiske, Edward Fortes, Shahin Zarinbal, Michael Amstad, Willem de Rooij, Lori E. Allen, Mathis Anders Pedersen, Dr. Thomas Niemeyer. In memory of Charlotte Beradt.
Documentation: Malte Seidel and David San Millán / HKW. Image courtesy Haus der Kulturen der Welt.
Halle für Kunst Steiermark, Graz, Austria
20–21 August 2021
Video and sound installation, 2021
LED Screens, Fohhn Passive Speakers, Ceramic Speakers, Mounting towers (Steel), Cables, Flowers.
Installation in collaboration with Barbara Urbanic.
With text contributions by: Alice Cannava, Alejandro Alonso Díaz, Jennifer Hope Davy, Armin Lorenz Gerold, Enver Hadzijaj, Cornelia Herfurtner, Sinaida Michalskaja, Miriam Stoney and Bruno Zhu.
After a year of physical isolation due to the Covid-19 pandemic and global political unrest, Verstärkung (amplification), 2021 addresses the ways in which communication is changing within ever more complex digital systems. The title of the work thereby indicates one of the starting points of Gerold’s proposition to use elements from sound and music production as the symbolic equivalents of political phenomena. Verstärkung (amplification), 2021 thus refers on the one hand to the electronic process of amplifying a signal, and on the other the word amplification stands from the artist’s perspective for the phenomenon of solidarity advocated by different political groups and their public proclamations of this. In the specific context of this work, amplification means telling and sharing experiences of encouragement and support.
Gerold places sculptures around the gallery, consisting of real loudspeakers and replicas made of ceramics. The latter, made using 3D printing, have protuberances looking like small goblets on their sides. In these there are flowers, transforming the loudspeakers — their original form — unmistakably into vases. A number of flat screen monitors therein mounted on metal rods, due to their large size, have the appearance of sculptures. The screens show videos in which Gerold and other artists are reading various texts. With the inclusion of these collaborators, Gerold “amplifies” various voices that speak from and on behalf of different political and social contexts.
Recorded soundscapes are emitted from the objects — or sculptures — placed in the exhibition gallery. This term encompasses the sounds of a human environment, and includes sounds from nature, music, and language, and also noises that are caused by various activities such as industrial production and work. Gerold is currently collecting a personal archive of soundscapes, and has most recently been interested in the noises of marching and demonstrating bodies. By means of well-measured prerecorded sound sources, Gerold produces live sets that intervene more disruptively into his installations. This reflects the artist’s interest in using sound to provide an experience of the principles of manipulative communication technologies, such as those used in the social media.
Among other examples, sounds of water are combined, each recorded on the two banks of the Mur River that runs through the city of Graz. By using these sounds, the artist refers directly to the city and its geographical and also demographic structures. The two recordings of the sound of water are not clearly distinguishable, and thus they leave it open whether it is possible to really divide the city into two different parts.
Here sound is associated with politics by means of a system of values that recurs in another aspect of this artwork: the ceramics that look like both loudspeakers and vases are used as so-called tulipieres, pottery vases with not one but several smaller openings for inserting flowers that can each be individually presented. Tulipieres were invented in The Netherlands during the second half of the sixteenth century, at the time of what became known as “tulip mania,” when tulips were the subject of speculation and this led to one of the first major financial crises in Europe.
Inspiration for the artist provides amongst others the media and cultural theorist McKenzie Warck in A Hacker Manifesto (2004), criticizing the increasing commodification of information in the age of digitalization and globalization. According to Warck, the emergence of the internet has fundamentally changed the essence and idea of our general understanding of property. Ownership is no longer connected only to the material world, but in the age of file sharing also to intellectual property.
In Verstärkung (amplification), 2021 all of these parallel levels of meaning come together in sound, language, and images within the poetic practice of the artist. This work thereby becomes a sounding board that offers not just a depiction, but a real and tangible experience of the local and global political and economic mechanisms that influence our bodies and minds and the ways in which we communicate. —CATHRIN MAYER
Spoken by Cornelia Herfurtner, Enver Hadzijaj and Armin Lorenz Gerold.
Voice recording by Armin Lorenz Gerold.
Video, music and sound composition by Armin Lorenz Gerold.
Camera, editing and montage by Armin Lorenz Gerold
Filmed in various outdoor locations in Berlin.
Curated by Cathrin Mayer
Floral installation: Barbara Urbanic
Exhibition technician: Max Gansberger
Flowers and plants: Vom Huegel, Steiermark
This book is published on the occasion of the Ruisdael Stipend 2020. The Ruisdael Stipend was established in 2012 on the initiative of the artist Willem de Rooij within the framework of the international sculpture route kunstwegen.
Published and distributed by Mousse Publishing.
First edition: 2021
Printed in Germany by: Druckerei Roelofs, Lingen.
Lithorgraphy by: Hausstätter Herstellung, Berlin.
Design: Armin Lorenz Gerold.
Copy-editing by: Edward Fortes, Chris Roth (Anna Barfuss).
Translations by: Shahin Zarinbal.
3D installation views by Stefanie Schwarzwimmer.
“There is such a spontaneous but rich dialogue between image and sound that I sometimes forget which come first, as an idea. Did I actually ‘see’ the image before? Or did the idea that it would resonate come because I had a sound in mind that made me recognize it as an image?”—ARMIN LORENZ GEROLD in conversation with LORI ELIZABETH ALLEN
“Listening is a form of understanding, too. It is not passive perception; it is highly selective and arbitrary. When we listen, we pay attention; we dissect the words that we hear, their meanings, sensations, tone, ring and shape, internally, in our minds. We may notice the effect of specifics sounds on out physical body. We may shiver, contract, wink or raise our brows. Listening connects to our rationality as much as it cultivates our emotional response to what or who we are listening to in a particular moment. It could be a person, it could be the city, it could be as plain as water.
Listing is a paradox, which requires distance as much as it requires the idea of closeness—perceptual proximity through fundamental remoteness. In Manuel, Armin Lorenz Gerold is interested in the potential this paradox can reveal: to create a sensual space in which the unknown territory could suddenly, once again, become more interesting than a map of worn-out paths.”—SHAHIN ZARINBAL
Images courtesy of Mousse Publishing. 3-D Illustration by Stefanie Schwarzwimmer.
Spoken word, sound, video, booklet, approx. 46 Minutes.
Spoken by Armin Lorenz Gerold and Mathea Hoffmann.
Atmospheric Disturbances is an audio play, initially written for an exhibition at Pristina’s LambdaLambdaLambda where it was shown in a stereo sound installation along side a text booklet.
Armin Lorenz Gerold: Atmospheric Disturbances
17 November–22 December 2018
LambdaLambdaLambda, Pristina
curated by Cathrin Mayer and Maurin Dietrich.
For a performance in 2019 at Centro Botín in Santander as part of The Acoustic Form, curated by fluent, it was extended through animations and live drawings for a live performance.
The Acoustic Form
Nuno da Luz, Agnes Pé, Armin Lorenz Gerold
19–20 April 2019
Centro Botín, Santander, Spain
Curated by Alex Alonso Díaz of fluent.
but there was something like abandon in the air there was something like the feeling of the idea of silk scarves in the air there was a kind of madness to it. —ROBERT ASHLEY, PRIVATE PARTS
For an exhibition at LambdaLambdaLambda, artist Armin Lorenz Gerold presents a format that finds itself between installation and audio play. Specifically conceived for the gallery space, the narration revolves around two protagonists and their mutual constellation – strung together perhaps as siblings, as accomplices or per chance.
Short dialogue scenes foreshadow a rapprochement. Extended spoken passages give form to the characters through descriptions of their movements and the changing light and weather. They occur as acoustic images that allow for the contours of the characters to slowly emerge in front of a landscape-evoking backdrop. Gerold’s immersive, works of sound and voices consciously move between fore- and background. Like in the story that gives a close account of the protagonists journeys of encounters in urban spaces and nature the visitor departs on her/ his their own venture, as the hazy playback transcends the gallery into a place of almost immaterial, mental experience.
Experimental composer Robert Ashley once spoke about involuntary speech, and the idea of composing music that like „automatic writing“ comes from the mental unconscious. He describes the idea of a new form of musical storytelling - an opera of some kind. Similar in Gerold's work the words are not necessarily the primary source of meaning, but together with ambient sounds, their sensuality and tonality have a radiating presence, which create a corporeal involvement. The work itself accommodates different levels of listening attention, without enforcing one in particular. "Every word was once an animal"1 someone said a long time ago denying the liberal humanist separation of mind/body or man/animal and the separation between those who claim all is language or all is material.
Producing the work, Gerold records the vocal part himself with a in a studio setting, much of what he reads gives the impression of proximity. Like those different modes the narration unfolds through contrasting contents. The renditions of localities present in the actual play, for example are mostly described through surfaces, like glass and metal, of modern architecture. Those emphasize the dimension of abstraction inherent to the play. It is only occasionally that this logic is interrupted by passages that talk about meteorological phenomena or historical events that convey tensions.
Wind movements in the area around Golfo della Spezia (Source: windy.app)
Atmospheric Disturbances therefore not only allows for narrative stratification, but also latches onto the catchword "mood", that frequented the political ether in 2018. As such, the work also is a result on reflecting on topics such as communication, demarcation, or disturbance. The work therefore transcends the subjective imagination to raise consciousness of the implicit
inscriptions that are part of all the messages and information that we receive daily. —CATHRIN MAYER and MAURIN DIETRICH
Documentation by Fondation Botín. Stills from Atmospheric Disturbances.
Exhibition views courtesy of LambdaLambdaLambda.
Armin Lorenz Gerold: Scaffold Eyes
2 November 2017, 7pm
KW Institute for Contemporary Art, Berlin.
Spoken word, binaural sound, semi-translucent curtains, video projection, approx. 43 Minutes.
Spoken by Doireann O'Malley, Miriam Stoney and Armin Lorenz Gerold.
Scaffold Eyes is an audio play that was first shown in a performance and installation at KW Berlin, in the context of Compound. Compound was a series of new productions by artists that have been invited by Willem de Rooij. These commissions resulted in different forms of presentation spanning the time period of three months, varying from performances, and screenings to short-term exhibitions. With works by Eric Bell & Kristoffer Frick, Richard Frater, Armin Lorenz Gerold, Keto Logua, Josef Tarrak Petrusson, and Mavis Tetteh-Ocloo
A second iteration of the performance was live broadcasted from Between Bridges in Berlin as part of the Berlin Programme for Artists exhibition, curated by Maurin Dietrich.
Armin Lorenz Gerold: Scaffold Eyes
7 March 2018, 9pm
live stream
In 2019, Scaffold Eyes was released as a limited edition CD by London based label The Wormhole, including original drawings by the artist.
Armin Lorenz Gerold: Scaffold Eyes
limited edition CD, London: The Wormhole
March 2019
For the series Compound, Austrian artist Armin Lorenz Gerold presents a format between installation, performance, and radio play. Scaffold Eyes consists of two spatially separated areas, which are created by the installing of a semi-translucent canvas into the middle of the gallery space. Behind the screen, two voice actors read the play, which together with pre-recorded and live sounds create a backdrop, tracing the play's protagonists movements through Berlins urban space.
Voices, sounds, and musical elements navigate the visitors, exploring the interweaving of analogue and virtual spaces, and identities.
Documentation: Frank Sperling (KW)
Scaffold Eyes, Limited Edition CD, The Wormhole, 2019 (Photo: Dan Ipp)
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Index
3
Text, sound and recordings by Armin Lorenz Gerold.
Spoken by Armin Lorenz Gerold.
Text contains quotes from E.P. Thompson, Time, Work-Discipline, and Industrial Capitalism, Oxford: Oxford University Press , 1967
Focusing on recent work on time and temporality, the short story segment 'Temporal unease' revolves around a hazy morning after hour in Berlin, when a seemingly innocent gaze out of the window suddenly turns into a meditation on time, labor and the constant re-shaping of urban landscapes. Referencing Warren Sonberts’ 1966 film Amphetamine, a melody eventually emerges from the background, asking: Where did our love go?
Listen on SoundCloud
Text, sound and recordings by Armin Lorenz Gerold.
Spoken by Armin Lorenz Gerold, Alison Midgley and Heike Geißler.
Text by Armin Lorenz Gerold. Text translations by Shahin Zarinbal. Text copy editing by Edward Fortes. Sound engineering by Jochen Jezussek of Poleposition d.c.
Text contains quoted segments by Charlotte Beradt, Das Dritte Reich des Traums. (Munich: Nymphenburger Verlagsanstalt, 1966). Charlotte Beradt, The Third Reich of Dreams. (Chicago: Quadrangle Books, 1968).
Radio streams:
Art on Air #1 Leda Bourgogne and Armin Lorenz Gerold, cashmere radio, Berlin, 2023
Montez Press Radio, New York, 2022
The story of Manuel unfolds around the thoughts blending into an inner monologue of an unnamed observer, as he regularly visits the Olympic swimming pool in West Berlin in the summer of 2020. It is the story of a failed flirt, of urban bodies travelling across the city for a brief summer escape that is told in this live audio play. It is the story of their sounds mixing in the hallway, showering, murmuring on the meadows, of their arms and legs slashing the water, forming rhythmic patterns that echo through Nazi architecture.
Audio play by and with Armin Lorenz Gerold, with Alison Midgley and the voice of Heike Geißler reading extracts from The Third Reich of Dreams by Charlotte Beradt.
Listen:
cashmere radio
SoundCloud
Podcast by M_KHA Antwerp, 2021
Programme of audio works selected by Hanne Lippard for M HKA, Museum of Contemporary Art Antwerp, as part of their series Contact Mood Share, a three-part programme focusing on language and especially the vocabulary and semiology that comes with social changes and developments.
Sue Tompkins, RAID/TURNOVER, 2015. Courtesy of the Artist, The Modern Institute/ Toby Webster Ltd., Glasgow and Voidoid Archive Records. 3:20 min.
Luzie Meyer, Gesture, 2016. 6 min.
Ania Nowak, To the Aching Parts! (Manifesto), 2019, HAU Hebbel am Ufer, Berlin Text, performance: Ania Nowak. Advice: Julia Rodríguez, Justyna Stasiowska. 12 min.
Alison Knowles, Nivea Cream Piece, 1962. Premiered November 25th, 1962 at Alle Szenen Theater, Copenhagen, at Fluxus Festival. 5:21 min.
Hanne Lippard, Sanctuary, 2013. 2:14 min.
Claudia Pagès, Harry Potter. Emissions, Fools & Care (Talk Trouble). Music Production Alex Clavera, 2017. 4:13.
Paul Arámbula, Walk through this world with me (1 ep. a fragment), 2019. 3:44 min.
Dorothy Iannone, EWIG GRÜN, 1975. Published by Daniel Löwenbrück / Tochnit Aleph, Berlin in 2015 as a 12“ Vinyl LP in an edition of 300 copies. 15:42 min.
Armin Lorenz Gerold, A passage from Conversations with my soul found in Surge by Etel Adnan, 2020. 2:38 min.
David Hofstra and Lynne Tillman, Tell the story. Just another asshole #5, 1981. 49 sec.
Karl Holmqvist, CALL YOUR GIRLFRIEND, 2020. 3:45.
Laurel Halo, Years, 2012. 2:52 min.
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Readings and music mixed by Lori E. Allen & Deborah Wale, Enver Hadzijaj and Alice Cannava.
2020
Four part mix series feature for Paris based LGBTQI+ plattform 'No Drama!'
Featuring mixes by Lori E. Allen & Deborah Wale, Enver Hadzijaj, Alice Cannava and Armin Lorenz Gerold.
Mixes include readings from the online reading series 'Broadcast From Home', 2020.
Links:
nodrama
Lori E. Allen & Debora Wale
Alice Cannava
Enver Hadzijaj
Episode 1:
I think they are unfamiliar with it because it’s tenderness.
A mix by Wirefoxterrier, 21 May 2020
WG. Sebald in conversation with Michael Silverblatt, 6 December 2001
Sega Bodega & oklou - Komodo (Cover)
Ivan Silvestrini - Parasol
Rings of Saturn by WG Sebald
Hiroyuki Onogawa - Sacrifice
Jürgen Müller - Wasserwelten (Waterworlds)
Surge by Etel Adnan
Raul Lovisoni & Francesco Messina - Prati Bagnati Del Monte Analogo
Mohammad Reza Mortazavi - Sudden Inspiration
The Dispossessed by Ursula K. Leguin
Enver Hadzijaj - I make myself invisible in the corridors and stairwells
Caustic Window - 101 Rainbows Ambient
Ode To Gravity: The Music of Joanna Brouk, 25. October 1972
DJ Healer - Interior Renovations
In Earliest Morning by James Schuyler
Wirefoxterrier - Galerie des Glaces (Dynacord 1962)
J. Balvin - No es justo (abriged instrumental)
Listen:
Mixcloud
Episode 2:
Once a Verb, Now a Noun
A mix by Enver Hadzijaj
Untitled
Embaci - Frequency (Lechuga Zafiro Remix)
Dumitrescu / Avram / Volkov (Hyperion Ensemble) – Utopias (I) And (II)
Doireann O‘Malley – It’s rough but it’s a poem
Chopin – Gliding
Oval – Do While
Wim Mertens – Wandering Eyes
Crass – Shaved woman
Ultra-Red – A16 (Edit)
Motorbass – Neptune
Oasis – Four
DJ QU – May I Say
Terre's Social Material – Class (Mule Edit)
Omar S feat. John F.M. – Heard'chew Single
Untitled
LSDXOXO – Leraning ft. Miss Prada
DJ Technics – Girlfriend
DJ Nehpets – Na Na Na
Autopoieses – Untitled
Ocean Vuong – On Earth Were Briefly Gorgeous
L.A. Williams – Lights Down Low
Michael Mayer – Higher (Original Mix)
Eris Drew – Fluids of Emotion
My humps rmx
Inner City – Ahnonghay (Dave Clarke remix)
J. Albert – Deepstate Riddim
Essex Hemphil – Visiting Hours
Untitled
LSDXOXO – Hateshopping
OMAAR – Progressive Tribes
Pilldriver – Apocalypse Never
Continous Mode – Direct Drive Mode 1
645AR – Da Trap
Enver Hadzijaj – Wall Tattoo
Pauline Oliveros, Stuart Dempster, Panaiotis – Suiren
Laurie Spiegel – Appalachian Grove II
Listen:
Mixcloud
Episode 3:
You have forgotten my kisses and I have forgotten your name
A mix by Lori E. Allen & Deborah Wale
Humming Bird: Serious Hardened Swingers
Seduction Through Witchcraft: Louise Huebner
‘Contact‘ / ‚Network‘ from ‚Times Square Red, Times Square Blue’ by Samuel R. Delany
Field Recordings: old telephone exchange
Untitleded guitar wank: delay: FøL
'Having a Coke with You’ by Frank O’ Hara
Field Recordings: various
Colour of Spring: Mark Hollis
False Starts/Random loops: Tears|Ov mixed with FøL
‘Chapter VI, Siren’ from ‘Atmospheric Disturbances’ by Armin Lorenz Gerold
Short loops from Answer, who the heck are you, and some others with no names or whatever forever: Tears|Ov
On hold music from random sources on the you tube: slowed down
‘Invisible Signals‘ by Kim Addonizio
Tick Tock: Serious Hardened Swingers
Someone stole all of my girlfriends: FøL
5 miles of Sky: Karl Assa
A passage from ‘The Lonely City’ by Olivia Laing
Loops and field recordings: Off the hook telephone and Tears|Ov
In Me: Fukiyama
Field Recordings: squeezing rubber masks
Verizon on hold music: Verizon?
Listen:
Mixcloud
Episode 4:
What a Waste
A mix by Alice Cannava
Faur – UN (INTRO)
Welcome Back Spaceboi! by Brendan Cook
Marta De Pascalis – Noli Respicere
from 'Principles of physical Geology’ by Arthur Holmes
Holiday Inn – Dirty Town
Jasmine Guffond – Default Cultures
FORENSIC FOLD by Lori E. Allen
Mace. – Insolvency as a Right
OMD – Electricity
Blak Saagan – 100,000 anni fa
from ‘Harbart’ by Nabarun Bhattacharya, 1994/2011
WOW – Morire per Amore
HOBOCOMBO – Why Spend The Dark Night With You (composition by Moondog)
From the introduction of ‘An Apartment on Uranus’ by Paul B. Preciado
Anne Clark – Sleeper in Metropolis
Listen:
Mixcloud
Text, sound and recordings by Armin Lorenz Gerold.
Read by Armin Lorenz Gerold and Mathea Hoffmann.
Text translations and copy editing by Shahin Zarinbal and Eirik Bar.
Text contains quoted segments from conversation between Eileen Myles and Olivia Laing retrieved from the instagram of jhdname
Written and produced in 2018 for the eponymous exhibition at LambdaLambdaLambda, Armin Lorenz Gerold’s ‘Atmospheric Disturbances’ is a 45 minute audioplay, first presented as a stereo installation at LambdaLambdaLambda in Pristina and later as live performance including film at The Acoustic Form in Santander, Spain. It is narrated by Gerold and artist Mathea Hoffmann.
Listen:
SoundCloud
Text, sound and recordings by Armin Lorenz Gerold.
Spoken by Armin Lorenz Gerold, Miriam Stoney and Doireann O' Malley.
Text editing and additional writing by Jennifer Hope Davy.
Produced in November 2017 for KW Institute for Contemporary Art’s Compound series, Armin Lorenz Gerold’s ‘Scaffold Eyes’ is a 45 minute audioplay, first presented as a multi-channel installation and a live reading performance. It is narrated by Gerold alongside London-based artist, writer and historian Miriam Stoney and Berlin-based artist and filmmaker Doireann O’Malley.
‘Scaffold Eyes’ traces the paths of four characters as they wander through the urban landscape of Berlin. We listen in to their meandering thoughts. The lines they walk are never straight, their narrated memories and observations oscillating between the diffuse and the precise. Berlin’s cityscape echoes their psychological space, its dimensions distorted. The city’s sounds blend into each other. Scaffold is everywhere. In juxtaposing the constant reshaping of this metropole with the transient lives of his characters, Gerold places us into a world seemingly in flux.
Review:
Mat Smith, From The Side Of The Desk, further dot, 2019
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Contact & Privacy Policy
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E-mail:
arminlorenzgerold@gmail.com
Licensing inquiries: A password protected film reel including my soundtrack work 2017–23 can be found here. Please request a password per mail.
Contemporary Art Library
Instagram
SoundCloud
Vimeo
1. AN OVERVIEW OF DATA PROTECTION / GENERAL INFORMATION
The following information will provide you with an easy to navigate overview of what will happen with your personal data when you visit this website. The term “personal data” comprises all data that can be used to personally identify you. For detailed information about the subject matter of data protection, please consult our Data Protection Declaration, which we have included beneath this copy.
Data recording on this website: Who is the responsible party for the recording of data on this website (i.e., the “controller”)?
The data on this website is processed by the operator of the website, whose contact information is available under section “Information about the responsible party (referred to as the “controller” in the GDPR)” in this Privacy Policy.
How do we record your data?
We collect your data as a result of your sharing of your data with us. This may, for instance be information you enter into our contact form.
Other data shall be recorded by our IT systems automatically or after you consent to its recording during your website visit. This data comprises primarily technical information (e.g., web browser, operating system, or time the site was accessed). This information is recorded automatically when you access this website.
What are the purposes we use your data for?
A portion of the information is generated to guarantee the error free provision of the website. Other data may be used to analyze your user patterns.
What rights do you have as far as your information is concerned?
You have the right to receive information about the source, recipients, and purposes of your archived personal data at any time without having to pay a fee for such disclosures. You also have the right to demand that your data are rectified or eradicated. If you have consented to data processing, you have the option to revoke this consent at any time, which shall affect all future data processing. Moreover, you have the right to
3 / 10 demand that the processing of your data be restricted under certain circumstances. Furthermore, you have the right to log a complaint with the competent supervising agency.
Please do not hesitate to contact us at any time if you have questions about this or any other data protection related issues.
Analysis tools and tools provided by third parties
There is a possibility that your browsing patterns will be statistically analyzed when your visit this website. Such analyses are performed primarily with what we refer to as analysis programs. For detailed information about these analysis programs please consult our Data Protection Declaration below.
2. HOSTING
We are hosting the content of our website at the following provider:
All-Inkl
The Provider is the ALL-INKL.COM – Neue Medien Münnich, owner: René Münnich, Hauptstraße 68, 02742 Friedersdorf, Germany (hereinafter “All-Inkl”). For details, please visit the privacy policy of All-Inkl: https://all-inkl.com/datenschutzinformationen/.
The use of All-Inkl is based on Art. 6(1)(f) GDPR. We have a legitimate interest in the most reliable representation of our website. If appropriate consent has been obtained, the processing is carried out exclusively on the basis of Art. 6(1)(a) GDPR and § 25 (1) TTDSG, insofar the consent includes the storage of cookies or the access to information in the user’s end device (e.g., device fingerprinting) within the meaning of the TTDSG. This consent can be revoked at any time.
3. GENERAL INFORMATION AND MANDATORY INFORMATION DATA PROTECTION
The operators of this website and its pages take the protection of your personal data very seriously. Hence, we handle your personal data as confidential information and in compliance with the statutory data protection regulations and this Data Protection Declaration.
Whenever you use this website, a variety of personal information will be collected. Personal data comprises data that can be used to personally identify you. This Data Protection Declaration explains which data we collect as well as the purposes we use this data for. It also explains how, and for which purpose the information is collected.
We herewith advise you that the transmission of data via the Internet (i.e., through e-mail communications) may be prone to security gaps. It is not possible to completely protect data against third-party access.
Information about the responsible party (referred to as the “controller” in the GDPR)
The data processing controller on this website is:
Armin Lorenz Gerold
Grossbeerenstr. 61 10965 Berlin
+49 (177) 9362774
arminlorenzgerold@gmail.com
The controller is the natural person or legal entity that single-handedly or jointly with others makes decisions as to the purposes of and resources for the processing of personal data (e.g., names, e-mail addresses, etc.).
Storage duration
Unless a more specific storage period has been specified in this privacy policy, your personal data will remain with us until the purpose for which it was collected no longer applies. If you assert a justified request for deletion or revoke your consent to data processing, your data will be deleted, unless we have other legally permissible reasons for storing your personal data (e.g., tax or commercial law retention periods); in the latter case, the deletion will take place after these reasons cease to apply.
GENERAL INFORMATION ON THE LEGAL BASIS FOR THE DATA PROCESSING ON THIS WEBSITE
If you have consented to data processing, we process your personal data on the basis of Art. 6(1)(a) GDPR or Art. 9 (2)(a) GDPR, if special categories of data are processed according to Art. 9 (1) DSGVO. In the case of explicit consent to the transfer of personal data to third countries, the data processing is also based on Art. 49 (1)(a) GDPR. If you have consented to the storage of cookies or to the access to information in your end device (e.g., via device fingerprinting), the data processing is additionally based on § 25 (1) TTDSG. The consent can be revoked at any time. If your data is required for the fulfillment of a contract or for the implementation of pre-contractual measures, we process your data on the basis of Art. 6(1)(b) GDPR. Furthermore, if your data is required for the fulfillment of a legal obligation, we process it on the basis of Art. 6(1)(c) GDPR. Furthermore, the data processing may be carried out on the basis of our legitimate interest according to Art. 6(1)(f) GDPR. Information on the relevant legal basis in each individual case is provided in the following paragraphs of this privacy policy.
Information on data transfer to the USA and other non-EU countries
Among other things, we use tools of companies domiciled in the United States or other from a data protection perspective non-secure non-EU countries. If these tools are active, your personal data may potentially be transferred to these non-EU countries and may be processed there. We must point out that in these countries, a data protection level that is comparable to that in the EU cannot be guaranteed. For instance, U.S. enterprises are under a mandate to release personal data to the security agencies and you as the data subject do not have any litigation options to defend yourself in court. Hence, it cannot be ruled out that U.S. agencies (e.g., the Secret Service) may process, analyze, and permanently archive your personal data for surveillance purposes. We have no control over these processing activities.
Revocation of your consent to the processing of data
A wide range of data processing transactions are possible only subject to your express consent. You can also revoke at any time any consent you have already given us. This shall be without prejudice to the lawfulness of any data collection that occurred prior to your revocation.
Right to object to the collection of data in special cases; right to object to direct advertising (Art. 21 GDPR)
IN THE EVENT THAT DATA ARE PROCESSED ON THE BASIS OF ART. 6(1)(E) OR (F) GDPR, YOU HAVE THE RIGHT TO AT ANY TIME OBJECT TO THE PROCESSING OF YOUR PERSONAL DATA BASED ON GROUNDS ARISING FROM YOUR UNIQUE SITUATION. THIS ALSO APPLIES TO ANY PROFILING BASED ON THESE PROVISIONS. TO DETERMINE THE LEGAL BASIS, ON WHICH ANY PROCESSING OF DATA IS BASED, PLEASE CONSULT THIS DATA PROTECTION DECLARATION. IF YOU LOG AN OBJECTION, WE WILL NO LONGER PROCESS YOUR AFFECTED PERSONAL DATA, UNLESS WE ARE IN A POSITION TO PRESENT COMPELLING PROTECTION WORTHY GROUNDS FOR THE PROCESSING OF YOUR DATA, THAT OUTWEIGH YOUR INTERESTS, RIGHTS AND FREEDOMS OR IF THE PURPOSE OF THE PROCESSING IS THE CLAIMING, EXERCISING OR DEFENCE OF LEGAL ENTITLEMENTS (OBJECTION PURSUANT TO ART. 21(1) GDPR).
IF YOUR PERSONAL DATA IS BEING PROCESSED IN ORDER TO ENGAGE IN DIRECT ADVERTISING, YOU HAVE THE RIGHT TO OBJECT TO THE PROCESSING OF YOUR AFFECTED PERSONAL DATA FOR THE PURPOSES OF SUCH ADVERTISING AT ANY TIME. THIS ALSO APPLIES TO PROFILING TO THE EXTENT THAT IT IS AFFILIATED WITH SUCH DIRECT ADVERTISING. IF YOU OBJECT, YOUR PERSONAL DATA WILL SUBSEQUENTLY NO LONGER BE USED FOR DIRECT ADVERTISING PURPOSES (OBJECTION PURSUANT TO ART. 21(2) GDPR).
Right to log a complaint with the competent supervisory agency
In the event of violations of the GDPR, data subjects are entitled to log a complaint with a supervisory agency, in particular in the member state where they usually maintain their domicile, place of work or at the place where the alleged violation occurred. The right to log a complaint is in effect regardless of any other administrative or court proceedings available as legal recourses.
Right to data portability
You have the right to demand that we hand over any data we automatically process on the basis of your consent or in order to fulfil a contract be handed over to you or a third party in a commonly used, machine readable format. If you should demand the direct transfer of the data to another controller, this will be done only if it is technically feasible.
Information about, rectification and eradication of data
Within the scope of the applicable statutory provisions, you have the right to at any time demand information about your archived personal data, their source and recipients as well as the purpose of the processing of your data. You may also have a right to have your data rectified or eradicated. If you have questions about this subject matter or any other questions about personal data, please do not hesitate to contact us at any time.
Right to demand processing restrictions
You have the right to demand the imposition of restrictions as far as the processing of your personal data is concerned. To do so, you may contact us at any time. The right to demand restriction of processing applies in the following cases:
In the event that you should dispute the correctness of your data archived by us, we will usually need some time to verify this claim. During the time that this investigation is ongoing, you have the right to demand that we restrict the processing of your personal data.
If the processing of your personal data was/is conducted in an unlawful manner, you have the option to demand the restriction of the processing of your data in lieu of demanding the eradication of this data.
If we do not need your personal data any longer and you need it to exercise, defend or claim legal entitlements, you have the right to demand the restriction of the processing of your personal data instead of its eradication.
If you have raised an objection pursuant to Art. 21(1) GDPR, your rights and our rights will have to be weighed against each other. As long as it has not been determined whose interests prevail, you have the right to demand a restriction of the processing of your personal data.
If you have restricted the processing of your personal data, these data – with the exception of their archiving – may be processed only subject to your consent or to claim, exercise or defend legal entitlements or to protect the rights of other natural persons or legal entities or for important public interest reasons cited by the European Union or a member state of the EU.
4. RECORDING OF DATA ON THIS WEBSITE: REQUEST BY E-MAIL, TELEPHONE OR FAX
If you contact us by e-mail, telephone or fax, your request, including all resulting personal data (name, request) will be stored and processed by us for the purpose of processing your request. We do not pass these data on without your consent.
These data are processed on the basis of Art. 6(1)(b) GDPR if your inquiry is related to the fulfillment of a contract or is required for the performance of pre-contractual measures. In all other cases, the data are processed on the basis of our legitimate interest in the effective handling of inquiries submitted to us (Art. 6(1)(f) GDPR) or on the basis of your consent (Art. 6(1)(a) GDPR) if it has been obtained; the consent can be revoked at any time.
The data sent by you to us via contact requests remain with us until you request us to delete, revoke your consent to the storage or the purpose for the data storage lapses (e.g. after completion of your request). Mandatory statutory provisions - in particular statutory retention periods - remain unaffected.
5. PLUG-INS AND TOOLS
YouTube with expanded data protection integration
Our website embeds videos of the website YouTube. The website operator is Google Ireland Limited (“Google”), Gordon House, Barrow Street, Dublin 4, Ireland.
We use YouTube in the expanded data protection mode. According to YouTube, this mode ensures that YouTube does not store any information about visitors to this website before they watch the video. Nevertheless, this does not necessarily mean that the sharing of data with YouTube partners can be ruled out as a result of the expanded data protection mode. For instance, regardless of whether you are watching a video, YouTube will always establish a connection with the Google DoubleClick network.
As soon as you start to play a YouTube video on this website, a connection to YouTube’s servers will be established. As a result, the YouTube server will be notified, which of our pages you have visited. If you are logged into your YouTube account while you visit our site, you enable YouTube to directly allocate your browsing patterns to your personal profile. You have the option to prevent this by logging out of your YouTube account.
Furthermore, after you have started to play a video, YouTube will be able to place various cookies on your device or comparable technologies for recognition (e.g. device fingerprinting). In this way YouTube will be able to obtain information about this website’s visitors. Among other things, this information will be used to generate video statistics with the aim of improving the user friendliness of the site and to prevent attempts to commit fraud.
Under certain circumstances, additional data processing transactions may be triggered after you have started to play a YouTube video, which are beyond our control.
The use of YouTube is based on our interest in presenting our online content in an appealing manner. Pursuant to Art. 6(1)(f) GDPR, this is a legitimate interest. If appropriate consent has been obtained, the processing is carried out exclusively on the basis of Art. 6(1)(a) GDPR and § 25 (1) TTDSG, insofar the consent includes the storage of cookies or the access to information in the user’s end device (e.g., device fingerprinting) within the meaning of the TTDSG. This consent can be revoked at any time.
For more information on how YouTube handles user data, please consult the YouTube Data Privacy Policy under: https://policies.google.com/privacy?hl=en.
Vimeo
This website uses plug-ins of the video portal Vimeo. The provider is Vimeo Inc., 555 West 18th Street, New York, New York 10011, USA.
If you visit one of the pages on our website into which a Vimeo video has been integrated, a connection to Vimeo’s servers will be established. As a consequence, the Vimeo server will receive information as to which of our pages you have visited. Moreover, Vimeo will receive your IP address. This will also happen if you are not logged into Vimeo or do not have an account with Vimeo. The information recorded by Vimeo will be transmitted to Vimeo’s server in the United States.
If you are logged into your Vimeo account, you enable Vimeo to directly allocate your browsing patterns to your personal profile. You can prevent this by logging out of your Vimeo account.
Vimeo uses cookies or comparable recognition technologies (e.g. device fingerprinting) to recognize website visitors.
The use of Vimeo is based on our interest in presenting our online content in an appealing manner. Pursuant to Art. 6(1)(f) GDPR, this is a legitimate interest. If appropriate consent has been obtained, the processing is carried out exclusively on the basis of Art. 6(1)(a) GDPR and § 25 (1) TTDSG, insofar the consent includes the storage of cookies or the access to information in the user’s end device (e.g., device fingerprinting) within the meaning of the TTDSG. This consent can be revoked at any time.
Data transmission to the US is based on the Standard Contractual Clauses (SCC) of the European Commission and, according to Vimeo, on “legitimate business interests”. Details can be found here: https://vimeo.com/privacy.
For more information on how Vimeo handles user data, please consult the Vimeo Data Privacy Policy under: https://vimeo.com/privacy.
SoundCloud
We may have integrated plug-ins of the social network SoundCloud (SoundCloud Limited, Berners House, 47-48 Berners Street, London W1T 3NF, Great Britain) into this website. You will be able to recognize such SoundCloud plug-ins by checking for the SoundCloud logo on the respective pages.
Whenever you visit this website, a direct connection between your browser and the SoundCloud server will be established immediately after the plug-in has been activated. As a result, SoundCloud will be notified that you have used your IP address to visit this website. If you click the “Like” button or the “Share” button while you are logged into your Sound Cloud user account, you can link the content of this website to your SoundCloud profile and/or share the content. Consequently, SoundCloud will be able to allocate the visit to this website to your user account. We emphasize that we as the provider of the websites do not have any knowledge of the data transferred and the use of this data by SoundCloud.
Data are stored and analyzed on the basis of Art. 6(1)(f) GDPR. The website operator has a legitimate interest in the highest possible visibility on social media. If appropriate consent has been obtained, the processing is carried out exclusively on the basis of Art. 6(1)(a) GDPR and § 25 (1) TTDSG, insofar the consent includes the storage of cookies or the access to information in the user’s end device (e.g., device fingerprinting) within the meaning of the TTDSG. This consent can be revoked at any time. Great Britain is considered a secure non-EU country as far as data protection legislation is concerned. This means that the data protection level in Great Britain is equivalent to the data protection level of the European Union.
If you prefer not to have your visit to this website allocated to your SoundCloud user account by SoundCloud, please log out of your SoundCloud user account before you activate content of the SoundCloud plug-in.
For more information about this, please consult SoundCloud’s Data Privacy Declaration at:
https://soundcloud.com/pages/privacy.
Spotify
We have integrated features of the Spotify music platform into this website. The provider is Spotify AB, Birger Jarlsgatan 61, 113 56 Stockholm, Sweden. You will be able to recognize Spotify plug-ins when you see the green logo on this website. An overview of Spotify’s plug-ins can be found at: https://developer.spotify.com.
The plug-in makes it possible to establish a direct connection between your browser and Spotify’s server when you visit this website. As a result, Spotify receives the information that you visited this website with your IP address. If you click the Spotify button while you are logged into your Spotify account, you have the option to link content from this website with your Spotify profile. Consequently, Spotify will be in a position to allocate your visit to this website to your user account.
We would like to point out that when using Spotify, cookies are used by Google Analytics so that your usage data can also be passed on to Google when using Spotify. Google Analytics is a tool of the Google Group for the analysis of user behavior with headquarters in the USA. Spotify alone is responsible for this integration. We as website operators have no influence on this processing.
Data are stored and analyzed on the basis of Art. 6(1)(f) GDPR. The website operator has a legitimate interest in the attractive acoustic presentation of the website. If appropriate consent has been obtained, the processing is carried out exclusively on the basis of Art. 6(1)(a) GDPR and § 25 (1) TTDSG, insofar the consent includes the storage of cookies or the access to information in the user’s end device (e.g., device fingerprinting) within the meaning of the TTDSG. This consent can be revoked at any time.
If you do not want Spotify to be able to allocate the visit of this website to your Spotify user account, please log out of your Spotify user account while visiting our sites.
For more information, please consult Spotify’s Data Protection Declaration under:
https://www.spotify.com/us/legal/privacy-policy/.
Mixcloud
We have integrated features of the music streaming service Mixcloud on our website. The service and service provider is Ground Floor, 445-453 Hackney Road, London, England, E2 9DY.
When you access our website, the widgets are loaded and your browser establishes a direct connection to the Mixcloud servers. The content of the widget is transmitted by Mixcloud to your browser and integrated into the website. Through this integration, Mixcloud receives information that your browser has accessed the corresponding page of our website, even if you do not have a Mixcloud profile or are not currently logged in. This information (including your IP address) is transmitted directly from your browser to the Mixcloud server and stored there.
If you are logged in to Mixcloud, your profile will be assigned by the provider. If you interact with the widget and play content, this information is transmitted directly to the Mixcloud server, where it is stored and processed further.
The purpose and scope of the data collection and the further processing and use of the data by Mixcloud as well as the possibility of establishing contact and your rights and setting options to protect your privacy can be found in Mixcloud's data protection information.
If you do not want Mixcloud to be able to allocate the visit of this website to your Mixcloud user account, please log out of your Mixcloud user account while visiting our sites.
For more information, please consult Mixclouds’s Data Protection Declaration under:
https://www.mixcloud.com/privacy/
Site Notice
Information pursuant to Sect. 5 German Telemedia Act (TMG)
Armin Lorenz Gerold
Grossbeerenstr. 61, 10965 Berlin
Contact
Phone: +49 (177) 9362774
E-mail: arminlorenzgerold@gmail.com
The following professional regulations apply:
Dispute resolution proceedings in front of a consumer arbitration board
We are not willing or obliged to participate in dispute resolution proceedings in front of a consumer arbitration board.
arminlorenz.net
Armin Lorenz Gerold (*GRAZ/AUSTRIA) is an artist and composer based in Berlin. Working across a multitude of media, Gerold primarily focuses on voice and sound, making audio plays, live-performances, broadcasts, and installations.
His work has been presented at Halle für Kunst Steiermark, Austria, KW Berlin, LambdaLambdaLambda, Kosovo; fluent, Spain, Mint, Sweden, and the Gothenburg Biennale for Contemporary Art, Sweden (in collaboration with Doireann O’Malley).
In 2021, the artist published his first artist book including his most recent play Manuel or A Hint Of Evil, alongside a collection of essays and texts. The publication was published by Mousse Publishing, Milan, supported by the Ruisdael Stipend.
In November 2022, Manuel or A Hint Of Evil premiered as a live audio play at Haus der Kulturen der Welt, Berlin.
In September 2023, Gerold presented a new commissioned work at Mint in Stockholm.
Projects
Performance
Stadt & Land
cittipunkt e.V., Berlin
25 February 2024, 7pm
An evening of readings by Sanabel Abdelrahman, Sanna Helena Berger, miss certainly, Bitsy Knox, Armin Lorenz, François Pisapia.
Stadt & Land is an irregular reading series initiated by Alex Turgeon in 2022 which investigates themes of capitalism in relation to cityscapes, public space as well as the personal and impersonal relationships between landscape and its inhabitants. With particular focus on omnipresent systems of economic control, privatization, the policing of bodies within space in concert with divisions reified by nation and statehood, *Stadt & Land* looks to provide a platform for critiquing the on-going methods of oppression in relation to our built environs.
Documentation by François Pisapia.
Performance
29 September 2023
Klosterruine Berlin
Spoken word, sound, approx. 20 Minutes.
Performance on the occasion of the opening of the solo exhibition The Fragiles by Barbara Kapusta at Klosterruine Berlin.
Download
Temporal Unease (Text)
Armin Lorenz Gerold’s performance involves the reading of new text material over ambient sound design. Focusing on his recent work on time and temporality, short story segments revolve around a hazy morning after hour in Berlin, when a seemingly innocent gaze out of the window suddenly turns into a meditation on time, labor and the constant re-shaping of urban landscapes. Referencing Warren Sonberts’ 1966 film Amphetamine, a melody eventually emerges from the background, asking: Where did our love go?
Documentation by PNiedermayer, 2023. Images courtesy of Klosterruine Berlin.
Installation
Mint, Stockholm
20 September–4 November 2023
Video and 12-channel sound installation, 2023.
With works by Lori E. Allen, Anne Boyer, Jay Bernard, Reece Cox, Andrew Yong Hoon Lee, Mara Lee, Thuy-Han Nguyen-Chi, Alex Turgeon and James Schuyler.
Mint presents a new commission by the Austrian artist and composer Armin Lorenz Gerold. The artist invites visitors into an audio-visual system of ceramic sculptures, vibrating devices, sounds and screens, transforming the exhibition space into a sensory acoustic landscape.
The artist draws inspiration from Anne Boyer’s work The Fallen Angel of the Senses, in which the author and poet maps the decay of the minor senses; touch, taste, and smell, in our “present arrangement of the world”, hyperextended or fractured from “capitalism’s distortions and pressures”. Gerold has invited a range of artists and poets to contribute texts that negotiate questions about time and temporality through a variety of cultural, political and poetic angles that disrupt, alter or shape the present. Works by Lori E. Allen, Anne Boyer, Jay Bernard, Reece Cox, Andrew Yong Hoon Lee, Mara Lee, Thuy-Han Nguyen-Chi, Alex Turgeon and James Schuyler are performed on multiple screens in the space with writer and translator Mara Lee and Gerold as voice actors. Gerold and his co-reader therefore interpret the words of the contributors, voicing these texts through their own individual reading. Throughout his practice, Gerold has been concerned with finding a nuanced approach to this ambivalence.
The recordings were made in the Stockholm building of the Workers' Educational Association (ABF), the very place in which the works are displayed, and in the Labour Movement’s Archive, the organisation that houses the Workers' Educational Association’s history. Gerold and Lee read from bleachers, a stage, in corridors and reading rooms. In the background, we hear the ticking of the archive's clocks, or the ringing bells of the adjacent church.
The sounds of the motorway as heard from the archive's courtyard in the periphery of the city are also included, as well as the inclusion of archival recordings from the early period of ABF's interaction with electronic sound art, in the early 1960s when EMS (The Centre for Swedish Electroacoustic Music), the Golden Circle Jazz Club and the concrete poetry of the Happening movement were all featured on the building’s stage. Echoing the way that the Swedish artist and electronic musician Åke Karlung once played on the stairwell's bannister and turned the house into an instrument, Gerold evokes a rhythm from its interior and surroundings.
There is a sensual intensity in Gerold's language and the way he investigates multiple aspects of sound using the spoken text as a recurring point of departure. The text is dramatised through voices but is also extended through the effects that succeed in evoking the experience of a place during a particular moment in time. Based on a cinematic logic, the artist suggests a feeling for how one listens to the moment and the complexity by which sensory experience overlaps. This is where aspects of time become palpable, they become components and language, elevated. With this approach, Gerold creates movements between distraction and absorption, like walking between situations where listening feels different, sometimes intimately whispering, sometimes eavesdropping from afar. The production's composition is translated into the exhibition space, where you move between voices, sounds and music. You can approach the vibrating sculptures and gently touch them, and you can understand the room as a montage for which your presence and distraction creates an individual cutout. Wandering through the authors' recorded texts about the contested presence, songs and sounds creates a sonic theatre with many crossroads. Many ways lead to many nows. —EMILY FAHLÈN
Exhibition views by Johan Osterholm.
Text spoken by Mara Lee and Armin Lorenz Gerold.
Voice recording by Armin Lorenz Gerold and Cara Tolmie.
Video, music and sound composition by Armin Lorenz Gerold.
Additional music by Reece Cox. Additional recordings by Thuy-Han Nguyen Chi.
Camera, editing and montage by Armin Lorenz Gerold
Filmed with kind permission on the locations of ABF Stockholm and Swedish Labour Movement’s Archives and Library.
Artistic director Mint: Emily Fahlén
Exhibition producer: Alice Söderqvist
Exhibition technician and steel constructions: Theodor Ander
Ceramics: Christian Ingolf
Light design: Ines Bartl
Graphic design: Thomas Bush
Invigilators: Charlotte Keegan and Ida Edin
Coordinator of residencies: Sona Stepanyan
The exhibition is supported by the Swedish Arts Council, the City of Stockholm, the Federal Ministry Republic of Austria: Arts, Culture, Civil Service and Sport, and the Austrian Embassy in Stockholm.
Performance
Haus der Kulturen der Welt, Berlin
2 November 2022
Spoken word, sound, approx. 46 Minutes.
Spoken by Armin Lorenz Gerold and Hanne Lippard with voice recordings of Heike Geißler. As part of Alphabet Series by Haus der Kulturen der Welt, curated by Mathias Zeiske.
The story of Manuel unfolds around the thoughts blending into an inner monologue of an unnamed observer, as he regularly visits the Olympic swimming pool in West Berlin in the summer of 2020. It is the story of a failed flirt, of urban bodies travelling across the city for a brief summer escape that is told in this live audio play. It is the story of their sounds mixing in the hallway, showering, murmuring on the meadows, of their arms and legs slashing the water, forming rhythmic patterns that echo through Nazi architecture.
A live audio play by and with Armin Lorenz Gerold, with Hanne Lippard and the voice of Heike Geißler reading extracts from The Third Reich of Dreams by Charlotte Beradt.
Documentation: Malte Seidel and David San Millán / HKW. Image courtesy Haus der Kulturen der Welt.
Text, sound and recordings by Armin Lorenz Gerold. Read by Armin Lorenz Gerold, Hanne Lippard, Alison Midgley and Heike Geißler. Text translations by Shahin Zarinbal. Text copy editing by Edward Fortes. Sound engineering by Jochen Jezussek of Poleposition d.c. Video animations by Michael Amstad.
Text contains quoted segments by Charlotte Beradt, Das Dritte Reich des Traums. (Munich: Nymphenburger Verlagsanstalt, 1966). Charlotte Beradt, The Third Reich of Dreams. (Chicago: Quadrangle Books, 1968).
Manuel or A Hint Of Evil originally published by Milan: Mousse Publishing, 2021, supported by the Ruisdael Stipend.
Kind thanks to Hanne Lippard, Alison Midgley, Heike Geißler, Mathias Zeiske, Edward Fortes, Shahin Zarinbal, Michael Amstad, Willem de Rooij, Lori E. Allen, Mathis Anders Pedersen, Dr. Thomas Niemeyer. In memory of Charlotte Beradt.
Performance & Installation
Halle für Kunst Steiermark, Graz, Austria
20–21 August 2021
Video and sound installation, 2021
LED Screens, Fohhn Passive Speakers, Ceramic Speakers, Mounting towers (Steel), Cables, Flowers.
Installation in collaboration with Barbara Urbanic.
With text contributions by: Alice Cannava, Alejandro Alonso Díaz, Jennifer Hope Davy, Armin Lorenz Gerold, Enver Hadzijaj, Cornelia Herfurtner, Sinaida Michalskaja, Miriam Stoney and Bruno Zhu.
After a year of physical isolation due to the Covid-19 pandemic and global political unrest, Verstärkung (amplification), 2021 addresses the ways in which communication is changing within ever more complex digital systems. The title of the work thereby indicates one of the starting points of Gerold’s proposition to use elements from sound and music production as the symbolic equivalents of political phenomena. Verstärkung (amplification), 2021 thus refers on the one hand to the electronic process of amplifying a signal, and on the other the word amplification stands from the artist’s perspective for the phenomenon of solidarity advocated by different political groups and their public proclamations of this. In the specific context of this work, amplification means telling and sharing experiences of encouragement and support.
Gerold places sculptures around the gallery, consisting of real loudspeakers and replicas made of ceramics. The latter, made using 3D printing, have protuberances looking like small goblets on their sides. In these there are flowers, transforming the loudspeakers — their original form — unmistakably into vases. A number of flat screen monitors therein mounted on metal rods, due to their large size, have the appearance of sculptures. The screens show videos in which Gerold and other artists are reading various texts. With the inclusion of these collaborators, Gerold “amplifies” various voices that speak from and on behalf of different political and social contexts.
Recorded soundscapes are emitted from the objects — or sculptures — placed in the exhibition gallery. This term encompasses the sounds of a human environment, and includes sounds from nature, music, and language, and also noises that are caused by various activities such as industrial production and work. Gerold is currently collecting a personal archive of soundscapes, and has most recently been interested in the noises of marching and demonstrating bodies. By means of well-measured prerecorded sound sources, Gerold produces live sets that intervene more disruptively into his installations. This reflects the artist’s interest in using sound to provide an experience of the principles of manipulative communication technologies, such as those used in the social media.
Among other examples, sounds of water are combined, each recorded on the two banks of the Mur River that runs through the city of Graz. By using these sounds, the artist refers directly to the city and its geographical and also demographic structures. The two recordings of the sound of water are not clearly distinguishable, and thus they leave it open whether it is possible to really divide the city into two different parts.
Here sound is associated with politics by means of a system of values that recurs in another aspect of this artwork: the ceramics that look like both loudspeakers and vases are used as so-called tulipieres, pottery vases with not one but several smaller openings for inserting flowers that can each be individually presented. Tulipieres were invented in The Netherlands during the second half of the sixteenth century, at the time of what became known as “tulip mania,” when tulips were the subject of speculation and this led to one of the first major financial crises in Europe.
Inspiration for the artist provides amongst others the media and cultural theorist McKenzie Warck in A Hacker Manifesto (2004), criticizing the increasing commodification of information in the age of digitalization and globalization. According to Warck, the emergence of the internet has fundamentally changed the essence and idea of our general understanding of property. Ownership is no longer connected only to the material world, but in the age of file sharing also to intellectual property.
In Verstärkung (amplification), 2021 all of these parallel levels of meaning come together in sound, language, and images within the poetic practice of the artist. This work thereby becomes a sounding board that offers not just a depiction, but a real and tangible experience of the local and global political and economic mechanisms that influence our bodies and minds and the ways in which we communicate. —CATHRIN MAYER
Photo and video documentation: kunst-dokumentation.com
Spoken by Cornelia Herfurtner, Enver Hadzijaj and Armin Lorenz Gerold.
Voice recording by Armin Lorenz Gerold.
Video, music and sound composition by Armin Lorenz Gerold.
Camera, editing and montage by Armin Lorenz Gerold
Filmed in various outdoor locations in Berlin.
Curated by Cathrin Mayer
Floral installation: Barbara Urbanic
Exhibition technician: Max Gansberger
Flowers and plants: Vom Huegel, Steiermark
Publication
This book is published on the occasion of the Ruisdael Stipend 2020. The Ruisdael Stipend was established in 2012 on the initiative of the artist Willem de Rooij within the framework of the international sculpture route kunstwegen.
Published and distributed by Mousse Publishing.
First edition: 2021
Printed in Germany by: Druckerei Roelofs, Lingen.
Lithorgraphy by: Hausstätter Herstellung, Berlin.
Design: Armin Lorenz Gerold.
Copy-editing by: Edward Fortes, Chris Roth (Anna Barfuss).
Translations by: Shahin Zarinbal.
3D installation views by Stefanie Schwarzwimmer.
“There is such a spontaneous but rich dialogue between image and sound that I sometimes forget which come first, as an idea. Did I actually ‘see’ the image before? Or did the idea that it would resonate come because I had a sound in mind that made me recognize it as an image?”—ARMIN LORENZ GEROLD in conversation with LORI ELIZABETH ALLEN
“Listening is a form of understanding, too. It is not passive perception; it is highly selective and arbitrary. When we listen, we pay attention; we dissect the words that we hear, their meanings, sensations, tone, ring and shape, internally, in our minds. We may notice the effect of specifics sounds on out physical body. We may shiver, contract, wink or raise our brows. Listening connects to our rationality as much as it cultivates our emotional response to what or who we are listening to in a particular moment. It could be a person, it could be the city, it could be as plain as water.
Listing is a paradox, which requires distance as much as it requires the idea of closeness—perceptual proximity through fundamental remoteness. In Manuel, Armin Lorenz Gerold is interested in the potential this paradox can reveal: to create a sensual space in which the unknown territory could suddenly, once again, become more interesting than a map of worn-out paths.”—SHAHIN ZARINBAL
Images courtesy of Mousse Publishing. 3-D Illustration by Stefanie Schwarzwimmer.
Performance & Installation
Atmospheric Disturbances is an audio play, initially written for an exhibition at Pristina’s LambdaLambdaLambda where it was shown in a stereo sound installation along side a text booklet.
Armin Lorenz Gerold: Atmospheric Disturbances
17 November–22 December 2018
LambdaLambdaLambda, Pristina
curated by Cathrin Mayer and Maurin Dietrich.
For a performance in 2019 at Centro Botín in Santander as part of The Acoustic Form, curated by fluent, it was extended through animations and live drawings for a live performance.
The Acoustic Form
Nuno da Luz, Agnes Pé, Armin Lorenz Gerold
19–20 April 2019
Centro Botín, Santander, Spain
Curated by Alex Alonso Díaz of fluent.
Spoken word, sound, video, booklet, approx. 46 Minutes.
Spoken by Armin Lorenz Gerold and Mathea Hoffmann.
but there was something like abandon in the air there was something like the feeling of the idea of silk scarves in the air there was a kind of madness to it. —ROBERT ASHLEY, PRIVATE PARTS
For an exhibition at LambdaLambdaLambda, artist Armin Lorenz Gerold presents a format that finds itself between installation and audio play. Specifically conceived for the gallery space, the narration revolves around two protagonists and their mutual constellation – strung together perhaps as siblings, as accomplices or per chance.
Short dialogue scenes foreshadow a rapprochement. Extended spoken passages give form to the characters through descriptions of their movements and the changing light and weather. They occur as acoustic images that allow for the contours of the characters to slowly emerge in front of a landscape-evoking backdrop. Gerold’s immersive, works of sound and voices consciously move between fore- and background. Like in the story that gives a close account of the protagonists journeys of encounters in urban spaces and nature the visitor departs on her/ his their own venture, as the hazy playback transcends the gallery into a place of almost immaterial, mental experience.
Experimental composer Robert Ashley once spoke about involuntary speech, and the idea of composing music that like „automatic writing“ comes from the mental unconscious. He describes the idea of a new form of musical storytelling - an opera of some kind. Similar in Gerold's work the words are not necessarily the primary source of meaning, but together with ambient sounds, their sensuality and tonality have a radiating presence, which create a corporeal involvement. The work itself accommodates different levels of listening attention, without enforcing one in particular. "Every word was once an animal"1 someone said a long time ago denying the liberal humanist separation of mind/body or man/animal and the separation between those who claim all is language or all is material.
Producing the work, Gerold records the vocal part himself with a in a studio setting, much of what he reads gives the impression of proximity. Like those different modes the narration unfolds through contrasting contents. The renditions of localities present in the actual play, for example are mostly described through surfaces, like glass and metal, of modern architecture. Those emphasize the dimension of abstraction inherent to the play. It is only occasionally that this logic is interrupted by passages that talk about meteorological phenomena or historical events that convey tensions.
Wind movements in the area around Golfo della Spezia (Source: windy.app)
Atmospheric Disturbances therefore not only allows for narrative stratification, but also latches onto the catchword "mood", that frequented the political ether in 2018. As such, the work also is a result on reflecting on topics such as communication, demarcation, or disturbance. The work therefore transcends the subjective imagination to raise consciousness of the implicit
inscriptions that are part of all the messages and information that we receive daily. —CATHRIN MAYER and MAURIN DIETRICH
Documentation by Fondation Botín. Stills from Atmospheric Disturbances.
Performance & Installation
2 November 2017, 7pm
KW Institute for Contemporary Art, Berlin.
Spoken word, binaural sound, semi-translucent curtains, video projection, approx. 43 Minutes.
Spoken by Doireann O'Malley, Miriam Stoney and Armin Lorenz Gerold.
Scaffold Eyes is an audio play that was first shown in a performance and installation at KW Berlin, in the context of Compound. Compound was a series of new productions by artists that have been invited by Willem de Rooij. These commissions resulted in different forms of presentation spanning the time period of three months, varying from performances, and screenings to short-term exhibitions. With works by Eric Bell & Kristoffer Frick, Richard Frater, Armin Lorenz Gerold, Keto Logua, Josef Tarrak Petrusson, and Mavis Tetteh-Ocloo
A second iteration of the performance was live broadcasted from Between Bridges in Berlin as part of the Berlin Programme for Artists exhibition, curated by Maurin Dietrich.
Armin Lorenz Gerold: Scaffold Eyes
7 March 2018, 9pm
live stream
In 2019, Scaffold Eyes was released as a limited edition CD by London based label The Wormhole, including original drawings by the artist.
Armin Lorenz Gerold: Scaffold Eyes
limited edition CD, London: The Wormhole
March 2019
For the series Compound, Austrian artist Armin Lorenz Gerold presents a format between installation, performance, and radio play. Scaffold Eyes consists of two spatially separated areas, which are created by the installing of a semi-translucent canvas into the middle of the gallery space. Behind the screen, two voice actors read the play, which together with pre-recorded and live sounds create a backdrop, tracing the play's protagonists movements through Berlins urban space.
Voices, sounds, and musical elements navigate the visitors, exploring the interweaving of analogue and virtual spaces, and identities.
Documentation: Frank Sperling (KW)
Scaffold Eyes, Limited Edition CD, The Wormhole, 2019 (Photo: Dan Ipp)
Website
arminlorenzgerold@gmail.com
Licensing inquiries: A password protected film reel including my soundtrack work 2017–23 can be found here. Please request a password per e-mail.
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Armin Lorenz Gerold
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Contact
Phone: +49 (177) 9362774
E-mail: arminlorenzgerold@gmail.com
The following professional regulations apply:
Dispute resolution proceedings in front of a consumer arbitration board
We are not willing or obliged to participate in dispute resolution proceedings in front of a consumer arbitration board.