Armin Lorenz Geroldwirefoxterrierreleasesabout / imprint
Read Perché ‘SKAM Italia’ è una rivoluzione (anche musicale), Interview with director Ludovico Bessegato, Rolling StoneKept here by our bodiesValerie Kyeyune Backström, Kunstkritikk.com From the side of the deskMat Smith, further dotListen⌘R: The Best New Music, Crack MagazineWolfgang Tillmans' self-isolation playlist, i-DParis Tapes with Jay Pluck, kpiss.fmElope with Elena Poulou, cashmerenr-radio with Bernhard Staudinger, radioorangeWhatever with Mary Wing, WFMUNew World Radio w Dale Cornish, NNWradioPolyglot with Jesse Doris, WFMU Visit→ Spotify → Apple Music → Bandcamp→ InstagramSupport→ Become a supporter of Berlin Programm for Artists
Ruisdael Stipendium 2020Installation and publication
18 December 2020
Call me BabesSingle and music video
Wirefoxterrier – Call me Babes, Berlin/Marseille, December 2020Directed by Robin Plus with artwork by Enver Hadzijaj
Radio PristinaExtended Play
‘Radio Pristina’ follows up on Wirefoxterrier’s debut single ‘Episode VI: Sex (Play and being played), which was featured in the viral web show ‘SKAM Italia’ in late 2018, one of the first TV shows in Italy to feature LGBTI characters in leading roles. Another track of ‘Radio Pristina EP’, will be part of the show’s soundtrack in the upcoming season, premiering May 15 on Netflix.
The EP ‘Radio Pristina’ was written in the direct aftermath of Armin Lorenz Gerold’s (aka Wirefoxterrier) travel to Kosovo in late 2018. Triggered by his encounters and experiences with artists and their local networks as well as by his visit to ‘Radio Prishtina’, the city’s prime radio station, the artist and musician created a fictional audio web show, inspired by the Norwegian web TV franchise SKAM. Following the show’s storytelling techniques, Gerold plays with its ‘real-time’ release strategy. Using episode titles as song titles, he introduces fictional characters and storylines emerging from his recent travels, while the clips posted on his social media seem to happen almost simultaneously to watching them.
The tracks on ‘Radio Pristina’ follow fictional characters through a couple of winter days in Kosovo’s capital. Gerold’s tracks are similar to mini-episodes influenced by movie soundtracks of 1980s neo-noir films. Playing off a limited set of beats and instruments he is giving space to such frequently used sounds to develop and appear as motifs in the musical narrative. Much as in the revival of noir films of the 1980s, we are instantly placed into a city at night through chromatic synthesizer soundscapes. Opening the play is a blissful eight-minute power synth-pop song called ‘Respirare’. Episode IV ‘Give me back my money’ finds the listener placed among a city square that has been taken over by crows. Only after Episode VI ‘Sex (Play and being played)’, Wirefoxterrier sings for the first time, chanting about a lover, lost somewhere in the city filled with desire, teenage angst and dreams of escape. Episode VII ‘Outside’ plays with the noir theme by introducing a jazzy open high hat, along piano chords, blending various genres into an immersive listen and closing the EP as Wirefoxterrier’s characters seem to disappear into the darkness they emerged from.
Four episode podcast mix for No Drama
Episode #1, I think they are unfamiliar with it because it’s tenderness. A mix by Wirefoxterrier, 21 May 2020
Playing:WG. Sebald in conversation with Michael Silverblatt, 6 December 2001Sega Bodega & oklou - Komodo (Cover)Ivan Silvestrini - Parasol Rings of Saturn by WG Sebald (Episode 10)Hiroyuki Onogawa - Sacrifice Jürgen Müller - Wasserwelten (Waterworlds) Surge by Etel Adnan (Episode 11) Francesco Messina - Prati Bagnati Del Monte AnalogoMohammad Reza Mortazavi - Sudden Inspiration The Dispossessed by Ursula K. Leguin Enver Hadzijaj - I make myself invisible in the corridors and stairwellsCaustic Window - 101 Rainbows AmbientOde To Gravity: The Music of Joanna Brouk, 25. October 1972DJ Healer - Interior Renovations In Earliest Morning by James Schuyler Wirefoxterrier - Galerie des Glaces (Dynacord 1962) J. Balvin - No es justo (abriged instrumental)
Episode #2, Once a Verb, Now a Noun by Enver HadzijajEpisode #3, You Have Forgotten My Kisses And I Have Forgotten Your Name by Lori E. Allen and Debbie WaleEpisode #4, What a Waste by Alice Cannava
24 March – 24 April 2020
Broadcast from homeReading series during quarantine on IGTV
View all episodes here: https://www.instagram.com/wiredfoxterrier/channel/
Episode 01: 'In earliest morning'by James Schuyler
Episode 02: from 'An Apartment on Uranus' by Paul B. Preciado
Episode 03: 'WALL TATTOO'by Enver Hadzijaj
Episode 04: 'Contact' / 'Network‘by Samuel R. Delany
Episode 05: from ‘Harbart’ by Nabarun Bhattacharya
Episode 06: 'It’s rough but it’s a poem’ by Doireann O’Malley
Episode 07: 'Visiting Hours'by Essex Hemphill
Episode 08: from 'The Lonely City'by Olivia LaingEpisode 09: from ‘The Dispossessed’ by Ursula K. Le Guin
Episode 10: from ’The Rings of Saturn’ by W.G. Sebald Episode 11: from ’Surge’ by Etel AdnanEpisode 12: from 'Principles of physical Geology’ by Arthur HolmesEpisode 13: from ‘Atmospheric Disturbances’by Armin Lorenz GeroldEpisode 14: Welcome Back Spaceboi! by Brendan Cook. Episode 15: Having a Coke with You by Frank O’ HaraEpisode 16: ‚Invisible Signals‘ by Kim AddonizioEpisode 17: from ‘On Earth We’re Briefly Gorgeous’ by Ocean VuongEpisode 18: FORENSIC FOLD by Lori E. Allen.
With kind thanks to Lori E. Allen, Alice Cannava of Occulto Magazine, Brendan Cook, Jennifer Hope Davy, Alex Diaz, Enver Hadzijaj, Doireann O' Malley, Hanne Lippard, Tom Roach for selecting these texts for me to read.
21 February 2020, 7pm
A night with Armin Lorenz Gerold & Eli LevénKonsthall C, Stockholm, Swedenorganized by mint
Welcome to an evening with performances, poetry and bar at Konsthall C! During the evening participating artist Armin Lorenz Gerold (Berlin) will perform under his alias wirefoxterrier, and writer Eli Levén (Stockholm) will read from his upcoming book, to be published by Norstedts in August. This event marks the final weekend of this exhibition. The performance starts 7:30
6 December 2019 –23 February 2020
The physical world was still thereKonsthall C, Stockholm, Swedencurated by mint
The physical world was still there but this exhibition turns its back on it. From a close perspective sound, video, painting and objects share the joy and fear of temporal ecstasy, rush, heat and mental confusion. When someone puts their hands on your body and your blood vessels merge, when the last drink of the sun blurs your mind, when time seems so thick, when the night is in motion.
With Milena Bonilla, Elis Eriksson, David Wojnarowicz & Marion Scemama, Armin Lorenz Gerold and Thale Vangen
7 September 2019 –17 November 2019
Part of the LabyrinthGothenburg Biennale for Contemporary Art in collaboration with Doireann O' Malley
6 September 2019 –10 November 2019
Beatriz Olabarrieta, Stay twiceSound piece in the exhibition at Bielefelder Kunstverein
Weather report, stereo sound file, approx. 13 Minutes in a loop, 2019
The Acoustic FormArmin Lorenz Gerold, Agnès Pe and Nuno da Luz
Auditorium Centro Botín. Muelle de Albareda, Paseo de Pereda, s / n. 39004, Santander.Curated by Alex Alonso Diaz of Fluent Program:Armin Lorenz Gerold, Atmospheric Disturbances, 19 April, 7.30pmAgnes Pe, Wuthering Heights, 20 April, 7pmNuno da Luz, Con resonancia asistida, 20 April, 8.45pm
Thinking through the relation of sound to expanded forms of perception, The Acoustic Form animates a series of practices bond together by the notion of echolocation. A kind of sound-navigation process that helps whales to position and voyage through space –even in the darkest of waters–, echolocation makes us question our phonocentric understanding of sound.At a moment when modes of sonic representation and transmission bring into earshot sound from previously unheard realms – the deep sea, the inside of our heads, outer space (1); when new technologies make it possible to conjoin hearing and deaf worlds through a common currency of vibration; the definition of ‚‘sound‘‘ expands to access worlds previously inaudible, even unimagined.
Are not sonic vibrations, rhythms and cadences an impulse to merge with our environments? A means for connectivity and belonging? An invitation to melt into the geometry of the world? In an attempt to answer these questions, The Acoustic Form imagines spaces and acoustic situations that interrogate the cultural definition of sound, as well as concepts such as perception, consciousness and sensoriality.