4 channel audio installation, sound system for mechanical sound transmission on pipes and tin cans, postcard, cleaning smock, 16 min CLUB, Kunstbrücke am Wildenbruch Berlin, 2023
Subs T Tube, stages a fictitious music practice as it could take place in the near future. To reach his audience beyond established channels, DJ Plumper uses the sound transmission properties of pipes leading into public toilets to make his music audible there. In this way, he also avoids censorship and copyright lawsuits from an AI that already owns the rights to all sounds and all music in the year 2053. He announces his DJ sets on empty loo rolls, placed on site. (Music and lyrics: Christoph Rothmeier, voices: Filomeno Fusco + Christoph Rothmeier )
In the front garden of St Catherine’s Church in Krakow, 8 loudspeakers hang freely from the trees, moving slightly with the wind. You can hear a choir singing in Polish and Ukrainian. Each loudspeaker is assigned a single voice of the choir. The visitor virtually wanders through the choir and between the singers. In the “Book of Polish Jews”, Shmuel Yosef Agnon writes that after the death of his legendary lover, Esterka, King Casimir the Great kept her eyes and let her spirit wander restlessly around the earth. “have you seen my eyes” describes Esterka searching for her eyes. She speaks directly to the listener “have you seen my eyes ?” and tells him in 6 scenarios how it feels to be a restless spirit, and what she actually sees, robbed of her eyes. Over the duration of the piece and the course of the story, 3 elementary forms of composition alternate again and again:
vocal part, a motif that takes up the motet (polyphonic vocal music from the 13th century onwards). 2. the interaction of the singers with the reverberation in the recording room (Wysoka Synagogue in Krakow). And 3. the reading of the 6 scenarios.
Music and text: Christoph Rothmeier with the voices of: Ruzyndla Choir: Wiktoria Sędzimir, Weronika Sędzimir, Małgorzata Międlarz, Przemysław Ćwik, Dawid Rozmus, Rita Rain, Oleksandr Mazii and Kateryna Sakhanda Photos: Michael Ramus
audioinstallation, 3 audio pieces for listening boothes, each 30min, future perfect land, berlin, chr 2021
” In order to save resources, we will have gone into hibernation. By having slept for more than 75% of our lives, we will have secured the survival of generations of people. Inside of an individual “Aestivation Stage” – its exact origin unknown – we will have spent nine months per year in a collective slumber. A civilization centered around societal dormancy will have been regulating humanity’s rhythm of falling asleep and awakening, gradually leaving its traces on our psyche… “
Interaktive Installation /Konzerte, Cosmic Swarm Laboratory, Komostage IV, Radial System, Berlin 2021
Der Sonograph 3 dokumentiert klangliche und räumliche Vorgänge. Er zeichnet Veränderungen von Lautstärken und Frequenzen auf, und sendet Parameter räumlicher Gegebenheiten zur Weiterverarbeitung an den Algorithmus. Zugleich funktioniert er als Klangerzeuger der wie ein Musikinstrument in den Kompositionen Einsatz findet.
In Kollaboration mit Johannes Schleiermacher, Peter Thomas, Oliver Roth und Jörg Hochapfel.
installation film audio, syp artspace tokio (JP), Shingo Yoshida and Christoph Rothmeier 2019
ポストカード 絵葉書はまだインターネットが無い時代は特に、訪れた場所の記憶を誰かと共有したいという願いを込めて送り、受け取った人は、遠くはなれた友人の生活に思いを馳せ、多くの思い出をつないだことと思います。しかし、多くのポストカードは時間が経つにつれ紛失されるか、捨てられて、 かつては双方の間に繋がりがあったものが切り離され、徐々に消えていきます。のちにその思い出や、過去の記憶、文化、風俗がたくさん詰まった絵葉書はガイスト（Geist）が宿った新しい存在として、骨董品、アンティーク、ゴミのような形を変えて存在を変えていきます。ガイスト（Geist）という言葉は、ドイツ語において「幽霊」や「亡霊」といった死者の魂のことを意味すると同時に、 生きている人間の「精神」や「心」のことを意味する言葉として用いられている言葉です。それらの古いポストカードを手に、シンゴ・ヨシダとクリストフ・ロットマイヤーは、カードにあるバックデータを元に現在〜過去をつなげ、社会文化的背景を比較調査します。さらにその場所の言い伝えや伝説を知ること、土地文化を理解することとして重要な行動だと考えてます。そして、カードに宿ったガイスト（Geist）その場所で感じる見えない何か、雰囲気など、消えてなくなってしまった事柄や思い出として生き続けるスピリットのようなものを探しに旅に出てた結果を、作品制作として発表する予定です。Post-cards are souvenirs, at least they were meant to be.They illustrated memories of visited places and represented the wish to share moments in life with someone abroad. Sending a postcard was a gesture, it aimed to connect lives over great distances. Once received, and as time goes by, boxes full of postcards got lost or simply got thrown out. Separated from the receiver the cards lost its meaning, and the connection between two people, that it once represented faded away to become “ein Geist (a spirit/ghost)” that still inhabits the object somehow. Picking up those postcards, Shingo Yoshida and Christoph Rothmeier will try to haunt spirits that inhabit them. They will reconstruct the cards journeys and lead an artistic investigation on their “Geister” with all their possible pasts, to establish connections anew, but in form of an exhibition. For the Project “Geister heimsuchen” Shingo Yoshida and Christoph Rothmeier cooperate for the first time, to investigate in found Postcards and the eld of socio- cultural phenomena that inhabits them.Their research will depart from images and information shown on backdated postcards, and they will investigate places that are shown, people that are mentioned and the Stories that are written on them.
audio installation / concert, Pyramid Club ,Wellington (NZ), chr 2019
This sitespecific audio installation investigates the fragility of musical systems and the joy of misunderstandings in it’s social practice. Hanging instruments become resonating bodies for recorded voices of musicians who explain their view on local music practice and their perception of time. These statements become play instructions for other musicians to interact with inside the installation piece.
more off is a radio play always in the making. In the twisted sense of science fiction, events from the present and clues from the real from the present and circumstantial evidence from the real world places, situations and persons in the past and influence the scenario of the radio play. of the radio play. Thus, the sound studio, installed without technical equipment studio, (mixing desk made of end-grain wood veneer with an endlessly knob, markings “off” and “more off”) is already a real place already a real place before it gets a role in the radio play, and the psychadelic jazz Band called Kröter, has already released 3 albums, while the events that led to their formation just take place in the 60s.
Lyrics, music, Kröter props: Christoph Rothmeier Voice: Henry Sargeant
Open Studios, Naumannpark Berlin, 2018
more off ( in progress ) Text excerpts audio play 2018
(Excerpt interview, tape recording, 13.11.1984 Gunter German Grunters about Madame’s actual musical creation, based on his seamless, swamp-like memory. approx. 360 min.)
[… Radio host (M): “Mr. German Grunters, you possess the gift or the curse not to forget anything of what you have experienced. Is that right ? “ Gunter German Grunters (GGG): “Wrong and right, you know that no one believes me for a long time, I am very alone with my memory, the single memory quasi” M: “You allude with your word creation “single memory” to the concept of the one-room apartment of the memory, is that correct ?” GGG: “Wrong or right so that believes who wants. Now there is however in my private reality a transposed version of the experienced, in which it is possible for me events from the past to order and from the past and to locate them.” M: “She had already described this place to me before the broadcast, it is a kind of a doll’s house, a half-timbered manor as they were in the 18th century, at the time of the (sound disturbance ) in the Alsace originated. Right ?” GGG: ” No that’s wrong, I didn’t say that.” M:” But you had … that was just 5 min ago.” GGG: “Well, your memory has clearly played a trick on you. M:” I could swear…” GGG: ” But not prove…” M:” Oh … Please continue…” GGG: ” The place, if you are interested in the description of the place, this place of my Memory, so it strongly resembles the architecture of a swamp.” M:” actually (…. at once ) a swamp architecture, and this originated like (very quietly:… in the last 5 min) ? .” GGG: ” the frogs.” M: ” aja … amphibians, …several ?” GGG: ” a bag of frogs, my jute bag of tree frogs”. M: ” They emptied their portable terrarium into the memory and a swamp was created. Right ?” GGG: ” Wrong. First of all, I outsourced what I experienced, my brain could only store all the information from my 16ten years of age store all information, before that I use tree frogs.” M:” You use tree frogs as a storage medium !” GGG: ” I suck them”. M:” How do amphibians taste….” GGG: ” a little more differentiated than other storage media. In any case, they do not lose their individual taste, which makes them distinguishable among themselves and even without labeling to a reliable storage medium. M:” Storage medium.” GGG: ” The saliva is, of course, part of the archiving process as a lubricant of the experience and that works both ways. In nostalgic moments, of course, I also sucked the past past and relive it. For example, my first kiss. M:” You had a tree frog in your mouth during your first kiss.” GGG: ” In very emotional moments, a frog was not enough. At the time of my first love, I salivated up to 4 tree frogs a day. The simultaneous affair with Madame forced me to change me to redesign the whole memory system and to create the swamp. Just in time in time before the first frogs extinguished themselves. M:” Thanks to the memory-decoded tree frogs, you were able to access a complete swamp of your of the experience. Do they like music ?” …]
( Excerpt Narrative, Lacandonian Rainforest Festival 1964 ) [… “How do they even play the guitar they are a toad.” ” With the heart.” ” Ah …yes of course …. well, and so how does your heart move your fingers over the sides and the frets ?” ” Actually quite normal, but in the context of the Marichiaband I play in I am forced to use a certain technique, it has less to do with picking frets, it’s more like massaging the frets. it’s more like massaging the sides. I massage the sides in the frequency of my heart. The impulse of my body thus amplifies the sound of the guitar. Transmitted through my fingers to the sides, and my chest to the body of the guitar. I create a pulsating envelope of rhythmically changing air density, which dampens the trebles and mids of the brass and pushes corridors into the air for my guitar playing.” “I now imagine little guitar notes riding on a big wave, making their way through a sea of clanging trumpets.” “Why this belittlement and why surf ?” ” hmmm … yes why just, of course … sorry “ The light of the day becomes softer and the contours of the shadows softer. A long corridor does between leaves and bushes and slowly turns into a cathedral vault that passes over their heads as they wander deeper into the Lacandon jungle of Yaxshilan. of Yaxshilan. Through the branches come the calls of howler monkeys, songbirds and strangely electric crashing of butterflies. The green of the forest changes by a breath into damp shiny dark blue, while the light of the evening emits a lightly veined purple. His engagement with Madame, explains the Toad, there is not really a contract and moreover, the notes sent to him seem to have been mixed up. She must have confused the written and the blank block. Only on one strangely numbered pages, there is a strange constellation of notes in the center, more of a constellation of notes, more resembling a heap, an ant gathering or a depla or a deplacement of the notes caused by shaking to a sediment in a depression of order. It could have been a contemporary “hoevre” of art-music intersection, but frankly it was neither overlap, but frankly it was neither clear in design nor did it send a subversive “play me” signal, just a heap of notes. me” signal, just a heap of notes just, surely an oversight. But what did he, the toad, know about it, it was just a feeling that kept him in this loop of indecision. indecision, score or just paper, depending on the perspective. Grunter had been in joyful excitement since the Toad revealed his commitment to Madame. However, he concealed his love affair with Madame, not only that, but he also hid the contents of his burlap bag from the Toad. …] [… From the toad only a light ripple on the fog cover is to be seen and thus offers Grunter offers, the toad can take place, on his head, he will be particularly attentive what branches protruding into the path. While Grunter follows the path enchanted by fog and moonlight, the clearly perceptible heartbeat of the toad pleasantly orders his thoughts. Similar to countless small black sticks that bump into each other in the shallow waves at the edge of a lake, swirl around and thus constantly renegotiate the space given to them. The initially cool damp belly on his head meanwhile adapted to both of your body temperatures. The toad’s lower jaw rests on the base of Grunter’s forehead, and its forelegs with tassel fingers hold on to his temples. hold on to his temples. She’s docking, Grunter notes. The pulsing toad’s heart approaches his scalp, sinks very slowly through the top of his skull with the rhythm of his footsteps, and lingers quietly throbbing in the space between his temples. These in turn are gently a circular massage, caused by the interaction of the small holding toad hands and the toad hands and the up and down Grunter’s steps. All movements swing in. Weightlessly the jungle swings past you. …
Installation with automatic guitars 2015 Documentation, Christoph Rothmeier In the recording studio for orchestra of the Funkhaus Berlin, 3 automatic guitars play generating variations of a programmed musical theme.
soundssculpture, Spisel Perdisptie, Nibikistudio, Berlin 2014; Transkriptionen, Mila Kunstgalerie, Berlin 2013
A pen draws the sound curve of a rake in the sand basin of the machine. Simultaneously, the rake erases the track caused by the sound of the rake, and the sound generated by this creates another track. The machine rotates endlessly around its own axis, thereby generating the endless erasure of an endless drawing that is regenerated by the sound of the erasure. A contact microphone transmits the sound of the rake to a loudspeaker whose vibration is in turn transmitted to the movement of the pen.
An Adaption of the 1986/87 published ‘Watchmen’ Comicbook (by Alan Moore and Dave Gibbons). By the dissection of the storyboard leaving only “Dr. Manhatten”, a charakter who is endowed with a “nonlinear” perception of time.
” I was interested in time models and how ideas about them could be applied to books. I stumbled across Watchmen. And I was fascinated how Alan Moore had endowed his character Dr. Manhattan with a perception of time that is not embedded into a linear flow like everything else in the story. I wondered what would arise if a reader could share Dr. Manhattan’s perception of time and then read the story ‘all at present.’ What would happen then to Alan Moore’s construction of ‘story-time“? And to Alan Moore, if he were to witness this?”- Christoph Rothmeier 2011
Rothmeier’s artwork is an adaption of the graphic novel Watchmen (DC Comics, 1986/87) by Alan Moore and Dave Gibbons. Targeted dissection of all the storyboards throughout the book reduces the story to the appearance of one single character, Dr. Manhattan. In constructing this character, creator Alan Moore took his inspiration from nuclear and quantum physics. Moore believed that a character who lived in a quantum universe would not perceive time from a linear perspective. According to the original story, the superhero endowed with supernatural powers such as precognition, transmutation, telekinesis, and teleportation perceives time as being a permanently present state, or his own status as an “omnipresence” of his person in time. He becomes estranged from human habits, ending up as a stand-alone entity. In Any Time, Any Place, and Many Me, Dr. Manhattan remains the only figure left in the book, literally standing alone, visible at all stages of the story; the story’s sequential progression merges into simultaneity, and the linear aspect of time becomes three-dimensional.
Artist’s statement and Project description:, Abot – Artists´ books on tour – Catalog, Verlag der Buchhandlung Walter könig, Köln, 20
ABoT (Artist Books on Tour – European artist’s book competition), MAK Museum for Applied Arts / Contemporary Arts, Vienna, 2011
ABoT – touring exhibithion, MGLC International Centre of Graphic Arts, Ljubljana, 2012
ABoT – touring exhibithion, UPM Museum of Decorative Arts, Prague, 2012
Kommentar als selber was, WUK Kunsthalle Exnergasse, Vienna, 2009