SoundLAB - sonic art projects



launched on occasion of the participation in
“Groundworks” – Regina Gouger Miller Gallery at Carnegie Mellon University– Pittsburgh/USA- 14/10 – 11/12 2005
Biennale of Video and New Media– Santiago/Chile 18-28 November 2005
was curated by Melody Parker-Carter
including following artists
Gina Valenti
jean-françois flamey
David R. Mooney
John Plenge
PRISM/lars nagler
John E. Bower
Michael Yuen
Pete Stollery
Tae Hong Park
Suguru Goto
N. Barker & R.Jacobs
Li-Chi Hsieh
Hervé Constant
Eldad Tsabary

Curatorial contributions by

Le Tuan Hung
Les Riches Douaniers
Miha Ciglar
Owen Plotkin
Colin Black
Cynthia Payne
Carl Priestly
Till Nikolaus v. Heiseler
Fabio Paolizzo
Pablo Bas
Khaled Sabsabi
Mira Burt-Wintonick

Michael Yuen (Australia) – curates artists from Australia

Caroline de Lannoy
eduardo paz carlson
A.Andric & I.Vasiljev
Natalie Bewernitz +
Marek Goldowski
Annie Abrahams &
Jan de Weille
Ricardo Miranda Zuñiga
Damian Stewart
Darko Vuckovic
Tsila Hassine &
Alejandra Perez Nunez
(aka Elpueblodechina)

Peter Wolf (Germany – curates artists from Cologne (Germany)

2005 – Biennale of Video & New Media Santiago/Chile
17-28 November 2005

“memoryscapes” featuring – Peter Wolf

Peter Wolf & Doppelplus, Ensemble Alltag, FIM, Soundso

Peter Wolf was born 1956 in Cologne/Germany.
He lives and works in Cologne as a researcher, performer, designer, author, writer, media artist, curator and organizer.
In 2003 he created the “KLANGDRANG Festival for incredible Music”, Cologne, which he organizes annually (

soundLAB III

SoundLAB was one of the “memory channels” of The RRF Project – dealing with sound a tool for artistic creations, resulting soundart or sinic art (in German “Klangkunst”).
SoundLAB III was the 3rd major annually released soundart project, Wilfried Agricola de Cologne was realising in 2006, including also two curated contributions from Australia and Germany. The German one was curated by Peter Wolf presenting a selection from the the Cologne based festival “KlangDrang 2005” a Sonic Art Festival including 4 Cologne based sonic art groups SOUNDSO, FIM, DOPPELPLUS & Enselnble ALL TAG. While this feature can be listened to below on this page -the complete soundLAB III can be acessed by opening following link

“KlangDrang 2005 – A Festival for Incredible Music – Cologne”

In this case “Incredible Music” means the spheres of New Music, experimental and improvised music, Performance Art and New Media. This festival was brought into being 2002 as a hommage for the cologne citizen center Alte Feuerwache which enables the presentation of extraordinary music since more than 25 years. This year KlangDrang presented 4 ensembles from which you can hear each 3 cuttings of an each 45 minute performance.
F.I.M. (Free improvised music cologne)
Nobert Zajac (voc), Matthias Kaiser (violin), Frank Bersziek (sax, basscl), Michael Haverkamp (sax, perc), Karl Kruetzmann (fl, tr, piano), Joerg Koenig (git), Axel Hoeptner (piano), Frank Homburg (sax), Wolfgang Simmons (git). F.I.M. is an open collaboration between musicians, who let themselves in for the risk of a music without arrangements. If there are agreements, than just in view of the actual cast. The music is free improvised on stage. As a construct of the moment was never heard so, nor it will ever reproduced live exactly in that way. The stile flows between archaic sound, noise art, Free Jazz and New Music and so is based on the exitement of the moment.

Bettina Wenzel, Brigitte Kuepper, Norbert Zajac, Peter Wolf (all vocal) Vocal communication as an experiment – 4 singers test the possibilities of the vocal cords. Croaking, spitting and slurping a part of the repertoire of this vocal ensemble just as singing in extremly high registers and soundfull depth or the spontaneous inventions of cacophonic languages and onomatopoeic escapades. The personalities of the 4 improvisers meet, according to demand, harmonical, contrarily or meshed and meanwhile count on enthusiasm and the intuitive work with vocal sound.

Ensemble All-Tag
Frank Bersziek (sax, bcl), Konrad Doeppert (analogsynth, objects), Matthias Kaiser (violin), Joerg Koenig (git). This quartett came from a combination of musicians, which got random selected while the KlangDrang festival in 2004.. Free improvised pieces are the basic of the musical collaboration. Experiences with the european free improvised music, the electroaccoustical art, the noise experiments of the eighties and in their origin outer musical elements come together while playing free. Results are subtle coded sound sceneries, where the audience finds space for free association.

Brigitte Kuepper (voc/tb/div), Wolfgang Simons (git/sax/div), Konrad Doeppert (synth/perc/div), Peter Wolf (voc/perc/div) these four produce live partially improvised sound films as from another planet. Doppelpluss musically darts sideways between all stiles. They sit down winkingly between all chairs and create alternating hot and cold acoustical baths of emotion. Dynamical meditative sound trips grow to impressive psycho drama, change to funny folk, change to philosophical tender loving care, change to absurd theater. Exciting music performance therefore and who knows where the journey goes to.

NewMediaFest 2020 selection

Doppelplus 1
Doppelplus 2
Doppelplus 3
Ensemble Alltag 1
Ensemble Alltag 2
Ensemble Alltag 3
Soundso 1
Soundso 2
Soundso 3


Today is the opening of the exhibition “Groundworks – environmental collaborations in contemporary art” @ Regina Gouger Gallery @ Carnegie Mellon University Pittsburgh/USA – since some years – Miller Institute for Contemporary Art. This is another of the 65 venues of The RRF Project (2003-2007) – while the other artworks of the show are typical works of individual artists – The RRF Project is typical for a counter concept due to its globally networked structures of artists/curators/insitutions – While the individual art works require usually much space – the most comprehensive work in the show – The RRF Project – an environment of its own – including more than 350 participants is just requring a computer monitor to display the interface, however the visitor/user has to become really active to get through all the exciting interactivity.

Miller Gallery @ Purnell Center for the Arts @ Carnegie Mellon Campus


Curator's Statement

The Artists

Exhibition Fact Sheet

The RRF Project

The RRF Project - general concept

[R][R][F] 200x —>XP
An independent cultural production in progress —>

The project was initiated in October 2003 in order to start in March 2004 the realisation of the global network by presenting [R][R][F] 2004 –>XP at Museum of Contemporary Art Bucaresti/Romania, Bergen Electronic Arts Center Bergen/Norway and New Media Art Festival Bangkok/Thailand and later at different places around the globe and starting a variety of associated processes developing and running during 2005 as [R][R][F]2005—>XP, as [R][R][F]2006—>XP in 2006 etc.

[R][R][F] 200x —>XP is an experimental New Media art project created and developed by media artist and New Media curator Agricola de Cologne which he is developing and organising completely online.

[R][R][F] 200x–>XP includes a variety of online and offline components
The basic subject –>“Memory and Identity”
The basic operating aspect –>”networking as artworking”.
The basic presentation aspect –>physical installation – the exchange/combination of virtual and physical space.

Due to its complexity, [R][R][F] 200x —>XP is constructed of two parts, a low tech administrative body which contains all relevant project related information in a textual form, and an high tech artistic body based on an interface developed in Flash. Both together form the art work to be transported or distributed via the Internet. The artistic body includes all art related components which may come from most different sources.
The interface of the artistic body refers to the human brain and its complex networking structures by visualizing them in different ways. The essential nodes of connection are reduced to some basic sections , named: “Memory Channels”. Each of these “Memory Channels” (currently eight) is focussing on different aspects of “memory and identity” – the main subject of [R][R][F] 200x –>XP – and may carry some sub-sections as well, modules which contain specific project environments or individual art works.

[R][R][F] 200x –>XP is an interactive environment. Both, the dynamic of the project becomes perceivable and the actual art work comes up only through the activity of at least one single user. But it is not only the activity of using a mouse or keyboard for exploring this net based art environment, but as the result of it the activity which is provoked by using the senses and initiating processes through associating.

In this way, [R][R][F] 200x–>XP does not represent a complete art work, but Internet specific as it is, the project is ongoing. Corresponding to the collage principle the brain is using for its associative system, the project represents rather a framework for options to start processes. By following them, the actual art work can take shape in most individual ways, in a kind of dynamic virtual sculpture, a kind of hyper-dimensional collage or patchwork.

The composition of the work is as simple and simultaneously as complex as it can be. Agricola de Cologne holds the position of a creator who is building an Universe of hisown in which most different networking instances are acting. He is creating a specific system, which is based on filtering, associating and linking on different level, starting from his personal view based on specific filters, then by inviting curators, who select artists of their choice, the next filtering and networking level is installed,. The artists who are selected via curating form the next following level. As they may come from different cultural, religious, political and social backgrounds and more than 45 countries on the globe, they are installing a complex filtering system of their own via the artworks and the specific view the art work is based on. Each included art work has and gets a very special meaning in this networking context.
The active user anywhere on the globe, finally, forms another level by contributing his personal filtering system via associating and reflecting, it is him who is initiating actively processes which lead finally to his personal art work.
The term “global” has a fundamental meaning in many concerns, not only related to the global aspect in terms of this Universe the creator is building, but even more to the networking structure the creator is installing in the global context of this “one” world we all are living in, by inviting/involving/incorporating physical networking instances as curators, artists, institutions, organisations etc, which can form the basis for external/affiliated local networks consisting optionally again of a variety of virtual and physical components, but also in the sense of distributing the specific project contents which may have again complex relations to the term “global”.
Without the existence and the rapid developments of the new (and above all affordable) communicating technologies and the virtual environment of the Internet, which allows communicating in real time to any place on the globe, a project like [R][R][F] 200x –>XP would have never been started .Agricola de Cologne is using these technologies in most different ways according their rules –>the Internet as a whole not only as a database, but as an environment for creating art, for distributing net based art in its various forms and in this way the specific content of his project via the net in real time to any part on the globe.
Thus, “networking” in terms of “ artworking” is not reduced to a certain aspect of artistic creating in which several artists work on a common project under mutual influence and inspiration, but includes all possibible elements and their mutual relation and dependence the actively involved networking instances are producing .
Networking is a specific form of communicating, and communicating as such forms the fundament of the project, in general. Consequently, an essential part of the project consist of components which may become visible only as the result of a communicating process, but are actually acting entirely in the background , as the communicating between the physical networking instances which keep the project running.
The exchange/communication between physical and virtual space has a specific relevance. One main goal of [R][R][F] 200x–>XP represents its installation/presentation in physical space at locations in most different parts on the globe, whereby [R][R][F]200x —>XP does not provide any physical component, but exclusively its art related contents distributed via the Internet. Each single physical installation represents an unique action, not only due to the different conditions space and the dimension the technical equipment may have, but also to the inclusion of new aspects and components in this continuously expanding project environment.
[R][R][F] 200x —>XP is an open system, not in the sense of “open source”, but, independently from any restricting ideology, it is open for all developments which might come .
Agricola de Cologne shows himself as a universal instance which incorporates most different functions in one single person, in first place the artist, but also the programmer & multi-media developer of its content, the creator of an universe of itsown, a director of a virtual institution, the chief –curator who curates curators, the curator who curates artist and contents, the co-ordinator and organiser of virtual and physical events, initiator and central networking instance withing the entire networking structure, but rather as a “primus inter pares” than in an hierarchic sense.