All posts by Gabi Schaffner

Exhibition Tor 40

Painting, drawing, silkscreen prints, geo-located audio walk

Invitation to the exhibition at Tor 40, Bremen
Opening: 24. September, 8 pm
Performance “Duftgesänge” with Gabi Schaffner and Hans Kellett that same evening

September 24 – October 3, 2021
Open daily from 3 pm to 6pm
or contact Tor26@gb-bremen.de

Wir freuen uns, daß wir in diesem Sommer 3 Künstler*innen
ins Gastatelier im Tor 26 einladen konnten. Sie haben dort jeweils zwischen 4 bis 6 Wochen gearbeitet. APL315 ist aus der Ukraine,
lebt jetzt seit mehreren Jahren in Montenegro. Gabi Schaffner lebt und arbeitet in Berlin. Anya Triestram ist tätig in Wien und
Leipzig. In dieser Ausstellung präsentieren sie ihre Arbeiten, die zum Teil in Bremen entstanden sind.

Address:
Güterbahnhof Bremen – Areal für Kunst und Kultur
Beim Handelsmuseum 9, 28195 Bremen
www.gb-bremen.de

Sneak preview of 10″ record cover. Number of copies: 20. Release date: 24. September 2021
Exploring plants and poems: interactive “Echoes” map of Güterbahnhof Bremen.

18.04. 10pm CET: OTTO MöTÖ on HR 2 Kultur

Turn up the volume and rejoice: The era of combustion engines is coming to an end. And Ms Schaffner’s radio play “Otto Mötö – From the Archives of Martti Mauri” foresaw it all! Feel free to dive into the sound world of Martti Mauri, Finland’s first motor music avantgardist, a forerunner of techno and music of shared origins and a true feminist composer and collaborator. His life ended in a car crash in 2003 – and let us go from there…

Draft for Cover. Schaffner 2012.

Otto Mötö was written and directed by Gabi Schaffner and received the prize “Radio play of the Month” in 2012. Mötö is also a collaborative project involving the following composers from Finland, Germany and Austria:

Lauri Kivelä, Jani Purhonen, Helsinki; „Pink Twins“ (Vesi & Juha
Vehviläinen), Helsinki; Tuomo Puranen (Op:l Bastards), Helsinki; Ovro, Finnland
Dirk Hülstrunk, Frankfurt; Michaela Schimun, Wien; Gabi Schaffner, Berlin; Martin Moritz, Hamburg
Idea/conception „Martti Mauri“: Gabi Schaffner, Martin Moritz 2009
All original sound recordings: Gabi Schaffner 2009 – 2012

Kaamos Radio. Finland

Kuunvalo nukahti ja tähdet katosivat taivaalta. Ja maa hengitti hiljaa lumen alla.
The moonlight fell asleep and the stars disappeared from the sky. And the earth breathed quietly under the snow.

A radiophonic journey into the (sub)arctic winter.

The term ‘Kaamos’ refers to the lightless period of the year (above the 60th latitude) when the sun lingers below the horizon. Kaamos is the time of darkness, of stillness and quietude and of the arctic light, a time for storytelling, contemplation and of taking a rest. A Sami legend tells us of the ‘Nest days’, because it was believed that the sun rests like an egg in its nest during that time. ‘Kaamos’ also
stands for a mental state that is difficult to endure and is also used synonymously for winter depression in Finnish culture.

LOCATION
The town of Mäntää-­‐Vilppula is located approximatly 180 km northeast of Tampere, on the shores of Lake Melasjärvi. It is surrounded by a sparsely populated landscape made up of forests, lakes and rivers. Temperatures in January and February go from – 20 to -­‐2 degrees Celsius. Northern lights occur at times.

KAAMOS RADIO will track both the phenomenon and variations of its inner states
-­‐ as a local radio sphere
-­‐ in field recording
-­‐ in talks with artists and musicians from the area
-­‐ via congenial guest contributions and radio streams
-­‐ as an ongoing attempt to respond to the conditions of light and temperature

PLEASE SHARE WITH ME
-­‐ theme specific compositions
-­‐ favourite winter‐time stories
-­‐ poems and spoken word
-­‐ recordings and investigations
Please send your files via wetransfer to kaamos@datscharadio.de.
Please provide two or three lines each about the piece and yourself including a website, if possible.
Please put Kaamos Radio Contribution as a subject line.

LIVE STREAM
As the project is still in its planning stage, the final dates need to be confirmed yet. Scheduled are
-­‐ Saturday, February 13, 2021
-­‐ Saturday, February 20, 2021
The length of the broadcasts is between 2 and 6 hours on the respective days.
DEADLINE
Please submit your audio pieces until the 3rd of February 2021

KAAMOS RADIO is a temporary radio art project located at the residency studios of the Serlachius
Museum in Mänttä/Central Finland. It is initiated and maintained by the Berlin sound artist and performer Gabi Schaffner, in cooperation with Sophea Lerner (Open Radio, Helsinki), Marold Langer-Philippsen (radiolada, Bratislava) and aporee.org (Berlin)

SCHEDULE
The program will grow with the flow of the events. There is no fixed time schedule. You’ll find a list of
all participating artists on the datscharadio website in due time.
KAAMOS RADIO CAN BE HEARD ON
● datscharadio.de
● openradio.in (play.openradio.in/public/openradio)
● in collaboration with other radio stations and projects (if interested, please, let me know)
Contact:
kaamos@datscharadio.de

Waste Culture on Common Waves

Pleased to announce that since November 1 Datscha Radio will be broadcast within the frame of the COMMON WAVES festival.

Super pleased also to find ourselves among long-standing friends, colleagues and collaborators. Please have a look at the schedule.
My personal thanks to Ute Seitz!

Common Waves is an International Radio Collective launched during Tbilisi Architecture Biennial 2020. Along the theme of the Biennial “What do we have in common” we will explore the different layers of common spaces – public, collectively organised or imagined spaces of community.

How do we share spaces? What defines the public areas around us? How are they built and what do they sound and look like? Do they serve the needs of communities or individuals, companies or states? Who decides how we move and act in our cities? How can we design open spaces that allow creativity and diversity?

Our answers to these questions may be artistic, activist, professional, transdisciplinary, historical, local, global, subversive or emotional. We believe in the power of independent radio to voice diverse perspectives and promote experimental approaches – even more so in international cooperations. This is why our collective is formed by various community and artist radios, podcasters and individuals.

The Common Waves Collective will produce and curate interviews, documentaries, sound art and DIY radio formats during Tbilisi Architecture Biennial 2020 and beyond.

Nachtgartenkosmos 4 Cashmere Radio

It is unusual enough to broadcast from a garden, creating a studio situation exposed to the immediate surroundings like weather, temperatures and background sounds. With “Nightgardening” In 2019, Datscha Radio took its experimental approach to the garden as a matrix for self-organization, autopoiesis and ecological radio art, even one step further. How can we approach the audible ecospheres of the night, what stories can be told, what fragrances turned into frequencies?

The compilation presents a mix of excerpts taken from “Plots & Prophecies” (2017) and “Nightgardening” (2019), followed by palimpsests and passages from Datscha Radio’s 2020 iteration “Listening to the Universe”. This latter event, happening from the 11th to the 13th of August, was dedicated to the Perseides’ meteor showers. Talks and readings, concerts and performances revolved around themes like sonification, storytelling, and cosmic relations in the so-called Anthropocene.

Credits

Datscha Radio: Nachtgartenkosmos

A radio(art) collage by Gabi Schaffner.
Length: 51:48 min
A commission for Cashmere Radio

List of participating artists and titles of their contributions
in order of their appearance

I What happened before

  • Intros Datscha Radio from the 2017 festival “Plots and Prophecies”
  • Body Garden Experiment by Kerry Morrison, read by Kate Donovan + Rosanna Lovell in conversation with Gregor Kaspar (Cut up)
  • Carolina Carubba: Kalimba Rain. Datscha Radio Madrid, 2018

II Nightgardening

  • Lukatoyboy: 7“ Bird Vinyls
  • Marold Langer-Philippsen: Maschkera (Excerpts)
  • Cutup: Niina Lehtonen-Braun: Iltakahvit + Kat Austen: The Beetles’ Harvest Supper
  • Niki Matita, Walter Schulze: Secret-en-plein-aire  (Excerpt)
  • Kate Donovan: Gratitude Ritual 
  • Peggy Sylopp with Gabi Schaffner: Dämmerungsspaziergang

III Listening to the Universe

  • Jingle Universe (Helen Thein)
  • Ally Bishop: Possible Vehicles for Time Travel
  • Kate Donovan with Sasha Engelmann: Satellite Séance
  • Tiger Stangl: Milchstraße links unten
  • Vladimir Kryuchev: Nye Sbylos (Some Dreams Never Come True)
  • Jasmina Al-Qaisi and Helena Otto „To the Belly and Back: Star Taste“ (Excerpts)
  • Elo Masing: Day Sky Improvisation +| Gabi Schaffner: Cosmogonic Storytelling I (Mix!)
  • Gabi Schaffner: Satellite Signals/Der Schweigende Stern
  • Tim Schleinitz and Helen Thein: GDR Science Fiction Movies + Niki Matita/Elo Masing: Nativitas (Cutup) + Tiger Stangl: Ein Stern geht auf (Backdrop, modified)
  • Ela Spalding: Moonrise Reflection / Gabi Schaffner: A Walk between Bamboo and Ghosts (Backdrop)
  • Marta Zapparoli (and Kate Donovan): Echoes from Outer Space
  • Sarah Washington: Datscha Owl, Datscha Radio Jingle 2012

Selection, editing and additional sounds: Gabi Schaffner, 2020

Radia.Fm: 2.-8.11.: Lost in Transmission

Lost in Transmission

LOST IN TRANSMISSION
… is a collaborative piece by Kate Donovan and Gabi Schaffner; editing and sound design: Gabi Schaffner.

Listen here: http://radia.fm/

How can we conceive of an expedition in non-territorial terms? Can we read the signals of our ecosphere? What if a reed turns out to be an antenna? Kate Donovan and Gabi Schaffner venture into the water retention basin of the Tempelhofer Feld, Berlin: at times an idyllic lake, sometimes a swampland the size of a football field, this body of water fluctuates between effective area and dreamscape, biomass and place of retreat.
Editing and sound design: Gabi Schaffner.

Radia.fm presentation by Verena Kuni, radio x, Frankfurt/Main.

The piece was conceived of during Datscha Radio’s iteration at the Firefly festival on the 30th of August 2020.

Also featured in this #814 show:

RADIO ECOLOGIES
… is a Radio Art piece by Kate Donovan, 2020, with narration by Molly Donovan Higham.
In this piece, radio is acknowledged as a natural as well as a human-made phenomenon, that is interconnected and active across species
and scales. The work asks: How does an expanded perspective impact our imagination of radio in the future?

Listening to the Universe – Radiophonien des Alls

Listening to the Universe – Radiophonien des Alls  

A radio art festival by Datscha Radio.
Realised by Gabi Schaffner, Helen Thein, Kate Donovan and Niki Matita

Every year in August, the Northern Hemisphere’s night sky is graced by meteor showers – the Perseids. Datscha Radio used this astronomical spectacle as the departure point for a 48-hour festival of radio art, from moonset at 2:04 pm on August 11, until 2 pm on August 13, 2020. 

Datscha Radio – a non-commercial, independent, nomadic and interdisciplinary Berlin radio art initiative – has been engaged in expanding the culture of radio creation since 2012. It aims to create new listening experiences beyond the dichotomies of culture/nature and sender/receiver. It is transmitted from an allotment garden in the north of Berlin. 

“Listening to the Universe – Radiophonien des Alls“ was dedicated to themes and music inspired by the phenomenon of the comet 109P/Swift-Tuttle.

With a broad spectrum of topics – from cosmogonical myths to the signals of meteor detectors, from starlight-inspired violin improvisations to experimental horoscopes – Datscha Radio traced the path of these ‘falling stars’ to their manifestations in space and matter as the fictions and artistic responses that are bound up with them. 

A documentation of our shows will be uploaded on mixcloud in due time.

Séance Fiction – Oct 4

Pleased to announce my participation in the exhibition “Seance Fiction”, curated by Eva Schwab. The performance “Fazzoletto per un Eternità” will take place on Sunday, Oct 4, 4 pm.

With: Niina Lehtonen-Braun, Mathias Deutsch, Liat Grayver, Zohar Fraiman, Michael Kalmbach, Justine Otto, Heike Kelter, Catherine Lorent, Eva Schwab, Caro Suehrkemper.

Duftgesänge

Pleased to announce that the German version of my 2019 “10 (S)Cent Poems” has been accepted for production by deutschlandfunk Kultur (German National Radio). Such, a new “Wurfsendung” is coming up. Curated by Julia Tieke.

Duftgesänge
Poems, recording & composition: Gabi Schaffner
Voice: Hans Kellett
Will we manage before the blooming season ends? Ms Schaffner hopes so!

Lavendel Lavendel Lavendel

Ein Duft steigt auf und rundet sich
schwebt in der Luft und weitet sich
wie ein Ballon…
So breit und weit
Wie der nächtliche Garten
Von einem Winkel
Zum anderen.

Oh würziges Amor-Aroma!
Du weckst die Damen aus der Ohnmacht
Du schöpfst den Trost ins müde Herz
Du bringst den Schlaf
Vertreibst die Pest.
Du wirst geliebt
Vom Hummelvolk
Und den Bienen.

Lavendel Lavendel

Du wehst davon in Wellen
Lavendel-Ballon
Du wehst davon in Welten
Verschwenderisch veränderlich

Ich atme
aromatisches Szenario,
veränderlich verschwenderisch…


Sleepertown Mobile Art

Rapid(s)Trains, a set of four new compositions, has been selected as one of the sonic artworks to be featured at OPEN GOREY, “Sleepertown”, a mobile art event in Gorey, Ireland.

Sleepertown will utilise mobile technologies (Geo-Fencing) to create a parallel listening world, accessed digitally within the public realm. This world will coexist with our ‘real-world’ geographical landscape and will encourage people to move through the town of Gorey to specific spaces/places. As they move, they will trigger and immerse themselves, in new public installations/sculptures/interventions/artworks via their personal mobile devices.

Opening: September 18, 2020
Curator: Richard Carr

Album Out: June 1

  • Title: “Mauricio Pucci (1899-1926) Fazzoletto per un eternità. Pandemic New Music”
  • By: Gabi Schaffner. Raw Audio Productions 2020
  • Compositions and sound recordings: Gabi Schaffner
  • Participating musicians: Claudio Commandini, Hannes Wienert, Mimosa Pale, Rosanna Lovell
  • Edition with printed cover, insert, 180 grams vinyl: 200 copies
  • Artist’s edition with hand-printed silkscreen cover, 180 grams vinyl: 100 numbered copies
  • Price: 22 Euro regular/60 Euro collector’s item. Advance orders from: 1 June 20

Press info in English language will follow in a short while. Stay tuned 🙂

Cover of Fazzoletto per un eternità

May 17: “Radio Garten” at Kunstradio Vienna

How does making radio in the garden sound like? Between bugs and beetle bread, under the spell of the moon, in the small hours of the morning. How can the garden and its ecologies resound in radio?

These questions lay at the core of my archival and radiophonic investigations of what “makes” Datscha Radio special. On commission of Kunstradio Vienna a 51 minute sound collage was put together, to be broadcast on
– Mai 17
– 23 pm CET
https://oe1.orf.at/programm/20200517/598436/Datscha-Radio-ein-Radiogarten
– Produced by: Elisabeth Zimmermann

Includes excerpts of Datscha Radio 2017 and the Nightgardening series 2019 plus additional material. Datscha Radio Berlin is realized with Kate Donovan, Helen Thein and Niki Matita.

Taschentuch im Schwarzwald

28.04.20 Schwarzwälder Bote: Das Niesen fließt in ihre Musik ein (“The sneezing flows into her music” – I admit its hard to translate). By Niklas Käfer

Kultur: Audiokünstlerin knüpft an hiesige Phonoindustrie an

Beim Verein Global Forest liegt die räumlich zugängliche Kunst brach. Auch die Künstlerresidenten bleiben vorerst fern. Dafür gibt es einen Eindruck aktuellen Schaffens im Schau- und Hörfenster durch die Soundartistin Gabi Schaffner.
St. Georgen. Jessica Twitchell von “Global Forest” gibt zu: “Wir leben von Veranstaltungen.” Digitale Wege, um Kunst zu präsentieren, ist eine Möglichkeit, aber “es geht um das Zusammenkommen, Interessen teilen und sich dabei austauschen”. Eine nüchterne Erkenntnis in dieser Zeit.
Das Ministerium für Bildung und Kultur macht die Vorgabe, Veranstaltungen bis Mitte Juni vorläufig zu unterbinden. Doch es gibt Lichtblicke am Kulturhimmel, zum Beispiel durch die Audiokünstlerin Gabi Schaffner, die vor einiger Zeit in St. Georgen zu Gast war.
Schaffner ist zwar schon wieder abgereist, kommt aber bald wieder in die Bergstadt, um ihr Klangwerk – der Pandemie zum Trotz – zu präsentieren.
Die Klangkünstlerin, die drei Monate als Residentin bei “Global Forest” zu Gast gewesen ist, widmete sich in dieser Zeit einer ganz besonderen künstlerischen Aufgabe. Der Titel ihres neuen Werks lautet: “Pandemic New Music. Fazzoletto per un eternità.” Unverkennbar trifft sie mit ihrer pandemischen Musik den Kern der Zeit.
Kompositionen aus Nies- und Schnupfgeräuschen, Posaunen, Trompeten und weiteren Blasinstrumenten sind auf ihren Aufnahmen zu hören. Unweigerlich kommen beim Thema Pandemie und bei den aufgezeichneten Erkältungsgeräuschen Assoziationen zum Coronavirus auf – dabei ist die Geschichte eine etwas andere.
In Zusammenarbeit mit dem Posaunenchor und dem Deutschen Phonomuseum hat die Klangkünstlerin ihr neues Genre auf einer Schallplatte verewigt. Allzu viel will Schaffner über ihr Audiowerk aber gar nicht verraten. Der Zuhörer soll sich selbst ein Bild davon machen. Wer das will, geht vor das Künstlergebäude in die Friedrichstraße 5a und drückt den Knopf beim Schau- und Hörfenster.
So viel Hintergrund sei vorab schonmal verraten: Gabi Schaffner knüpft mit ihrem Werk an die frühe Musik des 20. Jahrhunderts an und lässt Geschichten im Kopf der Leser entstehen.
Die Protagonistin Mauricia Pucci wechselt ihre Identität
Die Protagonistin Mauricia Pucci wird 1899 im toskanischen Hinterland geboren. Sich sträubend, der Rolle der Frau zur damaligen Zeit zu entsprechen, wandert Pucci 1918 nach New York aus. Dort wechselt sie zu ihrer männlichen Identität Mauricio Farfalla Pucci. Mauricio geht in Übersee eine Liebesbeziehung zu einem Komponisten ein, der in Folge einer Influenza verstirbt. Daraufhin kehrt Pucci nach Italien zurück und gründet das “Orchestra di Starnuti”, zu Deutsch: das Nieskonzert.
Gegenüber dem Schwarzwälder Boten berichtet die Berliner Künstlerin über den Anknüpfungspunkt zur St. Georgener Phonoindustrie, die für die Entstehung der Platte entscheidend war. Auch schildert sie die Begegnung mit dem Posaunenchor, wo sie sich selbst anfangs “außenstehend” wahrnahm, später aber gegenseitige Wertschätzung empfand. Und natürlich spielte für die Berlinerin auch die Natur im Schwarzwald eine Rolle, die ihr bei ihren “field recordings” sehr entgegen kam.
Künstler wie Gabi Schaffner suchen in der Residenz bei “Global Forest” kreativen Freiraum. Im Moment ist aber auch diese Möglichkeit sehr eingeschränkt. Eigentlich hätte man weitere Künstler erwartet, aus Deutschland, aber auch aus den Vereinigten Staaten, berichtet Jessica Twitchell.
Beim Kunstaustausch gibt es im Moment ganz praktische Grenzen. Aufgrund von Reisebeschränkungen müssen Künstlerin wie Rosemary Hall ihren Aufenthalt im St. Georgener Kunstzentrum erst einmal verschieben.
Doch alles wird nachgeholt. So auch der Auftritt von Gabi Schaffner vor Ort bei “Global Forest”. Ein Termin steht dafür zwar noch nicht fest, wird aber noch für dieses Jahr in Aussicht gestellt.

In A Nutshell

Für die Eröffnung des neuen Sendestudios des frbb am 31. März 2020 im Haus der Statistik am Berliner Alexanderplatz hat Datscha Radio die 10-minütige Radioklangkollage „Datscha Radio in a Nutshell“ beigesteuert, die auf datscharadio.de nachgehört werden kann.

Listen Here: datscharadio.de

Komposition und Bearbeitung: Gabi Schaffner 2020. Länge: 10 min
Mit #NikiMatita#KateDonovan#Ryan McFadyen #Frieder Butzmann #MichaelaSchimun#gabischaffner#UlrikeStoehring#SarahWashington#CatherineLee#Yi-ChunLiu #MabelWang#Ming-ChunCheng #RomiCasile#AlbertoGarcia#EvaKurly#BerlinerChorSinglust#HannesWienert#MimosaPale, #FXSchroeder#kateraugustin

The Lion Dreams Of Hunting

Ms Schaffner is pleased to announce that her composition “The Lion Dreams Of Hunting” forms part of EARLID’s latest online exhibition of 12 pieces about dreamscapes, THE DREAM HAD ME: http://www.earlid.org/posts/the-dream-had-me/. Get lured into your favourite lucid state!

Quick update: THE DREAM HAD ME will be broadcast by Wave Farm in May 2020. More info in short notice.

Thank you for including my work, Joan Schuman.

Radio works at Borealis Festival

A quick announcement: “The Dog That Licked Up A Star” has been selected by the Radiophrenia team in Glasgow to travel the airwaves of the Borealis Festival’s “Radio Space”. Also featured: “The Journey of the Earthworm” (a widely traveling specimen indeed) and “The Night of the NIghtingales” by Datscha Radio (featuring very wonderful story readings by Kate Donovan, many Berlin nightingales on a rainy predawn morning and the gruesome story of Philomena).

DIe kleinere Verpuffung

Warum Frankfurts Stadtteil Fechenheim früher 56 Vereine hatte, weshalb die dortige Hühnerfarm keine ist und was es sonst mit kleineren Verpuffungen so auf sich hat, das weiß alles Harry Hoppe.

hr 2019 | 35 Min. | Erstsendung
[“A Smaller Deflagration”: Translation not available]

1950 zugezogen als “Eingeplackter”, betätigt er sich in Fechenheim seitdem als Berater, Seniorensicherheitsbeauftragter, Blumengießer, Vereinsgründer und vieles mehr. Die in Berlin lebende Performerin und Radiomacherin Gabi Schaffner, 1965 in Frankfurt geboren und in Fechenheim aufgewachsen, lässt in ihrem Hessen-Hören-Stück den Klang ihrer ersten Heimat vor allem durch Harry Hoppe erzählen, ummantelt, über- und untermalt durch Vor-Ort-Geräusche. Der Dank der Autorin gilt: Harald Hoppe, Richard Schaffner, dem Verein Vereinigte Geflügelzüchter 1897 und dem Tierschutzverein Frankfurt und Umgebung von 1841.

Sendung: hr2-kultur, The Artist’s Corner, 11.01.2020, 23:00 Uhr.

The Scented Lichen

With Julia Drouhin (France/Tasmania). A weird story and a weirder sound piece. Based on several failed experiments in the transposition of plant’s chemical ingredients into random melody, lost and found field recordings and the sound and scents of a waffle iron. (Lan: F) 18 min.

“La Lichen Parfumée” was broadcast as part of radia.fm’s # 760 transmission “Of seeds and lichen” (with Kate Donovan) in October 2019. Production: Verena Kuni, radio x, Frankfurt

Listen here: http://radia.fm/2019/10/show-760-of-seeds-and-lichen-by-kate-donovan-gabi-schaffner-for-radio-x/

Sneeze Music Performance / Editon

A record player dressed up as a ghost? NEW PANDEMIC MUSIC and the Sneeze Symphonies of Mauricio Pucci finally stepped into the open. The 30 min of lecture performance included the introduction of his (her) life and work as well as the playing of “Fazoletto per un Eternità” and “Moccio Oscuro”. For the first time ever, the mysterious copy of his original shellac disc surfaced.

The performance happened within the frame of “Biegungen im Ausland”, Berlin. 4th of October 2019

In celebration of (more!) women in New Music and composition arts, a silk screen-printed edition of “Pandemic Music” has been published.
While the “original copy” is not for sale, this was (sold out):

7″ single
14 compositions
Playing time: 8 min
Hand-printed cover, inner sleeve and label and handkerchief
No. of copies: 4
Art work, printing, manufacturing and everything else: Gabi Schaffner

Radio Seed Bombs

On the evening of the award ceremony, Datscha Radio will release three radiophonic loops at Humboldthain Club, that can be captured on site with radio receivers.
“Radio Seed Bombs” is an acoustic cross-pollination and self-fertilization in one, conceived by radio artists Kate Donovan, Niki Matita and Gabi Schaffner.

“In “Seed Dispersal”, Kate Donovan explores the sounds and stories of various seeds on their journeys through water, air, and bodies: a cosmos of dispersal, told in radio snippets and sent upon a breeze. With sounds and voices from Pablo Juanes; Molly, Hunter & Scout.

Niki Matita presents “Babosa”: Eine Erkundung der Welt jener ungeliebten Gartenbewohnerinnen, die in vielen Menschen Ekel und Unmut hervorrufen. Niki Matita untersucht, ob, und wenn ja wozu, Nacktschnecken nützlich sein können, welche kulturelle und spirituelle Bedeutung ihnen zukommt und welche Abhilfe es gegen sie gibt.

With “Gymnospermia”, Gabi Schaffner will broadcast an illustrious potpourri of Sicilian fruit descriptions, seed sounds, lawnmower microsymphonies, and tiny garden soundscapes in fourteen miniature compositions. With the voices of: Paolo Cavarro, Hans Kellet, Dirk Heiden, Kate Donovan and Margarita (courtesy Romila Casile)

NIghtShadeWalk

Pleased to announce that there will be a new audio walk especially designed for the Walking Tour Library that is curated by Yael Sherill and Lianne Mol.

NightShadeWalk deals with unforeseen adventures on a (traffic) island and its vegetal inhabitants. Starting from the 6th of September.

In September 2019, The Walking Tour Library will be the hub for a series of urban walking tours, newly conceptualized by contemporary international artists who will guide visitors through the city in an unusual and creative way. The project space* will be the organizational center of the project: here, the participating artists and their newly conceptualized paths through Berlin will be introduced in a group exhibition, and an archive of past tours and materials on the history of the urban walking tour as an artistic medium will be installed.

The Garden Calls

From sunset to sunrise, 8:46 pm on the 8th of August, until 5:39 am on the 9th of August, 2019, Datscha Radio will be broadcasting directly from a Berlin allotment garden in Treptow.
What is this sound, soft as perfume, permeating the frequencies of our presence? Datscha Radio wants to find out – and calls for your radiophonic input.

Deadline: July 15, 2019
More Info: Datscharadio.de

Datscha Radio Taipei

In January 2019 Datscha Radio traveled to Taiwan. As one of the selected artists for the Treasure Hill Artist Residency 2019 I was invited to perform research and radio art on site.
Six episodes of Datscha Radio explored, together with local artists and residents, the ecology of Taiwan.
Among others I was happy to collaborate with the following artists:

Gabriele de Seta
Margaret Shiu

Rewat Panpipat
Wu Tsan Cheng

Christine Muyco
Fujiu Wang
Lu Yi
Hauyu Yang
Mark van Tongeren
Laila Fan
Yannik Dauby
Hsu Yenting

Lori Huang + Sze-Ting
and still many more.

The audio archive of our broadcast can be accessed on:
https://www.mixcloud.com/datscharadio17/drt-6-waste-culture-1/


Place: Treasure Hill Artist Village, Taipei
Time: 11th January – 11th March 2019

La Défence 2003-2057


[Lopsided Towers – La Defense] has its roots in the terrorist attack of 9/11, and two very different cut-up texts sprang up from it: “Schiefe Türme” on occasion of the “Anagrams of War” exhibition/performance in 2002, – and this text, commissioned by the artist Nathalie Grenzhaeuser for her catalogue “Die Große Arche” in 2004. Inspired by Robbe-Grillet’s “Topology of a Phantom City” a dystopic vision of Paris-in-the-Future evolved. Planned as a radio play for 2019/2020.

Published in: Nathalie Grenzhaeuser: Die Große Arche. Forum 1822 Sparkasse, Frankfurt/Main. 2004

Excerpt: (German only)
Paris, Juli 2008, Observations sur La Défense. Enregistrement No. 7
Am ersten Tag der fünften Woche ist die Situation in groben Umrissen also folgende: Ein Steg aus Stahl und Tropenholz führt über 450 Meter vom Foyer der Arche über Gartenanlagen und schlammiges Brachland fort in den leeren Raum. La Jetée, von Osten aus gesehen, wird flankiert vom Friedhof „Neuilly“ zur rechten, dem Friedhof „Puteaux“ zur linken Seite. Es ist seltsam, dass diese Konstruktion, erdacht von dem Ingenieur P. Chemetov, an keinem bestimmten Monument oder einer irgendwie gestalteten Topologie, sondern an einem klassischen urbanen Unort endet. Ein junger Mann, der sich dem Betrachter nicht zu erkennen gibt, lehnt mit geneigtem Kopf über den Rand der Brüstung. Der seit Tagen beständig zunehmende Wind hat den Pappeln, die unterhalb der Jetée im Garten der Arche eingepflanzt sind, schweren Schaden zugefügt: Hier und da lehnen kleinere Baumkronen wie erschöpft zwischen den Metallstreben. Je nach Windstärke schwanken auch die Gebäude des Viertels, eine Entwicklung der Umstände, die von zumeist unbehaglichen Gefühlen begleitet wird. Der Blick des am Geländer lehnenden Mannes ist jedoch nicht dorthin gerichtet, es scheint vielmehr, als ob er lauscht: Auf das Gurgeln des Wassers unter den Eisenträgern der Jetée oder in Richtung des Boulevard Circulaire, auf dem der immer dichter werdende Autoverkehr jetzt in gleichsam stetigem Fluss von links nach rechts verläuft, mit einem dumpfen Grollen, das an das Brausen eines Ozeans vor dem Sturm erinnert.

Paris, November 2008. Observations sur la Défense. Enregistrement No. 13
Auf den Fliesenplatten zwischen den Bäumen auf der anderen Straßenseite, sind jetzt vier oder fünf Männer in Trainingsanzügen aufgetaucht, die sich einen Messerkampf zu liefern scheinen; eine breite kurze Klinge blitzt von Zeit zu Zeit in einer der Hände auf. Es liegt aber kein Grund zur Beunruhigung vor, denn nach einer Weile trennen sie sich unter Lachen und freundschaftlichem Schulterklopfen voneinander und gehen jeder seiner Wege. Zwei kleine Mädchen in rosa Strümpfen, weißen Schuhen, bis an die Nasenspitzen in bonbonfarbene Sportjacken gehüllt, biegen um die Ecke. Sie gehen schweigend nebeneinander her, jedes mit feierlicher Miene einen Hot-dog in fleckigem Papier vor sich hertragend. Die Bürger in Courbevoie behaupten gehässigerweise, es gäbe etliche Kinder im Viertel von Nanterre (aber auch in Puteaux), die, während noch sie Kinder seien, bereits solche zeugen und empfangen könnten, ihre Nachkommen wären dann allerdings von Geburt an Erwachsene. In jedem Fall kann der erste Eindruck trügen. Es gibt Motorradfahrer, Polizisten und Boulespieler, die alle auf den ersten Blick ganz normal wirken. Ihre Besonderheit liegt im Innenohr verborgen: Es reagiert außerst empfindlich auf die Fallwinde der Wolkenkratzer, deren Vibrationen in ihrem Gehirn eine schwermütige Trägheit erzeugen, die sie zu ewigen Bewohnern von La Défense macht.

Paris, Mai 2010. Observations sur La Défense. Enregistrement No. 23
Manche Fotografien lassen sich wie gewöhnliche Zimmer betreten: Hinter einer Tür, sagen wir, befindet sich eine Küche, dahinter ein Schlafzimmer, daran angrenzend ein sehr kleines Zimmer, in dem ein Bügelbrett an der Wand lehnt. Das Bad nebenan wird ausgefüllt von einer Frau, die in den Spiegel schaut. Ihre Haare sind feucht und hängen unordentlich über den Kragen ihrer Regenjacke. Die Frau, deren Gesichtszüge übrigens nur verschwommen zu erkennen sind, geht zurück in die Küche, stellt Wasser für einen Kaffee auf und schiebt den Vorhang des tränenförmigen Fensters ein Stück zurück: Man blickt auf einen Teil der Avenue Pablo Picasso: die Skulptur einer riesenhaften Python und, in Gebüschnähe, auf ein mit rotweiß gestreiften Markisen verkleidetes Provisorium aus Holzlatten. Doch auch hier kommt es auf den Standpunkt der Kamera an. Links unten im Vordergrund steht ein entblätterter Baum. Hinten leuchtet das Grün des Friedhofs, die frischen Blumen rosa und weiße Farbflecke, daneben eine riesige Anschlagtafel, auf der in roten Lettern die Worte „Réorganisation – Libéralisation – Idéalisation“ zu lesen sind. Der Vorhang fällt, ohne ihre Hand, wieder zurück; aber an der Fensterluke der Wohnung nebenan schiebt eine andere Hand eine andere Gardine zur Seite. Wieder etwas weiter stürzt, in der Nähe eines Geflechts aus Röhrenstrukturen, aus einem ovalen Fenster ein regelrechter Katarakt Regenwasser aus einer Höhe von etwa fünfzehn Metern auf das Pflaster.

Paris, undatiert. Tableau de Nanterre
Auf der Brachfläche neben La Jetée hat sich eine Population von Salamandern häuslich eingerichtet. Sie leben in kleinen, aus Bruchholz und Steinchen zusammengefügten, mit Lehm verklebten Häusern. In der Nähe der an die Gärten der Arche anschließenden Mauer könnte man sogar fast von einer Salamanderstadt sprechen. An den wenigen verhältnismäßig trockenen Tagen sitzt der Melonenverkäufer auf einem Stück alter Karosserie und beobachtet die Salamanderfrauen, die ihre Kinderwagen ruckelnd über den brüchigen Asphalt schieben. Gegen 17 Uhr schält ein plötzlicher Sonnenstrahl ein polyedrisches Gebilde aus den Schatten. Den jeweiligen Standorten der Kamera nach zu urteilen, hat man den Eindruck, dass das Objekt jenes Autowrack ist, das nahe der großen Pfütze auf der rechten Seite mit dem Vorderteil in einer Lache rötlichen Schlamms liegt. Der Boden ist mit einem Muster unregelmäßiger Spuren bedeckt. Es scheint nur natürlich, dass unweit der Großen Arche eine wachsende Anzahl ungewöhnlicher Tierarten siedelt. In Nanterre wird von Hunden berichtet, die, statt zu bellen, sich angeblich einer geheimen Zeichensprache bedienen. Der seit Tagen nahezu unablässig fallende Regen hat die Gärten in Sumpfland verwandelt, willkommene Heimstatt für Scharen farbenprächtiger Wasservögel, die hier reichlich Nahrung finden. Ein Polizist gab unlängst die Sichtung eines Flachlandtapirs zu Protokoll, ein längerer Artikel im „Puteaux Commun“ folgte, das Einfangen des Tieres wurde allerdings durch die Kompetenzrangeleien der angrenzenen Kommunen vereitelt.

Sneeze Music: The Story of Mauricio Pucci


Biography Project/Sneeze Symphonies
Commissioned by Deutschlandradio Kultur/Ars Acustica Group. Core text for the biography of the Italian “Sneeze Music” composer Mauricio Pucci who was born a woman but pursued his career as a man in the 1920s. Planned as a 7″ vinyl in December 2019.

Excerpt:
Mauricia “Farfalla” Pucci was born as the forth child of Anna and Paulo Pucci in the Tuscan village Riotorto in 1899. Her father, next to his daily occupation as a cutler was also a renowned village trumpeter. Yet, in favour of the progress of her three older brothers, Mauricia was denied access to formal education, even though her musical talent and her deep interest in composition stood out against the rural petit-bourgeois background. Aged 18, she decided to run away to Naples where she boarded a ship destined to New York. Tall and lean, with somewhat too straight features to be called pretty, unwilling to come to terms with her preordained role as a woman, young Miss Pucci decided to call herself henceforth “Mauricio” and so stepped 1918 onto the shores of the New Word as a free man and aspiring artist.

Pucci’s fate is one of the few known examples in music history that – quite literally – incorporate and transform transgender issues with utmost sensitivity in music. A coincident brought him into contact with the New York composer scene which at the time was much influenced by the new impressionist style purported by composers like Ravel, Debussy and Varese. Soon he made the acquaintance of Charles T. Griffes… and fell madly in love with him. Griffes, then 35, took instantly to this young, dark-eyed and strangely shy stranger. He was just at the turn to become one of the most acclaimed modern composers of his time and exerted a considerable influence on Mauricio, returning the tender feelings but most carefully hiding the fact that he was indeed gay. Such one of the most wondrous and secret romances in the composer world started… a love that was destined to last little more than a year. Griffes, feverishly working on a set of new compositions that he declared to become his ulterior work and the first modern piece that would “be more physical than any other hence written score”, died on April 8, 1920 of a combination of pneumonia, exhaustion and influenza. Charles’ death left Mauricio in a state of shock from which he would never recover but which – at last – holds the clue and initial inspiration for some of the most unusual compositions ever created in the fore field of Modern Music.

Pucci left New York only two months later to return to Naples where he introduced himself convincingly as a distant cousin of the Riotorto Pucci clan. Hardly any records of his activities remained with the family. It was said that beside his composing activities he earned a living as a teacher of the English language. No one suspected that behind the appearance of this erudite, softly spoken and extremely sensitive man lay the physical realities of a woman. In 1921, Mauricio conceived of a set of partly impressionist partly corporeally inspired compositions connected to the most terrifying event of his life: His lover’s influenza and ensuing death. The very pains, the fever, the sneezing, the snorts and moans, the heavy last breaths witnessed at Charles’ sick bed had left their ineradicable musical imprint upon his imagination and paved the way for his quest into NEW PANDEMIC MUSIC.

In 1922 he founded his “Orchestra di Starnuti” (Sneeze Orchestra) which put him onto the forefront of modern composers though, sadly, his innovative concept earned him at the time rather laughter and contempt than respect or admiration of his contemporaries. Between 1922 and 1926 he created at least 60 “Sneeze Fantasies”, for arrangements with handkerchief, nose, voice, trombone, trumpet, theremin and clarinet. While the instrumental parts had a score the “physical” acoustic elements, e.g. sneezes, were only notated as superimposed instructions. For the realization of his compositions, let alone any kind of recording, Maurizio had to rely on voluntary aid of sympathetic friends and supportive relatives who would partake despite their weakened health.
The combination of unpredictable live elements with a score that drew just as much on emphatic re-enactment as it challenged the virtuosity of the instrumentalists made it almost impossible to set up a “proper concert”. Pucci used wax cylinders to prerecord certain sounds in order to be able to play them back when needed. He experimented with the different properties of space too and was an assiduous visitor of churches and caves. The more he indulged into the musicality of “nasal explosions” and the creation of a PANDEMIC NEW MUSIC the more eccentric he became. Mauricio not only started to stage (and record) spiritualist séances to communicate with his lost love; he even became so obsessed as to distribute infected tissues to his environment in order to ensure sufficient flu infections.
…[musical analysis of the symphony]

“Fazoletto per un’ eternità“ is not only a rare and early synthesis of impressionist and atonal composition. In terms of gender politics and history it is one of the earliest examples of “physical generalities” taking their stance within the field of music. But thirdly and foremost it is a recording that incorporates the very vulnerability and timeliness of our existence.
Research, restauration and digitalisation of sound material: Sisukas Poronainen. Department of musical anthropology, Tami University of Finland. Research partner: UCSB Cylinder Audio Archive, USA. © Poronainen. January 2017.

Unearthing The Archive

Neighbourhoods, networks and radio – the thing that they all have in common is that the fine threads of their connections are only visible as temporary events: in celebrations and festivals, in exchange and support. They are organic by nature; they can expand, contract, divide, they need care and pathways… similar to a garden, whose inhabitants make contact above, as well as underneath, the ground. Datscha Radio’s installation “Unearthing the Archive” traces what’s below the surface, and the communality of these networks. For the exhibition at c/o Kunstpunkt, Datscha Radio is earthing and reassembling its archive, and allowing it to resonate.

“Unearthing the Archive” transmits performative pearls, linguistic matter, and music from the micro/macro cosmos of human as well as vegetal neighbours. Between molehills and mobile radios, deck chairs offer visitors the opportunity to make themselves comfortable and listen in to selected shows transmitted from the archive.

The group exhibition RAUMOHNERAUM #3: In the Neighbourhood at c/o Kunstpunkt Berlin was part of an exhibition series organised by the Netzwerk Freier Berliner Projekträume und -initiativen e. V..

Artistic Archivists: Gabi Schaffner, Kate Donovan, Niki Matita, Helen Thein
Featured DR artists on Mole Loops: Frieder Butzmann, Carolina Carrubba, Joaquín Diaz, Alberto García, Anna Katarina Martin, Eva Kurly, Ryan McFayden, Plants and Empire, Suetzu Flight Master’s Whistle, Martha Zapparoli

Datscha Radio Madrid: Un Jardin en El Aire

Radio Gardening in Madrid: The residency involved research and documentation work on local (urban) gardens as well as the realisation of a Madrid Datscha Radio off-shoot.The one-day radio station was installed in a geodetic tent in the community garden in Lavapies, “Esta Es Una Plaza”.

All reports, diaries and observations on Madrid’s urban gardening communities, its historic parks and a documentation of the Datscha Radio events staged at „Esta es una Plaze“ are accessible online on datscharadio.de. A publication with Medialab Prado is in preparation.

Participating artists: Alberto García, Anna Katarina Martin, Carolina Carrubba, Eva Kurly, Joaquín Diaz and the gardeners.

Tech / logistics: Jesús Jara (MediaLab Prado) / Maite Camarro (In-Sonora 10). Streaming support: Udo Noll, aporee.org.

The Megaphone Guerilla


Series of poetic street performances. In cooperation with the maraa collective/BangaloREsidency Goethe Institut. 7th October 2018. Participating artists: Ekta Mittal, Angarika Guha, Nithila M.K., Daniel Tao, Ashwini Charkre, Rajeshwari Krishnamurthy, Tasmeen Lohani. Publication: 22 pages, multilingual, illustrated. Layout and photography: Gabi Schaffner.

I am a stranger in Bangalore. There are many shades to the concept of a stranger; the visitor, the intruder, the guest, the immigrant, the ex-pat, the traveller, and more.
Strangeness is a fruit with many tastes, shapes and colours. From bitter to sweet. From carcass to cake. From black or brown to white or yellow… or orange for that instance.

Hello.
I am nobody.
And who are you?
I am nobody too.


The first “strange” things I noticed in Bangalore were the fleshy orange flowers of the tulip trees that covered the pavement almost everywhere. The second was the omnipresent earpiercing sound of car horns in the roads, and the third thing that struck me as very unfamiliar were the piles of waste sitting patiently, trodden on, kicked over, picked at and awaiting further processing in any corner of any corner.
After that: the great number of very peaceful dogs and cows.
Hello.
Hello?
Mooh!

In Germany we know that the cow is considered sacred in India… yet it is the mix of sacredness and indifference that gives these apparitions their strangely surprising presence. Being a traveller, identity is no great issue to contemplate. Being a traveller one knows about distance and difference.
It is what our eyes, minds and souls feed on and it is totally relative.
If one would go crazy for example, in a foreign country: you’d notice? Stripped naked in a foreign country, who would know who you are? Otherwise: without knowing about “the other” there is no “me”. They are interchangeable. Then again, identity can be a burden. As much as it gives you something you belong to, at times you don’t want to belong. The number of things that seem “strange” diminishes until – eventually – all of them have faded into familiarity.

Who is “I”?
“I live here” is a concept I would apply to anyplace where I can be at ease with myself ,…. where my fingers rest comfortably on a keyboard and nobody threatens to take me away. Where I am safe for the night. Yet here in Bangalore, there are things I dearly miss. Most of it being the perfume of first autumn days in Middle Europe, a mixture of hoar frosted… rotting… leaves and sweet apples.

Hello?
Hello.
Hello? Mam!

Identity cannot be regarded as something that is fully “whole”. It has flaws, Missing bits, embedded particles that reflect the sun like fools gold. it changes and grows, it might even shrink. there are hollows, some of them even containing soil and seed pods. Identity is sometimes rained on, especially in the monsoon season. In death it is accomplished… but probably not before. And this pair of eyes behind the looking glass: Maybe we should take the mirrors down.

Maybe we should take the mirrors down.

Sendestation in der Natur: „Datscha Radio“ in Pankow

08.09.2017. Rafik Will. Medienkorrespondenz: https://www.medienkorrespondenz.de/hoerfunk/artikel/sendestation-in-der-natur-datschanbspradionbspinnbsppankow.html

Unter dem Titel „Plots & Prophecies – Parzellenprognosen“ fand im Berliner Bezirk Pankow vom 25. bis 29. August das Radiokunst-Festival „Datscha Radio 17“ statt. Über die fünf Tage wurde dabei ein Programm aus Hörstücken, Performances, Diskussionsrunden, Lesungen und Live-Konzerten realisiert und im Radio ausgestrahlt. Das von der Künstlerin Gabi Schaffner initiierte Projekt definiert sich als eine „temporäre Radiostation mit wechselnden Standorten“ und auch als „globales Gartenforschungsprojekt“. Im Jahr 2014 machte „Datscha Radio. A Garden in the Air“ Station bei der Landesgartenschau im hessischen Gießen, in diesem Jahr war (wie schon im Entstehungsjahr 2012) Schaffners eigene Datscha in der Garten- und Siedlergemeinschaft Einigkeit e.V. Veranstaltungsort.
Ausgestrahlt wurde „Datscha Radio 17“ sowohl durchgängig als Internetstream wie auch – zu großen Teilen – über UKW. Für die Übertragung des „Datscha-Radio“-Webradios stellte die 2006 von Udo Noll geschaffene Plattform „radio aporee“ ihre Infrastruktur zur Verfügung. Eine UKW-Übertragung war möglich, weil einige Veranstalter bei der von der Medienanstalt Berlin-Brandenburg (MABB) ins Leben gerufenen nicht-kommerziellen Frequenz 88,4 MHz in Berlin (sowie 90,7 MHz in Potsdam) ihre Sendezeit zur Verfügung gestellt hatten. Dazu gehörte unter anderem der über die meiste Sendezeit verfügende „Pi Radio Verbund“.
Der Garten gehört zum Konzept
Der Garten gehört bei „Datscha Radio“ als integraler Bestandteil zum Konzept und dient nicht nur als Kulisse. Die Installation einer Sendestation in der kultivierten Natur bildet hier die Grundlage zur Verknüpfung der Themenfelder Mensch, Natur und Technik. Bemerkbar machte sich der interdisziplinäre Ansatz auch im Programm der diesjährigen, nunmehr dritten Ausgabe von „Datscha Radio“, wobei jeder Tag einen eigenen Schwerpunkt aufwies. Die Themenpalette reichte von gesellschaftspolitischen und stadtsoziologischen Aspekten des Gärtnerns bis hin zu Kommunikationsformen von Tieren und Pflanzen, die man im Garten findet.
Kuratorinnen bei „Datscha Radio 17“ waren neben Gabi Schaffner die Klang- und Radiokünstlerin Kate Donovan, die Musikerin und Musikpädagogin Shanti Suki Osman, die bildende Künstlerin und Musikjournalistin Niki Matita sowie die Medien- und Kulturwissenschaftlerin Verena Kuni. Letztere konnte zum Festival selbst nicht anreisen, sonst waren alle Kuratorinnen vor Ort und betätigten sich auch als Moderatorinnen, Performerinnen und DJs. Gestaltet wurde das auf eine internationale Zuhörerschaft zielende Programm sowohl in Deutsch als auch in Englisch, was außergewöhnlich gut funktionierte, nicht zuletzt deshalb, weil es sich bei Donovan und Osman um zwei englische Mutter­sprachlerinnen handelt.
In seinem Sendeschema setzte „Datscha Radio 17“ wie andere Hörfunksender auch auf die Wiedererkennbarkeit von Formaten durch deren tägliche Ausstrahlung zur selben Zeit und eine auch ansonsten klare Programmstruktur. So gab es etwa um 16.00 Uhr eine U-Performance-Reihe, die von Gästen wie dem Frankfurter Soundpoeten Dirk Hülstrunk oder der Berliner Klangkünstlerin Antje Vowinckel getragen wurde. Um 20.00 Uhr kam jeweils die Sendung „Pop & Pastinaken“, bei der außerhalb des musikalischen Mainstreams angesiedelte Bands wie „SchnickSchnack“ oder „Junge Haut“ Live-Konzerte spielten. Zum einstündigen täglich wechselnden „Guest Streams“ trugen immer ab 23.00 Uhr internationale Radiokünstlerinnen wie die Australierin Sophea Lerner oder die Neuseeländerin Sally Ann McIntyre bei.
Erfrischend unkonventionell
An drei der fünf Veranstaltungstage gab es ab 12.30 Uhr die „Diskussion am Mittag“, ausgerichtet in Kooperation mit dem Bildungswerk Berlin der Heinrich-Böll-Stiftung. Hier wurde etwa über die Möglichkeit diskutiert, trotz zunehmender Wohnraumverdichtung mit traditionellen Kleingartenanlagen oder auch mit den neuen Ansätzen zu urbanen Gemeinschaftsgärten die allgemeine Lebensqualität anzuheben.
„Datscha Radio“ hat sich als professionelles Kunst- und Kulturradio etabliert, das es trotzdem schafft, seinem Publikum ein erfrischend unkonventionelles Hörerlebnis zu bieten. Selbst die dieses Mal aufgetretenen technischen Störungen änderten daran nichts. Zur Erklärung: Weil der von der Telekom zugesagte Internetanschluss nicht rechtzeitig zur Verfügung gestellt wurde, musste „Datscha Radio 17“ auf mobiles Internet per USB-Websticks zurückgreifen. So kam es zu kürzeren Pufferpausen bei der Übertragung des laufenden Programms an den Server, der daraufhin die Weiterleitung des Streams zum Endgerät des Hörers unterbrach und stattdessen wie in einer Warteschleife Naturaufnahmen von Bienen, Grillen oder fließendem Wasser spielte.

Datscha Radio 17


A five-day festival celebrates the future(s) of the garden and broadcasts directly from an allotment garden in the Berlin north.
In August 2017 Datscha Radio broadcast again from my garden in Berlin Pankow, with the joint support of Freie Radios Berlin Brandenburg (frbb).

Datscha Radio 17 was realised by: Gabi Schaffner, Kate Donovan, Niki Makita, Helen Thein, Suki Shanti Osman und Verena Kuni.

Studio Support: Studio Ansage, Pi Radio (both FRBB)

With “Plots and Prophecies – Parzellenprognosen” Datscha Radio 17 created an interdisdiplinary program broadcast 24/5 from the 25th – 29th August 2017 – on stream, via micro FM and on selected days on 88.4 (90.7 in Potsdam). Aligned with the length of the festival, the radio makers, artists and guests focused on five subject areas:

  • Hortus Politicus
  • Symbioses
  • Biotopes in Future Perfect
  • Birds and Bees
  • Subterranean Meditations

The process of radio making – otherwise quite a hidden event – became transparent in the Datscha’s winter garden and outside studio transforming the privacy of the garden into a public space for art and communication. Datscha Radio 17 was supported by the Pankow Amt für Weiterbildung und Kultur and the Hans and Charlotte Krull Foundation. The format “Midday Discussion” was developed in cooperation with the Heinrich Böll Foundation Berlin. Streaming support came from Udo Noll, aporee.org.

Complete documentation available here.
Press articles can be viewed here.

Fazzoletto per un’ eternitá


Handkerchief For An Eternity. New Pandemic Music and the Life of Mauricia/o “Farfalle” Pucci.
The compositions explore the musicality of sneezes within the field of New Music. Parallel to the introduction of “pandemic music” an imaginary biography of the composer was developed. Commissioned by Deutschlandfunk Kultur and Ars Acustica Group 2017.

Quite a different “walk on the wild side” offers this documentary about the Italian new music composer Mauricio Pucci. Born in 1890 as a girl in a Tuscan village, she ran away and decided to take on the identity of a man. Fate sees her falling in love with New York composer Charles Griffe who later died of influenza. Back in Naples, Pucci founded the world’s first „Sneeze orchestra“ but found a comparatively early end in 1926.

The only surviving set of (longer) compositions, titled „Fazzoletto per un’eternita“ was broadcast with in the frame of an Ars Acustica Project on EBU Concert Season Anniversary in November 2017.

A set of (very much shorter) pieces is available as part of deutschlandfunk’s „Wurfsendungen“ under the title „Sneeze Fantasies“.

„Sneeze Fantasies“ and „Fazzoletto per un’eternita“ form both part of a new biography and music project by Gabi Schaffner aka Sisukas Poronainen.

Song For Gretchen

Stereo installation for 2 mono speakers in 2 birdhouses. “Song for Gretchen” was created within the frame of the Frankfurt “Osterspaziergang”. Contrary to the wide reception of Goethe’s famous “Easterwalk” poem, the attention is directed towards the biography of Susanna Margareta Brandt who was sentenced to death under the accusation of murdering her child.

The 16th of April 2018 found Faust’s poor Gretchen singing in the garden of the Willemer Häuschen in Frankfurt/Main: On occasion of Easter celebrations and Goethe’s famous “Easter Walk” poem the curators Annette Gloser and Robert Bock invited 11 artists to create art works along a historical parcours of Frankfurt’s Goethian landmarks. In an adaption of the old German kitchen song „Mariechen saß weinend im Garten“ Shanti Suki Osman’s and Ulrike Stoehring’s voices sounded out into the place where Goethe met Marianne von Willemer in 1814.

Electric Fairy Grounds

TRAP (Topographic Radio Art Play). Installation for three radio transmitters camouflaged as bird houses on occasion of the Sound Art Exhibition “Phantasmagoria” in Bogong Village, Australia, 2017. Curated by Madelynne Cornish and Philipp Sarmartzis.

In November 2015 I started first interviews with former inhabitants of Bogong Village, among them Anita Martin who spent almost her entire childhood there. Further conversation partners were a former engineer as well as the current landscape gardener.

Old and new recordings are collaged on-site and combined into a story in three chapters. Each chapter is linked to a specific location . Total length of the story scape: 18-25 Minutes.

The bird boxes were installed near Junction Dam, next to the old tennis court and next to “the uncanny tree” on the other lake side. Analogue to the ancient concept of the Dreaming, the multiple identities of Bogong become only accessible by taking a walk that bridges past and present.


The Madness Of The Documentarist

“The Madness” accompanies me since 2006 when I wrote it on request of the Frankfurt label Gruenrekorder. A handmade three-lingual edition was published on occasion of a presentation at the Titanik Gallery in Turku, Finland (“Through the Grapewine”, 2011). In 2015 it was accepted by Soundproof/ABC Australia for a perfected production and broadcast in 2016.

Excerpt:
Any documentarist must either be mad or go mad while pursuing her work. It might be very well to embark on a journey, but carrying along technical devices for the purpose of documentation is sometimes presumptuous and can lead you into the quagmire of self-humiliation, too. Not that it would be a question of falsehood, which is inevitably attached to any object of objectivity. But isn’t documentation, generally speaking, a kind of theft? Isn’t it like stealing from time? And, what’s more, isn’t it done in a more than awkward fashion considering the value of that which is documented? With regards to the total inadequacy of human perception, the question arises as to whether or not the obsessive pursuit of a particular goal must automatically leads to insanity. But a documentarist must turn mad just at the moment he or she realizes that something wonderful is happening… the videotape is at its end, the pencil broken, the aperture wrongly adjusted or simply the battery is dead. It has happened to many, but few have put it in writing: The failure of the ethnographer right in the middle of things. Compared to the total triumph that results from having captured something absolutely unique; something precious; the authentic copy of a stretch of time. The DNA of reality, a sequence of real-time. Holy real-time, mantra of the field-recordists. Lost! Lost!

Technical Failure 1: The Handsome Young Man
The minidisk recorder failed for the first time on a Sunday morning, 7th of July, on the occasion of a bus trip into a neighbouring village (which had been organized for journalists and interested individuals by the festival board). The bus stopped in front of a vestry equipped with a wooden stage and rows of chairs. The backdrop of the stage was adorned with a Finnish landscape painting in sparkling green and blue; cloudlets in the sky and a little brook. We were introduced to: the village choir, the music teacher (being prominently seated next to the piano), some little nippers with violin and accordion at a tender age ranging from five to seven years, and a handful of young talents from the vicinity. Now there was an exception, a boy of maybe 16 years who, when you just looked at him, caused something in your heart to tremble. This, as far as I could see, was due to the delicate features and lines around his mouth which was straight but still the most mobile part of his face. His accordion-playing was without question first class, and consisted of only two short pieces. Each single tone, each note appeared as an innermost expression in his face and only after that were they emitted as sound from the instrument. Naturally, such an instance happens much too fast to perceive and name it consciously – only by memory can one slow it down and retrieve it in fragments. I had put the broken machine aside and was totally absorbed in this much too short contemplation. His face remained, while he played, perfectly naked and sensitive, but so deeply immersed as to be unreachable.

Deleted No. 1. Eero Peltonen sings the “Song of the Happy Squirrel”
Did I talk about the aura of technical disaster in the beginning? Well, now my head is again veiled by a dark cloud, quite similar to a mosquito-cloud and I am being heavily pestered by the vile, derisive hum of failure in my ears. Beform my inner eye: visualizations of finger tips on wrong buttons, the fall of technical devices from tables and rocks, malfunctions of in- and outputs, and in between, the gaping black gorge of forgetfulness. Therefore, it is now time for Laulu Oravasta the “Song of the Happy Squirrel”: A squirrel sits in its cove high up in a tree and it looks down onto the world. But all it sees is death and murder and other evil things happening on earth. The squirre| is very frightened, but then it looks another way. Right before its nose, the tree stretches a big branch out into the open air, green and green with rustling leaves. Just like a beautiful big flag, thinks the squirrel and continues watching the swaying branch. By now, the whole tree has started to sway, and the squirrel feels warm and comfy. The trees rocks the squirrel in ivs cove like a mother rocks her baby to sleep. All the trees of the forest move with the wind and the whispering of the leaves makes the forest sound like a kantele, Metsän kantele, the kantele of the forest. At the end, it looks up through all the leaves and branches into the sky. Birds are floating in a huge flock through the blue, singing. And the squirrel feels very happy.
The song is a famous poem by Aleksis Kivi, the first Finnish writer who dared in 1870 to publish a novel in his mother tongue (and not in the formerly prescribed official language that was Swedish). Eero says, of course everybody would talk about Kivi’s novel „The Seven Brothers“, but his songs would also be very beautiful. The squirrel song has a rather simple melody; at the end of each verse, Eeros voice comes down to a deep bariton, vibrating on a single tone and then starting anew. The song ends very low somewhere in the bass notes – and that was the moment I started to cry. Heart of wax, perhaps, who could tell.


Radio Revolten Documentation


64 blog posts in 30 days
Commissioned by Radio Revolten, radio art festival in Halle, 2016. Curated by Knut Aufermann, Anna Friz and Sarah Washington.

NEW: Radio Revolten. 30 Days of Radio Art.
Knut Aufermann, Helen Hahmann, Sarah Washington, Ralf Wendt (Editors) Marcus-Andreas Mohr (Photographer)

2019. 358 pages. Spector Books
978-3-95905-189-7 (ISBN)

5th Nov. 23:00 Magnetic Layer #3
Going into the archive files is like going underground. You disappear into some rabbit hole of your presence and come to a wonderland of unreal imagery and puzzling sounds. And you come across piles of unused material: The „Red-Zone-Talk with Sally McIntyre recalling ghostly recording situations, an interview with Sebastian who was responsible for the omnipresent beautiful light design, a café-chat with Maya Urstadt, more portrait pics, stills, snippets of tram announcements, more talks… Order is an illusion. Documentation is an absurdist’s game.>

7th Nov. 10:13 Magnetic Layer #2,5: The Bee Hive
I imagine all artists have now returned to some sort of every-day-normality. Some things can’t be captured on film or tape or digital recorders. When people talk about an event like a festival that has passed the talk often turns to „the energy“ of that event, stuff that’s unfathomable but was there. Smiles, encounters, new friendships, prospective projects.
Thinking of Radio Revolten, the thought or image of a wild beehive comes to my mind instead, with the wave-world as a honey comb that provides sweetness and nourishment for present and future. Eventually with the performance of each artist signifying the „waggle dance“ of a bee, the unending, „figure eight“ of infinity showing the way to the multileveled pastures of reality?

19th Nov. 15:05 Magnetic Layer #0,1 The Lost Stuff/Gardener’s View
Some talks got lost though. I saved them, I sent them via mail to myself… they seemingly disintegrated on the way. Others just went to sleep on my hard drives… Others never happened like the one with Miyuki Jokiranta about the Australian sound artist scene. I had visited her in the studio during her broadcast when the sounds she brought with her stimulated an unusual growth of green. She also broke the sad news that her ABC program Soundproof has been sentenced to end this year. A shame and a terrible loss to the sound art and radio world!
Sorting more files: Most of it is reconstruction. Almost nothing – reality excepted – is as fleeting as radio (art). It is there and then it is gone. Situations that enveloped the body in a physical surrounding with noise, talks, sensual contact, wine, smoke and fresh air have strangely faded and taken their place in memory. Three weeks after Revolten the diary reminds me of one of those little wooden boxes where you stash „Krimskrams“, odd earrings and bracelets, chocolate, chewing gum, a spare SD-card, coins and foreign currency, a postcard or two, emergency cigarettes, and, as it is the case with gardeners: Seeds and seedpods…

22nd Nov. 17:49 Magnetic Layer 5
So maybe that is the way… seeds and bees and chewing gum and endless radio art possibilities to sprout and blossom from them (Don’t ask me how comes it is spouting from a chewing gum). Good news for the German readers: Almost all texts (- except this one for the moment!- ) have been re-transferred into my native tongue. Thanks again to Emil for helping out and thanks already to Helen Thein who will take care of some final adjustments and translations. Here come the last pictures of the garden that I took the morning after… our „antenna plant“ in the circle covered in all golden leaves…
Cheers, your diarist.

Last diary entry, 5th November 2017. Complete diary on radiorevolten.net

HIdden Places


Narrated landscapes in Iceland and Australia
Commissioned by Deutschlandfunk Kultur 2016. Composition and text.
Phonurgia Nova Fieldrecording Award 2016: Honorable Mention.

Hidden Places is a cluster of 18 compositions centered on the idea of “wilderness” descriptions from Iceland and Australia.

The concept of landscape is manmade, and it is predominantly Western culture that defines our notion of nature. As a free form poetic quest Hidden Places examines the ways how this is done and it does so by asking people for their stories.


Selbstgemachtes Leben

Der Tapir im Birkenwald. DLF Kultur.
Production: Tina Klopp.
“Selfmade Life”, that’s how the Finnish term “ITE” – Itse Tehti Elämä – translates. Erkki Pirtola who died in January 2016, was obsessed with his life-long project to document on the self-taught artists populating the remote corners of Finland. He produced thousands of video tapes. I was told that a person working daily on Pirtola’s archive would need up to 4 years just to catalogue the material.


Erkki died at the age of 65 – and very suddenly. This feature is my homage to this extraordinary artist and friend. Music: FX Schroeder et al.


Hidden Places/Self-Made Life

by Rafik Will, 26.08.2016. Medienkorrespondenz; https://www.medienkorrespondenz.de/hoerfunk/artikel/gabi-schaffner-hidden-places-erzaehlte-landschaften-in-island-und-australien-klangkunststueck-deut.html

Gabi Schaffner: Hidden places. Erzählte Landschaften in Island und Australien. Klangkunststück (Deutschlandradio Kultur) // Gabi Schaffner: Selbst gemachtes Leben. Der Tapir im Birkenwald. Feature (Deutschlandfunk)
Mit dem Radio um die Welt
26.08.2016 • Im Oktober dieses Jahres wird in Halle an der Saale das internationale Festival „Radio Revolten“ stattfinden. Dieses Festival für Hörfunkkunst, das mit verschiedenen Veranstaltungen im gesamten Stadtgebiet aufwartet, wird von der Künstlerin Gabi Schaffner mit einem Blog begleitet. Die 1965 geborene Fotografin und Klangkünstlerin, die zwischen Berlin, Frankfurt am Main, Helsinki und Lobo (Texas/USA) ihr Leben verbringt, ist dem Medium Radio schon seit einiger Zeit eng verbunden. Ihr Wirken kommt sowohl in der freien Radio- und Hörspielszene zum Tragen als auch im öffentlich-rechtlichen Hörfunk. So ist beispielsweise ihr originelles, für HR 2 Kultur produziertes Stück „Otto Mötö. Im Universum finnischer Motorenmusik“ noch in bester Erinnerung (vgl. Kritik in FK-Heft Nr. 35/12).
Nun konnte man in diesem August gleich zwei aktuelle, in Eigenregie realisierte Arbeiten von Gabi Schaffner in den Programmen des Deutschlandradios hören. Auf Deutschlandradio Kultur wurde am 5. August das Klangkunststück „Hidden places. Erzählte Landschaften in Island und Australien“ urgesendet. Eine Woche später folgte beim Schwestersender Deutschlandfunk ihr neues Feature „Selbst gemachtes Leben. Der Tapir im Birkenwald“.
In der Soundart-Kategorie bekam der Zuhörer mit „Hidden places“ die Möglichkeit, eine Art Klangreise anzutreten in die sehr unterschiedlichen Landschaften des australischen Kontinents mit seinen heißen Wüsten und der vereisten Insel Island mit ihren Schneewüsten. Die dem Stück zugrunde liegende Arbeitsweise sieht so aus: Wie in einer Pendelbewegung kommen die von Gabi Schaffner aufgesuchten Interviewpartner und die korrespondierenden Fieldrecordings zum Einsatz, Nord- und Südhalbkugel wechseln sich dabei ab. Anders als etwa in einem Feature sind die O-Töne dabei nicht von einer Übersetzung überlagert. Alle Personen sind mit ihrem stark von Dialekt bzw. Akzent geprägten Englisch zu vernehmen. Sie berichten von für sie magischen und oft versteckten Orten, von Eishöhlen, in denen Elfen den Winter verschlafen und von angsteinflößenden schneeverdeckten Felsspalten – oder eben von heiligen Plätzen der australischen Ureinwohner und den geheimen verführerischen Stränden begeisterter Wellenreiter.
Über diesen Kniff gelingt es Schaffner, ohne unmittelbare Ortsangabe aus dem Off den jeweils gegenwärtigen ‘Schauplatz‘ des Geschehens zu offenbaren. Eine wesentliche Rolle spielen bei der Orientierung des Hörers natürlich auch die Feldaufnahmen: Die exotischen Vogelrufe platziert man in Australien, das Knirschen von Schnee unter Wanderschuhen wird in die Schublade Island eingeordnet. Das eigentliche Kuriosum ist aber, dass sich nach und nach die eindeutig scheinenden Zuschreibungen, was Sprachfärbung und Bioakustik angeht, in den Hintergrund schieben und Platz machen für neuartige Geräuschassoziationen – sehr meditativ. Wenn man das Skript mitliest, das im Internet auf der Seite von Deutschlandradio Kultur zu der Sendung verfügbar ist und auch die Übersetzungen beinhaltet, dann kommt zugleich der informative Charakter des Stücks voll zum Tragen.
In ihrem Feature „Selbst gemachtes Leben“ versorgt Gabi Schaffner den Zuhörer mit geballten Informationen über die Szene der Außenseiterkünstler in Finnland. Anlass für diese Arbeit war der Tod des finnischen Künstlers Erkki Pirtola Anfang dieses Jahres. Er gilt als Begründer der Bewegung „Itse Tehti Eläm“ (ITE), was so viel bedeutet wie „selbst gemachtes Leben“ und also der Titel des Stücks wurde. In dem Feature präsentiert Schaffner ihre Aufnahmen von einer gemeinsamen Reise mit Pirtola, der für sein Werk 2011 den ‘Staatspreis der Bildenden Künste Finnland’ erhielt. Das klingt zwar auf Anhieb etwas etabliert, aber im Zentrum der vor bald einem halben Jahrhundert ins Leben gerufenen ITE-Kunst steht der Punk-Spirit des „Do it yourself“. Stationen des Features sind meist abgelegene Höfe, auf denen eigenbrötlerische bis einsiedlerische ehemalige Bauern ihre fernab vom Kunstbetrieb erarbeiteten Konzepte umsetzen.
Hauptarbeitsfeld dieser schon recht betagten finnischen Außenseiterkünstler scheinen Skulpturen zu sein. Der im Untertitel erwähnte Tapir im Birkenwald etwa ist eine solche Skulptur, deren Hauptkörper aus alten Reifen besteht. Besonders radiophon sind naheliegenderweise die schrägen Gesänge, die die vorm Mikrofon versammelten ITE-Künstler zum Besten geben.
Wer von ITE vorher noch nichts gehört hat, beendet das Hören des Features mit dem Eindruck, dass es sich dabei um eine sympathische, freakige Umsetzung des Beuys-Postulats, jeder sei ein Künstler, handelt. Mit beiden Arbeiten gelingt es Gabi Schaffner, das Versprechen des Radios, die fremde Welt in das eigene Wohnzimmer zu holen, einzulösen. Diese besondere Begabung zur künstlerischen Fernreise scheint übrigens auch bei dem Wortspiel auf, das sie mit der Adresse ihrer Website treibt: schaffnerin.net.

Journey Of The Earthworm

Based on an interview with the Finnish artist Teuri Haarla about the beneficial qualities of earthworms. Microtonality and theatrical elements are combined into a 20min audio-lsd-trip.
Originally created for radia.fm. Show #592. Hosted by radio x Frankfurt, Verena Kuni. The „Earthworm“ was featured within the frame of the Radiophrenia Festival, Glasgow 2016 and at Documenta14 Public Radio, 2017, curated by Knut Aufermann and Sarah Washington.
Length: 27 min.

The earthworm travels on radio frequencies, earthy hacks and conglomerates of audio matter. S/he passes through mosquito clouds (yes, this earthworm can fly!), bird songs, thunderstorms, attends a Finnish summer theatre show, listens to a boy and his mother singing, visits the acoustic remnants of a German garden show, finds happiness in the ringing of porcelain bells and, finally, merges into silence and is gone.

Voices: Teuri Haarla, interview at Galerie Hilbertraum, 16th January 2016, Berlin, Germany; Unknown but stunningly convincing actors of a “kesäteatteri” 2010 in Mid Finland; Gibrain and Virpi Nurmi, Gießen, Germany, 2014.

Supplemented by a series of cartoons.
Documenta14 broadcast. Listen on Mixcloud:

Transformer: Frequency and Fragrance

Residency at the Bogong Center for Sound Culture. On invitation of Madelynne Cornish and Philip Samartzis. The title “Frequency and Fragrance” is owed to an article about the Japanese philosopher Zeami I read in 2014.

I can see the communion of fog and clouds on top of the opposite mountain range. In between: the trees, rising and falling like waves in slow motion. This space, veiled in moisture, brings Henry Darger’s extensive weather descriptions in his phantasmagorical volumes of the Vivian Girls to my mind. Their function is what? A distraction to the on-going drama of those yellow dressed and red shoed protagonists being hunted down by vile soldiers in blue uniforms? A scheme to infuse the passions of atmosphere into a tale of fight, victory and loss? To provide a heavenly space emptied of human action? If it wasn’t for the hydroelectric dam and the company tending it, if it wasn’t for the occasional tide of cabin owners visiting the village, this place would be just that: a tree-sphere devoid of human activity.

16000 kilometers separate me from Berlin where I come from, 17000 lie between Iceland and Bogong, forming the trajectory of the “Hidden Places” project I am working on. When I sit down to communicate with my loved ones, their morning is my evening, and my evening catches them drinking their first cup of coffee. Before I came here, I was obsessed with the thought of entering a world upside down, a sky with hitherto unknown constellations of stars. Can you hide in the unknown? Or isn’t it rather that in order to know what could be called hidden one must be acquainted with the ways of seeing. Nouns are deceiving, I find, they are mostly not “known”. And with the sky in clouds, I spend my time walking among the trees.
The other day I was trying to record bird song in one of the village streets. However, as soon I tried to get closer the birds changed location. So, what is this idea(l) of proximity and “clean” sounds about? Isn’t a recording as much about the distance and its space as it is about the desired subject? Doesn’t a veiled mountain tell you as much about the mountain as seen in clear sunshine? Maybe even more as there is something visible happening in between you and its body. In Bogong, one of the most prominent sounds is constant broadband stream of almost crystalline white noise mingling with the scent-filled air.
Every evening I copy my recordings and photos from my devices to the computer and further to the external drives. Hundreds of documentation pictures, extensive sound files with or without human voices: It feels like copying mirrors into other mirrors without seeing their reflection… nor myself. It takes more to access the substance of this than just listening to the files or looking at the images. And it might only be accessed from the distance, when I find out what constitutes the in-between… the texture of the veil.


When in the 14th century the Japanese playwright Zeami Motokiyo likened the flower to the notion of “substance” and its fragrance to the one of “instance” he was speaking of the Noh drama. Quite so, a field recordist performs her little dance in the depths of the forest. A choreography of gestures linked to combinations of unpredictable action and non-action. No one can see me as I kneel on the soft ground, balance on river stones, stretch to reach the highest branches. One may follow the fragrance to find the flower. One may create a “flower”, a place, a sound and has the fragrance to go with it. I like to think of this strange, hidden-from-the-world dance as similar to one the lyre birds do. They they are nature’s most gifted recordists, and certainly more graceful dancers than myself. I am going to meet them this evening, by the deserted upside-down tennis court at the end of Bogong Village.

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Music4Trains

Everyone knows trains. They take you from A to B. And possibly back.
The train is a myth, not only as a means of transportation, but also as a reinvention of the concepts of time and speed. A train can also be considered as a narrative – with an open end and an open beginning. In between: a time-stream filled with acoustic imagery.

Kunstfrühling Bremen 2014. Galerie Herold.
Gabi Schaffner: Music4Trains – Installation and performance with Ansgar Wilken; Installation and intervention: The Fado Hour
Kuratiert von: Marion Bösen
Installation: 4 CD players, 64 Speakers in 4 clusters
Performance: with Ansgar Wilken (Cello)
Vinyl-Edition: 10 copies. Dubplate & handprinted cover.
Price 120 Euro (1 left)

In Music4Trains, the acoustic qualities of environmental, accidental sounds are used as musical elements. In turn, selected samples from the canon of modern composition got freed from their original structure and shred down to fragments of noise. I did so to show my appreciation for work already done in the field of “locomotive music”. At the same time, this rather casual choice reflects the thorough omission of another thousand of musical works done on trains.
The ‘classic’ fragments were spliced, looped, speeded up or down, hacked into, turned over or reversed, until they turned into an acoustic debris not unlike the stuff you find in the trackbeds between the blackish grid and those patches of sturdy, uncompromising vegetation.
Conversations, phone calls on platforms, loudspeaker announcements, children’s screams, the sticky scent of human presence. A violin played at Hauptwache Frankfurt, an opera singer practising in an underpass somewhere in New Zealand, Hamburg’s main station anti-junky classic muzak, freight trains passing through Bremen and Gießen stations, Polish workers taking their leave from Berlin. I have been travelling u-tube videos, sampling away on Hungarian passenger trains and on the archives of freesound.org. And I taped this sad and furious old lady on a train to Vienna.

I am in love with breaches, flaws, mistakes, gaps and of course: noise. All of this connect us to the intangible fleeting beauty of our daily lives that are made up of noises, sounds and an all-pervading music.
More unused field recordings of trains and stations rumble about on my hard drives, shifting there like restless sleepers in their digital trackbeds. These four pieces are what came into being for now. Anything more you’ll have to make up yourself.

100 Days Datscha Radio

Research and radio on the premises of the state garden show Giessen with a focus on German garden culture(s). A converted ex-GDR caravan served as our radio and research homestead. Realised with Pit Schultz and Gärtnerpflichten e. V., Gießen. Prize Artist Competition Landengartenschau 2014.

Our aim was the exploration of local traditions and perspectives of gardening while using a variety of documentary modes. In the course of our research a public archive was created consisting of ethnographic field notes, photographs, protocols, talks and sounds.

Instead of processing these multitudes of data into scientific knowledge they were instantly broadcast via the medium of radio. A so-called “Audiokomposter” developed by Pit Schultz decomposed the material and turned it into a continually changing soundscape. This process of composting and decomposition found its poetic counterpoint in the untamed growth of plants around the caravan. In August, a one-day festival invited guests and visitors to further discussion and participation.

Publication: Datscha Radio/Audiokomposter. In: Draussen, pp. 62-71.

Otto Mötö

Otto Mötö. Into the Universe of Finnish Motor Music. From
the Archives of Martti Mauri (1935-2003)

“Otto Mötö” deals with the archives of the fictitious engine researcher and avant-garde composer Martti Mauri (1935-2007), whose tracks were traded among insiders as forerunners of techno and “new media” music. “Otto Möto” is based solely on field recordings / samples of engine noise. The album experiments in composition, textual and pictorial material with the invention of a personality, his artistic work and embedding in the musical history of his country. The original recordings were made during my travels in Finland. Nine artists participated in the creation of Mauri’s compositions. The project received the support of the Finnish Kone Foundation, Finland, in 2011.

The radio play “Otto Möto” received the prize “Radio Play of the Month” of the German Academy of Performing Arts in 2012 and was broadcast internationally.