Slowness uses cookies to enhance the quality of our website. You can control how these cookies and similar technologies are used by adjusting your settings in My Preferences. To learn more about which cookies we use and how to edit your preferences, read our Cookie Policy.
PREFERENCES
Slow uses cookies to enhance the quality of our website. You can control how cookies and similar technologies are used on this website by making a selection below.
Save Preferences
Want to learn more about our people, places and projects? Sign up below to get our occasional newsletter.
Interview

Reethaus Conversations

Soundwalk Collective’s Poetic Transmissions

Following the opening night of their “Transmissions” series, we spoke to curators-in-residence Stephan Crasneanscki and Simone Merli of Soundwalk Collective about the poetic nucleus of their practice as well as their kaleidoscopic vision for the series within the unique physical setting of the Reethaus.

  • Words Andrew Pasquier
  • Photography Jose Cuevas

Following the opening night of their “Transmissions” series, we spoke to curators-in-residence Stephan Crasneanscki and Simone Merli of Soundwalk Collective about the poetic nucleus of their practice as well as their kaleidoscopic vision for the series within the unique physical setting of the Reethaus.

  • Words Andrew Pasquier
  • Photography Jose Cuevas

While Stephan Crasneanscki and Simone Merli form the brilliant core of Soundwalk Collective, their expansive sonic arts practice engages a rotating constellation of contemporary artists, like Patti Smith and Nan Goldin, as well as anthropological and literary themes that invite audiences to listen differently and more deeply to their environment and inner worlds.

The unforgettable opening night of “Transmissions” at the Reethaus was a testament to their kaleidoscopic vision. Within the cloistered inner room, the duo invited Berlin-based choir A Song For You and soloist Mulay to lend their voices and graceful movement to the first-ever live performance of the film score to “All the Beauty and the Bloodshed,” documenting the life, art and activism of Nan Goldin. Weaving between the audience and illuminated by beams of light, the choir sang poem fragments by German Romantic Friedrich Hölderlin, written after he was sent away to an asylum. Doors opened and shut at intervals around the monastic space, revealing sonic interludes performed live on harp, cello and violin.

While just one example of their decades-long collaboration, the immersive program embodied the emotional potential of their multidisciplinary approach – an operatic rendition of a film score, a soundtrack made into a Gesamtkunstwerk. Looking forward, the duo is excited to witness how pioneering works that have inspired their practice come alive within the walls of the Reethaus – and how the guest artists they invite, from Pan Daijing to Jana Winderen to Lyra Pramuk, take inspiration from the space to create something unique.

  • "All the Beauty and the Bloodshed Live Score" at Reethaus.
  • Youka Snell on violin, conducted by co-composer Zacharias Falkenberg.
Andrew Pasquier Let’s start with your own performance in the Reethaus. You had previously written and recorded the score for Laura Poitras’ film about Nan Goldin, but you took the work to a new level in the Reethaus. How did your vision come together?
Stephan Crasneanscki It was a site-specific adaptation conceived for the architectural context and the sonic capability of the space. What was really powerful for us was the idea that we could reverse the experience to the listener by opening doors and creating new passageways where suddenly musicians are not inside but rather outside the space, creating a sort of mise en abyme. We utilized everything possible, from light coming through door cracks to spectators’ positioning on the floor, to really reinvent and rethink the experience of this piece originally made for cinema.
Andrew Pasquier Did you have to significantly reorchestrate or alter the composition for the Reethaus? From the choral sections to the interludes on live harp, violin, and cello.
Simone Merli Everything you heard really came from what we wrote for the documentary. But when we were scoring the film, we were limited by the length of scenes and the duration of a specific narrative. Now, in this live format, each piece became like eight to ten minutes long, seeming to acquire a new breath, a completely new dynamic. We were free to explore singular elements of each piece’s sound, with the parts now collectively forming a new composition.
Soundwalk Collective performed the piece with soloist Mulay and A Song for You, a vocal ensemble project founded by singer Noah Slee and creative director Dhanesh Jayaselan.
Simone Merli

“The presence of voice has always been something that’s central to our practice as a collective, alongside field recording. It gives a sense of narrative to our work: the idea there is always a story, or a memory, or a landscape communicated through language.”

Andrew Pasquier In your conversation with Nan Goldin in the Reethaus following your performance, she explained that while the film is very much about her activism against the Sackler family, there is this powerful sub-narrative around destigmatizing mental illness.
Stephan Crasneanscki Yes, Nan talked about this in the case of her sister. I think she made a very clear point here. When you are suddenly categorized or stigmatized as mentally unstable, you end up in the web of pharmaceutical companies where you get loaded with really heavy, hardcore medicine that is supposedly treating you. This thread extends to work we've done with Patti Smith on figures like Antonin Artaud. In the case of Artaud, he received crazy electroshock treatments. Who gets to decide whether madness is a sign of spiritual awakening, or suddenly a fear factor for the stability of society? There are many artists who have been considered mad in that they were maybe too sensitive, too fragile.
Andrew Pasquier There was an element of ritual that was really present in the performance. From the layered repetition in the choral music to the careful choreography, it felt almost religious. Would you agree?
Stephan Crasneanscki Yes, there was this presence of ritual for us, but this presence was more the reflection of this thin line between madness and grace. It was a metaphor that we tried to play with in the presence of the audience, and with the light coming through the cracks in the door, signifying the sharp bursts of electricity of electroshock therapy once used to treat the mentally unstable, setting them in a sort of epileptic-like trance. Many kinds of practices, whether religious or not, are linked to the notion of trance. Entering a trance is often associated with the loss of identity, which in turn is a common determination for madness. Yet what we call madness is a very broad term – it can be used in a clinical way, or it can be used in a more esoteric, religious type of way.
  • Youka Snell on violin.
  • Shards of light evoked the thin line between madness and grace.
Stephan Crasneanscki

“There was this presence of ritual for us, but this presence was more the reflection of this thin line between madness and grace. It was a metaphor that we tried to play with in the presence of the audience, like with the light coming through the cracks in the door.”

Andrew Pasquier Much like the Romantic-era German poet whose work you used as lyrics for the “All the Beauty and the Bloodshed” score.
Stephan Crasneanscki Friedrich Hölderlin, yes. In his younger age, he was the most brilliant, respected and honored poet of his time. Then he was suddenly removed from society and put in a mental institution because he was considered mad. Zimmer, his guardian, once declared: “If he went mad, it was not because he hadn’t enough mind, it was because he had too much. When the vessel is too full, and then one tries to seal it, it has to burst..."
Andrew Pasquier Poets are a recurring reference across your practice. Why poetry? Is there something that links their fragmentary use of language to your approach to musical composition?
Stephan Crasneanscki Poetry is a form that allows an immense amount of metaphoric rendering of landscape. Poetry leaves a lot of space for us to expand and resonate with the words, weaving something new while revisiting these poets’ work.
Simone Merli Also, the presence of voice has always been something that's central to our practice as a collective, alongside field recording. It gives a sense of narrative to our work: the idea there is always a story, or a memory, or a landscape communicated through language. We’re always looking for stories that we connect to geographically, psychologically and anthropologically. When Laura Poitras first commissioned us to compose for the film, she knew she wanted to have strings. We tapped into different musical traditions, from minimalism to transcendental music to meditative music, but somehow the presence of voice and therefore texts and literature found its way very quickly into the score.
Miriam Adefris on harp.
Simone Merli

“The series is a combination of artistic practices that have surrounded us and that we’ve been inspired by. It’s difficult to propose a frame for the series without making it personal.”

Andrew Pasquier Stephan you founded Soundwalk Collective in 2001. When did you both start to work together?
Stephan Crasneanscki I started Soundwalk in New York after art school. We worked on very different projects then, focused on sonic journeys and immersive experiences around New York City. Simone, remind me, what year did you join?
Simone Merli I think it was 2007.
Stephan Crasneanscki Wow. So for 15 years Simone and I have been partners-in-crime. We have this idea of a collective as a platform now, where we bring on lots of collaborators we are interested to work with. We try to develop different sonic grammars, different projects, and expand towards different places artistically. In that sense, what happened last week at the Reethaus was very much a new type of premiere that allowed us to explore the physicality of our soundtrack, adapting it into something more operatic in form.
  • Soloist Mulay in an original costume by Olivia Ballard.
  • Members of A Song for You at the entrance to Reethaus.
Stephan Crasneanscki

“What happened last week at the Reethaus was very much a new type of premiere that allowed us to explore the physicality of our soundtrack, adapting it into something more operatic in form.”

Andrew Pasquier What is your vision for the “Transmissions” series? Do you see your own practice reflected in the diverse group of guest artists you are bringing together at the Reethaus?
Simone Merli I think in every edition of “Transmissions” there's a little bit of our practice reflected. The series is a combination of artistic practices that have surrounded us and that we've been inspired by. It’s difficult to propose a frame for the series without making it personal. Otherwise the series becomes archival or historical or in a way that makes it more educative than anything else. We both want to present seminal works that are major references for us, like La Monte Young, but also much more contemporary artists.
Andrew Pasquier Like Lyra Pramuk, Jana Winderen and Pan Daijing. What inspired you to invite these guest artists to the Reethaus?
Simone Merli Well, we met Jana a couple of years ago on one of our collaborative projects with Patti Smith. We collaborated with TBA21–Academy, an institute that promotes contemporary art relating to climate issues, especially around the oceans and the human interventions in the ocean. We were collaborating with Patti Smith on a composition about seismic activity connected to explosions in the sea used to map the ocean floor for oil drilling. Jana is an artist who takes field recording seriously, which is also the starting point for much of our own work. She’s incredible because she’s spent the past 20 years documenting sound underwater, sharing her findings in a most pristine and scientific, but also extremely beautiful and poetic way.
Stephan Crasneanscki and Nan Goldin at Reethaus.
Andrew Pasquier What about your connection to Lyra Pramuk?
Simone Merli Our relationship with Lyra began on a recent concept album project called LOVOTIC. It's a collaboration with Charlotte Gainsbourg, featuring Paul B. Preciado, Atom™and Willem Dafoe. The piece allows us to reflect on our desire as humans to be intimate with each other, projecting this concept into a post-human future in which sex, intimacy and desire are reformulated.
Stephan Crasneanscki It takes fragments of our civilization and our sexuality. We took ideas from studies on sexuality and we re-composed them and sampled them, cutting and pasting fragments to imagine what our relation to sexuality and intimacy may be in the future with new technology, and to confront us with the possibility of a future in which identity and sexuality acquire forms that we could not yet understand today. Lyra co-wrote three of the pieces.
Stephan Crasneanscki

“Who gets to decide whether madness is a sign of spiritual awakening, or suddenly a fear factor for the stability of society? There are many artists who have been considered mad in that they were maybe too sensitive, too fragile.”

Andrew Pasquier Coming back to the Reethaus, what are some of the ideas you are most excited to experiment with in the unique space?
Simone Merli I’m quite looking forward to seeing what the artists we invited here are going to do. I was speaking with Pan Daijing about her contribution to the series. The conversation with the space and the context of this listening experience inspired her to present material from the last five years of her practice that is yet unheard outside of the exhibitions and installations in which they first appeared. I’m excited to experience this and interested to see how she’ll relate to the space, the light, and to a new spatialization of her work.
Stephan Crasneanscki It's really interesting to see how the Reethaus can be approached to develop different narratives. It has so much flexibility; it's a fantastic and unique environment to work with.

The Journal

Meditations on slowness through photography, film, art and original reportage.
Latest Stories
Contact
Berlin
Zur Alten Flussbadeanstalt 1
10317 Berlin, Germany
LISBON
Largo de Santa Marinha 1
1100-383 Lisbon, Portugal
Website by Studio Airport