Kris Limbach (Berlin)
Christoph “Kris” Limbach (born in 1978) is a sound artist residing in Berlin. Limbach graduated in applied physics from FU-Berlin and his physical knowledge merges into his sound and art work. His emphasis is always on exploring sound and image in an experimental way. Although his focus is on sound, he is involved in film projects since 1998, exploring always formats and aesthetics of cinema. His first experimental film, Cuento Incompleto was published in 2005 and since then he has collaborated with various artists performing live film screenings using expanded cinema techniques. This work for film has an outstanding influence on his current sound-art works, using film-editing techniques and film sound aesthetics for his sound pieces like the ongoing begin_ if _ () sound project and live performances. He released on labels such as Richard Garets ́s Contour Editions, Staaltape, Modisti, Framework Radio and more. He does sound engineering and installation for John Bock in addition to production and mastering work at Emitter19 Studios. He is part of the audiovisual trio Panoptik. He curates, together with Pierce Warnecke, the emitter micro Festival, a biennial experimental sound Festival in Berlin.
Music for Dysfunctional Airports
(working title) by Kris Limbach
“Films are 50 percent visual and 50 percent sound. Sometimes sound even overplays the visual.”
The project will be realized in collaboration with the Sound Archive of Experimental Music and Sound Art (SONM) in Murcia and Aktuelle Architektur der Kultur (AADK) – Spain.
Music for Dysfunctional Airports investigates the the man made, yet empty space. Paradigmatic for these spaces are the cases of national and international airports in spain and around the world, which were built but never inaugurated (out of various reasons…).
The airport – an ideograph of the modern age – , becomes in its unused state an emblem for the crisis, a symbol of failure and lack of economical and spiritual direction of our times.
The film project Music for Dysfunctional Airports approaches these phenomena from an auditive position: how does an unoperating airport sound? Which inner laws of space and time can be derived from a location whose heart, airline operations, have never begun? Is nature taking back this abandoned scene or is there a will to try to preserve them?
The basis of the film project will be the research work at the SONM. An early work of Rinus van Alebeek which is available at the archive serves as the blue print, the narrative pulse: The internal incidences of his piece The Natural History Museum of Sound serve as a pattern for the sound and video structure of Music for Dysfunctional Airports.
The cinematic architectural work follows the avantgarde architecture film a la Heinz Emigholz. Pitch, level, edits and in turn the whole filmmaking process will be correlatively treated.
The starting point for this investigation will be a audiovisual performance at AADK. The resulting film will become part of the SONM archive.