it´s coming...

sound in context

film music

hannah tagein/tagaus ?

“Pablo Juanes composed together with two other musicians (Andrea Ermke - samplers, Sebi Ciurcina - guitar and bass) the soundtrack for my documental-film "Hanna-tagein/tagaus". The film describes the life´s conditions of a female farmer in the Italian Dolomit-mountains during one year. The music for each scene and passage was ready after a term of together work, and at the end it was played and recorded directly over the film in the studio. The film concentrates on the observation of the daily reality and on the social and cultural surroundings of this farmer, and it uses very little the language as narrative factor. Thus the music provides a special meaning and becomes another narrative element. The musicians carried out their work concerning intensly at the film-material, and they found a headstrong, subtel and troublesome musical language. From the very begining, the work of Pablo Juanes convinced me because of its sensibility, variability and pleasure for experimentation with his music instruments. His labor in the film´s music satisfied me even more than I´d expected. He embeded in the sugestivity of the pictures and dominated the sonorous image through his saxophon.” Carmen Trocker (Film director) "HANNA, Portrait of a female farmer" is a 60 min. documental-film, the second part of a trilogy of female portraits. Directed and written by Carmen Trocker ©C.trocker 2004.



“Transsitio is a photo-audio installation prepared to the exhibition "No Tango", that took place at Villa Elisabeth in Berlin during September and October 2004, as part of the encounter "Buenos Aires- Berlin 2004". Transsitio is concerned about different phenomena of dismantle, transition and provisional actions over public architectural spaces in both cities. These spaces, contrary to their original destinations, are ascribed to new functions inside the urban systems. This becomes more obvious in the case of public buildings that are in process of privatisation. Generally this metamorphosis is made with an attitude that pretends to deny and manipulate the historical and symbolical relevance of the buildings.
The functional arbitrariness reflects an specific feature of globalisation: the supposed legitimacy of every re-signification of the present signs. The photographs of Ina-Maria Rittmeyer show these transitory spaces, telling histories that are extended by the sound tracks of Pablo Juanes and Ronny Trocker. By means of sound recordings in the original places, electronically manipulated, the juxtaposed images of Buenos Aires and Berlin end up interchanging. Creating an acoustic fusion where the separated photographical spaces finally meet.” Kaja Krajnik (Artistic Direction of the project).
comfort orchestra

Comfort Orchestra was a sound installation that employed just the furniture of a lounge salon in a club in Berlin Prenzlauerberg, as sonotiry sources, collecting their minimal sounds to transform and amplify them, and then to return the sound into the space as its ambient music. The creaking of wood furniture, the screech of metals, glass, the vibrations of monitors or fragments of the conversations from the people there. All of them served to produce a live soundtrack complete connected with the rhythm stamped on the place by the visitors, and the way that they use the space.


cuerpo ?

Cuerpo is a visual and sound course all over the surface of a human naked body. The camera is placed as near as possible, transforming the body into a land and travelling over this topography. By its different paths the camera discovers how the images unite concepts/feelings/sensations seemingly opposite: attraction and repulsion, ugliness and beauty, desire and disappointment, delight and suffering. The body is so disclosed as an ambiguous space able to produce these or other opposites, which are forming and essential elements for its oneness.
The performance lasts forty minutes. This is the duration of the filmed material as well, previously edited, so the eventual performative work is concentrated in the sound side. Mostly the ground material (samples) comes from recordings of sounds generated by a human body: beats, throaty and belly noises, voices and so on. All this material, mixed and transformed electronicly, is used to produce the sound track of the film live.
a form of patience

Performance with text, sound and movement

Concept: Nicola Dahlinger, Jeanette Sendler
Direction, Text, Voice: Nicola Dahlinger
Performance, Choreography: Esther Nicklas, Sigrid Westenfelder
Light: Frank Vetter
Sound: Pablo Juanes
Design: Sönke Hoof
Project Co-ordination, Production: Catherine Launay

Produced by emerging properties in co-production with Schloss Bröllin e.V., sponsored by Ministerium für Bildung, Wissenschaft und Kultur des Landes Mecklenburg Vorpommern and with kind support of Mime Centrum Berlin
Premiere, Brotfabrik, Berlin, 2004

The words "a form of patience" are a quote from the poem Banners in which McCann looks back on his experiences: "Grief seemed a form of patience I should learn".
For the performance Nicola Dahlinger and Jeanette Sendler reconsider the title of the book of poems: Ghost Letters. The poet wants to make contact with his dead partner. In the process he touches and is touched by the paper, the pen, the table and the chair.
Nicola Dahlinger explores the inner and the outer movements of writing and writes letters to her dead father. Jeanette Sendler focuses on paper as a material and manufactures paper from plants used for healing, like camomile and yarrow. The performers Esther Nicklas and Sigrid Westenfelder take on these respective roles and choreograph the process of writing and paper-making. The musician Pablo Juanes collects writing sounds and sounds from the performance for his electronic composition.
The performance connects the memory of a person with the formation of a text, the formation of a material with the memory of its origin.
“One writes as well as one listens. In the performance, the sound of writing and the movement of the performer in the role of the writer must correspond strongly, otherwise the movement appears theatrical. The moment the movement appears theatrical, the audience react to what the performer is showing. The audience then no longer experience the state of listening, which belongs to the realm of being, but are transported into the realm of action/reaction.
None of the elements of the performance should reveal any personality, at the end of the texts for example, there is no sense of having gotten to know the father or the daughter, they don´t even have a name. The narrator appears as a disembodied voice. The performers do not seem to have a story, they partly merge with the objects in the space, which are placed there to fulfill particular tasks. The task of the papermaker is making, the task of the writer is listening. The sound the performers produce, live and electronically reproduced, emphasises the performing of these tasks. Everything in the space is objectified, even the audience members, placed at the edge of the other objects. Their task is the witnessing of the individual acts, visible and invisible: writing, moving, papermaking, speaking, listening.
The text is poetic rather than narrative or dramatic, the performers do not act as mirrors to the audience. The performance thus creates a space, a void, in which the audience member can experience his/her own perception and new associations to his/her own story can reveal themselves.”
Nicola Dahlinger, 2006

October 2009, Wortwedding-Laden für Poesie Projekte, Berlin
05 and 06 April 2008, Druckstelle, Berlin
July 2005, Galerie der Künste, Berlin
July 2005, Kunstladen, Berlin
February 2005, Festival 100°, Berlin
November 2004, Galerie space untitled, Berlin
October 2004, Brotfabrik, Berlin
ten sounds for ten images ?

I started to work with the video-artist Charly Nijensohn and the cellist Martín Ianaconne in the video-installation with live music "Ten Sounds for Ten Images" in the summer of 2003. I decided to use, for the composition of this soundtrack, the sounds produced by the electronic devices that were in use like setup during the performance. CDs MD and DVD player and mixing-desk served in this performance, not just for re-produce the sound of the installation, but also to produce it.
The Audio-Video-Live-Installation "Ten Sounds for Ten Images" took place in Podewil-Zentrum fuer Aktuelle Kunst, in November 2003 in Berlin.