performed in the CineChamber
Stage Festival, Helsinki, 2013
Passengers is a theatrical road movie about a train trip from Helsinki to Rovaniemi. Combining live theatre, media art and dance, it is the story of accidental encounters on the railway.
Lapland and its Aurora Borealis appear as an exotic escape from reality to an Italian man left by his wife, a German journalist traumatised in war zones and a Japanese woman who lost her home in the Fukushima disaster. The passengers’ fates are bound together by the train’s conductor, intricately familiar with the stories of everyone on board. As long as the train does not reach Rovaniemi, anything seems possible.
Premiering at Stage, Passengers is realised in the CineChamber, a unique media space giving panoramic video projection and surround sound. The story, told both on screen and on stage, takes the audience on an immersive journey from melancholy to absurd humour.
Co-produced by Korjaamo Teatteri,the performance has been created by the multinational artist group Periskop founded by director Davide Giovanza and media artist Egbert Mittelstädt.
by Periskop (Yoshie Shibahara, Achim Mohné, Egbert Mittelstädt)
For Timeslices, performer Yoshi Shibahara, musician Achim Mohné and media artist Egbert Mittelstädt come together for an intuitive composition of images and sound. The framework for their performance is provided by a CineChamber media installation with a triple video projection.
The basis of Mittelstädt´s world of images are fragments of panorama photographs of the location from the performance venue. By means of his own software patch, he is able to control the spatial and time sequence of the photographic elements in real time. Shibahara takes these images as the stage for her improvisations. With his world of sound, Mohné creates a basis for the performer´s movements.
This process creates a continuously changing photographic image, which merges with the movements of the performer and the sound world to form a unity, an audiovisual “real-time composition”.
Performance with Biosphere
Do you recall the Biosphere 2 project? That immense, sealed glass dome constructed in the Arizona desert in 1990, which experimented with the possibilities of building self-sufficient space colonies, and housed entire families in a detached environment for extended periods of time? Geir Jenssen does. He was so taken with the creation of such a development that he adopted the project’s name, Biosphere, as his alias. In a nod to many of his compositions having been assimilated into an ‘Arctic Sound’-a somewhat reductive term concerning his work since it is much more than a simple reflection of his environment-he proposes you enjoy the same type of experience. Animated by attention to detail, rich textures, a natural minimalist aesthetic-aquatic brushstrokes, echoes of distant vessels, and glacial glitches-and other frequency maneuvers, he composes a ‘cinema for the ears’ that irremediably positions the listener in a profound and pensive sonic dimension. For Biosphere’s MUTEK performance, multimedia artist Egbert Mittelstädt, who gloriously captures Jenssen’s sonorous evocations through visual impressions and slides, will accompany him. Mittelstädt proceeds with style and eschews any pretences of rigid formalism or the dichotomy often found between sound and image. His digital manipulations of natural images or extreme situations from everyday life distort perception, while constituting a genuine invitation for escape toward infinite horizons. A dual display of the unreal and the poetic!
(Catalogue, Mutek 2012)
in collabouration with Geert Westphal
Drei hochformatige Projektionen bespielen die Bildfläche. Sie zeigen nebeneinander jeweils einen Kameraschwenk durch unterschiedliche Räume.
In den Bildern befinden wir uns in einem Gebäude, das seit langem verlassen und funktionslos ist. Die Spuren des Verfalls und seiner ehemaligen Nutzung machen verstärkt die Konstruktion der Räume sichtbar. Langsam gleitet der Blick über die architektonischen Strukturen, synchron in der Bewegung in der die Bilder wandern.
In der Parallelität, im Nebeneinander der Projektionen öffnen sich die Bilder füreinander - die Strukturen der Räume greifen ineinander und bilden flüchtige Momente des Übergangs, Möglichkeitsformen der Architektur. Fenster, Rahmen, Türen, Treppen, Kabel, Flure fügen sich in jeweils neue Konstellationen. So entwickeln die Bilder in ihrer gleitenden Bewegung eine Dauer, die sich durch einzelne Bildwechsel verändert fortsetzt und neu formuliert. Es bilden sich andere Valenzen: Möglichkeiten der Verbindung.
2007 - present
10 channel media installation
The mercurial widescreen sonic cinematic syntax of Biosphere & Egbert Mittelstaedt has graced the CineChamber screens for many seasons now after their live milestone residencies in 2007. Their timeless program that remains is asignature memory capsule that introduces RML’s surround canvas in the most spatially sublime sector of the Recombinant archives.
Opening with the weightless dreamful drift of “Elsewhere Anywhere” . Egbert Mittelstaedt reveals a Tokyo subway interior where the passengers are captured in a catatonic still life as their frozen images float quietly around a discerning CineChamber Station . Trapped on a haunted metro train to nowhere are the animated apparitions that emerge out of these photographic figures which for brief moments re-imagine the former preoccupation and lost voices of these restless commuter “ghosts”. The spectral twilight audio commentary from Biosphere’s Geir Jenssen suggest that these “People
are Friends” - activated sprits of a human presence long since suspended.
Taking cues from his outpost near the world’s Arctic Circle, this norwegian musician called Biosphere has sculpted a body of ambient works as iconoclastic as the remote midnight sun that beams onto the desert barren tundra’s and northern lights. Jenssen has painted his tonal impressions around the natural phenomena of clouds, glaciers, fjords and forests to forge a somnambulent music that also embraces a sine wave wilderness of slow synthetic pulses or hazy orchestral sources drawn from a distantly submerged Debussy broadcast: Biosphere’s live visual collaborator for a number of tours has been the Cologne based Egbert Mittelstaedt whose video’s photograph’s and installations investigate the principle of time as mangled by both subtle and extreme digital distortions. His image processing propels and warps movement through a series of slowly sliding, continuous beacons of elusive patterns and shifting structures . Acclaimed for his “Slit-Scan” meditations, he stretches the constants of space:by pulling motion out of shape while still remaining recognisable and time crawls forward in almost a pendulous, shimmering displacement.
(RML Portfolio, Naut Human, SF , 2012)
in collabouration with Frank Schulte
audio visual Performance
8 Channel Video Installation in a rotunda
VOID lab is an audiovisual project by visual artist Egbert Mittelstädt and sound and media artist Frank Schulte.
The project focus on the direct interaction of the media video and sound in interaction with the architectural space. Therefore the artists constructed a 5m wide rotunda, that is placed hanging into the center of the performance/ installation location. The live created and processed video images are projected with 8 video projectors. The sound is spatially divided and performed through an 8 channel room set up that surrounds the audience.
Premiere: 24.9. 10, Plan 10, Jack in the Box, Cologne