1974 / 2014.
mixed media installations.
stefan roigk is a multi-disciplinary artist living in berlin. roigk deals with the borders between sound collages, sculptures, installations, film and graphical scores. his artistic strategy lays in the combination of different types of media to one single composition.
sprachmusik 2012 / 2014.
sound installations and objects. 2001 / 2014.
long overdue. or a total waste of audio flashbacks?
sketches of laugh and decay.
sketches of love and delay. 2009.
bilder meiner ausstellung. 2007.
eight ephemeral draft-fragments for interventions and installations taking place in an imaginary museum builded of existing art spaces
1: JOURNEY THROUGH THE LOBBY (0:00-1:37)
2: IMAGINARY LAMPSHAKES (1:37-2:49)
3: INVOCATION OF MY BEARING OTHER (2:49-4:24)
4: UNTITLED JET (4:24-5:56)
5: THE LEGEND OF 'AIR (5:56-6:35)
6: HOMMAGE TO CELLE (6:35-7:15)
7: THE UNASKED ANSWER (7:15-8:30)
8: WALKING THROUGH THE WHITE ROOM (edit) (8:30-11:31)
recorded, arranged and mixed between 2004 and 2007
A: JOURNEY THROUGH THE LOBBY (0:00-1:37)
the deep organic sound of a big and nearly empty museum creeps subtle to the fore(ground).
quiet conversations animate the background and a bunch of time goes by.
suddenly three harsh paper shreds tear the room into pieces.
popular joseph sings his line before the big and empty hall comes slowly back in style.
the sound of wooden footsteps leaves the room and passes by several times.
at the same time, crackles swell to a ocean of cooking grease, and strange thuds and rumblings mold a nearly concrete scenery.
B: IMAGINARY LAMPSHAKES (1:37-2:49)
just at the moment a slurp is peeling from left to right, a wall of sound enters the place.
a broad range of low babel of voices, snatches, dramatic rattlings and chaotic fidgets spins around and takes place in every part of the room.
after the trashing retreats for a pause in the background, it directly returns with a deep organic squeak and disrupts everything into small scraps.
the hubbub massively rotates in the panorama while a peeling slurp decomposes the fading room.
C: INVOCATION OF MY BEARING OTHER (2:49-4:24)
a deep organic noise opens the scene which quickly becomes a frosty purr.
the crowd waits eagerly and there is always joseph's music in the air.
when the performance starts, deep horns take over command with a boggy field of warm outpourings.
screeching vocal treatments staccato-like ensnare the wide panning horn figures while cracklings and burbles release the concert with a highlight.
a discontinuity makes room for the clueless audience as another horn enters from the rearmost part of the room to the foreground.
two piercing sounds abruptly rule the board with panicked strain.
vocal treatments rise for a last peak before they fade away in the endless catacombs of the museum.
the audience has left the building.
D: UNTITLED JET (4:24-5:56)
an undertow gathers the brightness of slides and the lights go on with a deep buzzing on the right side.
hippy chants explore the universe while a deep bass-pounding pumps up from a far distance..
razor-thin phase-modulations open the surrounding so that the deep buzzing can stream in the whole panorama.
the cruising of vacuum cleaners bring the tubby rhythm to the foreground, and the warm hippy chants return with undulated stretches.
E: THE LEGEND OF 'AIR (5:56-6:35)
the bursting of fine glass splinters puts an end to this psychedelic drone of freedom and throws the focus into a cold blackness.
no daylight falls on this background composed of subtle drippings and thick murmur.
flogging strokes and intense bass convulsions form a field of proliferating jungle-like rhythmical structures.
a stumbling sine wave-modulation soon craves attention and fades away that organic coil of poly-rhythmical plateaux.
F: HOMMAGE TO CELLE (6:35-7:15)
a whirring drone comes closer as a loud bang illustrates the clean stage by its tiled reverb.
small high-frequency crunches crack cluster bomb-like out of the blue.
their spatiality and shape is squeezed and scrunched by a deep organic drone which ends with a click, and liberates the scene from its density.
the crackling dissolves in the entrance of the adjacent gallery.
G: THE UNASKED ANSWER (7:15-8:30)
the subliminal rush of the showroom is terminated by a fax machine from the back of the stage
after a small pause, clangs interconnect with recurring walking sounds and build a swinging blue note-like rhythm cluster.
yapping and whining of the word art expands the yet minimal figure which is completed by sharp and stretched chiming of a cooking top.
the so far groovy funk becomes an aggressive sharp-edged braiding, while the barking drafts its desire and relapses into silence.
H: WALKING THROUGH THE WHITE ROOM (edit) (8:30-11:31)
where we are from an artist sings a pretty song and there is always a young and nice trainee who comforts an important collector on the phone.
meanwhile someone leaves the gallery.
the air conditioner starts unnoticed, and now it seems to run static until the end of time.