Rainer Krause – curator


Rainer Krause
was born in Hoyerhagen, Germany, in 1957.
Since 1987 he lives and works in Santiago de Chile as a visual and sound artist.
He has a Visual Arts master’s degree from Universidad de Chile, where he currently has a teaching position and is the coordinator of the postgraduate program in Sound Art
Krause has had solo exhibitions in Germany, Chile, Spain, and Canada; and has exhibited in group shows in Latin America, Europe and USA.
Since 2005 he has also worked in curating exhibitions, events and sound art projects.

Curatorial statement

Despite Internet and cheap flights tickets, Chile still is a cultural less connected country in the global network context. Art, and especially contemporary art, is just a “condiment” in daily life mainly organized through neoliberal criteria. The experimental work with sound is today a relatively young artistic field, and little attention has been given from cultural institutions and general public. In this situation the self-management is reinforced, with crossings with neighbouring fields and a critical attitude towards the reigning model of life. For this reason, the chosen artists develop their work in different areas of cultural circulation, where they touch with diverse fields as electroacoustic and / or improvised music, visual arts, literature, theatre and performance, social and natural sciences, popular manifestations.

In the context of W: OW it is not always the chosen “theme” of proposals which connects sound with this curatorial topic, been more important the socio-cultural situation in which sound creation happens. On the other hand it should be notice that some of the artists presented in this selection have institutional support (especially universities or cultural backgrounds) for their creation, however in general the work is self-managed, self-produced and self-diffused. The scene of experimentation with sound is still much closer to music, the contemporary art and the literature, but is not (yet) regulated by market codes and represents (yet) a small utopian model of self-determined production, with all the effects of instability and self-exploitation that entails.

Here are different sound proposals related with the environment; some of those relies on the problematic relationship between the natural and cultural environment (Vagrancy, Felipe Otondo, Díaz & Godoy and Claudio Fernández), with focus on the audible richness of the environment and the possibility of intervening it. Moreover this environment is also perceived in relation to other living beings (Alejandro Albornoz) or non-living elements (Mónica Bate), with the awareness that the human being is an integral part of the whole environment. The state institutions that must ensure human welfare (Pablo Schalscha) and the media with their problematic role (Mario Z, Rainer Krause) are also determining elements of this environment. In this multi-layered reality, the artists question for the “universality” concept of the human language and its ability to make these specific elements understandable under the “one world” intent. While other artists trust more in sound production as a sensitive field, and not necessarily explanatory, exploring the potentialities of the ambiguous, playful and with open signification (Bárbara González, Christian Delon and Renzo Fillinich).

List of works

01. Ephemeral collective of sound art – Vagrancy [excerpt], 2015, 8’53’’
02. Felipe Otondo – Wetland soundscape, 2016, 5’01”
03. Raúl Díaz Ojeda& Fernando Godoy – W [excerpt], 2015, 13’42’’
04. Claudio Fernandez Sini – Traccia, 2017, 15’01’’
05. Alejandro Albornoz – Listening Animals, 2016, 8’00”
06. Monica Bate – The Life of Crystals, 2016, 1’39’’
07. Pablo Schalscha – Electromechanical Sirens + The Bullet, 2016, 1’33’’
08. Federico Schumacher Ratti – Danza de la Protesta [Dance of Protest], 2011, 5’41’’
09. Felipe Cussen – We are not one world, 2017, 2’50’’
10. Gregorio Fontén – El lugar que habito [The place I live in], 2017, 10’05’’
11. RadioRuido.2 – n [excerpt], 2015, 7’57’’
12. Mario Z – think a song (créditos bonuz track), 2016, 4’33’’
13. Barbara González Barrera – Abstract from metronome 40, 2016, 2’43’’
14. Christian Delon – Residencia Melosilla [excerpt], 2016, 7’38’’
15. Renzo Filinich – We do not have a body, but we are a Body, 2015, 11’08’’
16. Rainer Krause – Captcha piece [excerpt track 4], 2015, , 4’40’’



Ephemeral collective of sound art

Santiago Astaburuaga, Chile; Ryoko Akama, Japan; Cristián Alvear, Chile; Rolando Hernández, Mexico; Gudinni Cortina, Mexico; Felipe Araya, Chile.

Title of work: Vagrancy [excerpt] Year: 2015
Duration: 8’53’’

Vagrancy was a meeting between 6 friends who share ideas about the process and the musical event. The walk, talks and decisions we made about what and where to intervene were part of the process and sound production. We chose a drift, as works demand certain spaces, or on the other hand, how the work is stated makes us seek the spatial conditions to produce a sound.
In the end we weren’t 6 people in the process, we were all the people walking among the hills, sharing experiences, talking about lives, our concerns; we were also the spaces surrounding us; spaces we listened to and made us listen. And the process goes on.


Felipe Otondo

Felipe studied acoustics in Chile where he started composing and performing music for experimental theatre developing several performance projects with actors and musicians. In 1999 he moved to Denmark to do post-graduate studies in sound perception at Aalborg University focusing on spatial sound and timbre perception. He studied composition at the Carl Nielsen Academy with the Anders Brødsgaard where he composed and premiered various compositions and took part in several interdisciplinary projects with visual artists. In 2005 he pursued his composition studies at the University of York in England with Ambrose Field and Roger Marsh focusing in electroacoustic composition and music theatre. His music has been widely played in festivals across Europe, North and South America, as well as in Australia. He composed the music for the BAFTA-award winning radio drama The Glassman in collaboration with Neil Sorrell and has received awards and prizes in composition competitions in Austria, Bulgaria, Brazil, Czech Republic, France, Italy and Russia. Felipe is currently a lecturer at the Institute of Acoustics at Universidad Austral in Chile and his music is released by the British label Sargasso.

Title of work: Wetland soundscape
Year: 2016
Duration: 5’01”

The basis of this track were recordings carried out in March 2016 at the Parque Urbano wetland in Valdivia, Chile. The piece was constructed as a sound time-lapse of 24 hours continuous recordings on the wetland fringes. 24 short samples of each hour were combined chronologically using a time-lapse algorithm to create the final overall montage.

Raúl Díaz Ojeda & Fernando Godoy
Raúl Díaz: https://ulradiaz.wordpress.com/
Fernando Godoy: http://www.00000000.info

Raúl Díaz Ojeda:
Musician with autodidact origin. He systematizes formal music studies at the University of Education Sciences and the Catholic University, where he studied composition, premiering works on written support since 2000, for chamber groups, big band and symphony orchestra. At present, he is a member of Empirical Sound Research and Improvisation projects, as well as popular music projects (La Kut, Escabeche Solteros and Combo Ginebra). In the field of experimental improvisation he has been working since 1997 dealing with acoustic, electroacoustic and, lastly, electromechanical, using for this different possible resources to produce sounds, being mostly recycled materials. In 1997 he co-founded the improvisation group “Vibraciones Libertarias”, which later became known as “Trio Payaya” or duo “Paya” with whom he will perform at this festival. He also co-founded the group of electroacoustic improvisation “Ensamble Majamama”, the acoustic improvisation group “Cariñito 3” and is a stable part of the Tárabust Project. He has participated in innumerable ad hoc formations with outstanding improvisers from Chile, Argentina and Brazil, been also an interpreter of experimental musical works produced by Ala1 Recs / Arsomnis.
Fernando Godoy:
Sound artists and producer from Valparaíso, Chile.
His works is focus on sound and listening as phenomena of our experience. His production includes experimental scores, web projects, radio pieces, sound installation and performances, works that has been shown in Chile, Perú, Colombia, Canada, Estonia, Italy, Australia and Germany.
He is also director of Tsonami Sound Art Festival in Valparaíso, Chile, co-editor of Aural, a physical magazine on sonic studies, artistic director of Radio Tsonami and Tsonami Records, and editor of the sound chartography www.audiomapa.org

Title of work: W [excerpt] Year: 2015
Duration: 13’42’’

Short synopsis (max 300 words in English):
Piece composed to be performed in a lagoon by 16 wind instruments in paddleboats.
The work consisted in two parts. Firstly, 16 boats were distributed in two rows of eight, with the goal of slowly moving toward the opposite end of the lagoon where the audience was located. During this movement each row of eight musicians played sound blocks in alternation with the other row, like the ancestral “Chino” dances, but in an expanded time where each sound changed smoothly while remaining static.
Secondly, the two rows were broken in eight duos receding toward the edges of the lagoon. All this movement, in the shape of a letter W, was accompanied by a slow acceleration in their sounds, up to pulses whose echoes bounced off the forest located in the periphery.

Claudio Fernandez Sini

(Santiago de Chile, 1967). From an early age has traveled and resided in dissimilar places (Panama, Italy, Chile) receiving and assimilating the cultural influence of each place. His creative formations begin with personal relations and human experiences, rather than literary or institutional influences. At the end of the 70’s he gets his first drum set; he goes to discotheques early (before they open) and, through the backdoor, befriends DJ’s who let him try out his first mixes. Later, in Rome, he pursues audio-visual studies and gets closely related to the local musical scene, social centers and, taking part in an active role in various experiments and musical groups. At the end of 1989 he goes back to Chile, where he associates with musicians, bands, artists and audio-visual people, with whom he starts collaborating in the creation of comic fanzines, videos and performances, as well as playing in bands, most importantly Supersordo, a rock-noise band. He has done radio for several years, develops various projects, exhibitions, material editions.
2007 edición de compilación tributo a Pentagram
2008 Oscilación pensar//trabajar con//sonidos en espacios intermedios
2008/09 programa “wake Up” radio on line Armable
2009 Tutto Crolla Improve soundtrack of the better Beatles “wier verbessern ihre arbait” Instituto Divorciado
2010/13 participación y programación de Chile para radio streaming “to be continued” Stazione Topolo/OGS for the world TBC day
2011 Peace Love & Rockets The Center for Books arts
2013 robo con factura para robo con fractura LOCAL Arte contemporáneo
2015 Edición cassette “SON I Sonidos de Operación Normal I”
Cassette, 40/40, etcsrecords
2015 voz en Microondas sumergidos y Halógena álbum Maleza Bar de Tobias Alcayota
2017 pieza radial “descarga” para X Festival Tsonami

Title of work: Traccia
Year: 2017
Duration: 15’01’’

Traccia: 6AM arrives the truck makes its stop in front of the gate, they get down the crazy open grab inject the truck.

Alejandro Albornoz

With a previous education in visual arts, he studied electroacoustic composition with Rodrigo Sigal and Federico Schumacher and works on acousmatic and live electronics since 2004.
His music has been performed in several festivals like Synthèse (Bourges), JIEM (Madrid), BIMESP (São Paulo), Sonoimágenes (Buenos Aires), Sound Junction (Sheffield) and the Semaine Internationale de la Musique Electroacoustique (Lille).
He is an active member of the Electroacoustic Music Community of Chile and of the Latinamerican Sound Art Network.
Usually he composes for performing arts. He has been producer of several concerts, meetings and publications, highlighting the Festival of Electroacoustic Music of Chile “Ai-maako” and collections of Chilean electroacoustic music.
He currently is a PhD candidate on Electroacoustic Composition in the Department of Music at the University of Sheffield, under the supervision of Adam Stanović (Stansbie) and Adrian Moore. The central topics in his research are the human voice, poetry, algorithms and language.

Title of work: Listening Animals
Year: 2016
Duration: 8’00”

“We are animals that listen. We have the sensory-motor abilities to interact with a vibrating world, to resonate with and in it”.
This work was commissioned by the Creation and Congnition Musical Laboratory (AcusmaLab Cear) of the Universidad Diego Portales’ Psychology Faculty, Chile, and it is part of the research project “Towards a Grammar of Unwritten Music: A Neurophenomenological Approach” leaded by Claudio Fuentes B. y Federico Schumacher, philosopher and composer respectively. Restricted to specific instructions about the type of sounds to use and the amount of time between sonic events, the commission asked for creative freedom as well. This piece addresses those guidelines to cover two aims: be a specific stimulus for listening experiments and be an acousmatic piece by its own.
This is a stereo reduction of the original octophonic piece.

Mónica Bate

Mónica Bate is an artist based in Santiago de Chile. Through her latest work,
she’s been exploring how technology, science and art can dialogue in terms of
procedures, operations and symbolic constructions through visuality, sound and objects.
Her work has been exhibited in different venues such as Museo de Arte Contemporáneo, Museo de Bellas Artes – Santiago de Chile, Google Half Moon Bay SF, Michigan University, Fundación Telefónica – Santiago, New York University,
Sala Punto de Encuentro – Montevideo and Galería Ventana244 Gallery – Brooklyn, TSONAMI – Valparaíso among others.
Born and raised in Santiago de Chile, Bate studied fine arts at Universidad de Chile
and later obtained her Masters degree at the Interactive telecommunications Program – ITP, at the New York University. She teaches electronics and programming contents for artists and designers at Universidad de Chile and Universidad Católica.
Since 2011 she works at the Contemporary art Museum from Santiago and together with the biologists Kester Bull and Maureen Murúa, she’s part of the directory of Fundación Flores, which aim to foster the links between arts and science.

Title of work: The Life of Crystals
Year: 2016
Duration: 1’39’’

The Life of Crystals is a theoretical research project that explores the use of Rochelle Salt Crystals for the creation of a sound art installation that highlights its piezoelectricity, a property that’s widely use in electronics.
We are surrounded by natural phenomena that we have learned to understand in order to use for our benefit. With constant technological development, we have access to devices that apparently move us away from our connection to nature.
The Life of Crystals is a project that aims to recall that origin by returning to the basics of electronics in order to understand a small part of what we call High-Tech through experimental and theoretical research: Growing Rochelle Salt Crystals and observing their piezoelectric properties.
One of the results of this research is a sound device, where a crystal vibrates at determined frequencies arousing the spectator’s curiosity about electronics archaeology, sound and oscillations; and in doing so, it invites to rethink the fundaments of what surrounds us.
For the WOW project, a series of sounds were selected, that are experimental samples of how these crystals can emit or sense sound, by reacting to different stimulus such electricity at specific frequencies, voice or metallic vibrations that come from a musicbox.

Pablo Schalscha

Visual and sound artist, graphic designer.
His graphic work is related to visual poetry. He develops precarious installations and research projects that explore the everyday production and inventiveness thought a recollection and handwork (bricolaje) esthetics.
Since 2016 is professor in the master arts in health and art therapy, University Finis Terrae, Santiago de Chile.

Title of work: Electromechanical Sirens + The Bullet
Year: 2016
Duration: 1’33’’

This installation consists of the sound intervention of the Garden of the Ceibo of the Hospital of Salvador, Santiago de Chile. Specifically the intervention of sound produced by a hospital machine called “La Bala” (the bullet), in order to transform its impact and contribute to the containment work of this therapeutic Garden fulfils. The work consists of 3 sirens that have inside mechanisms of sounds activated by low revolution electric motors. These artefacts are activated synchronously with “La Bala”, which is located inside the same patio. “La Bala” is a pneumatic mail whose function is to transport blood samples from the emergency service to the laboratory of blood samples located next to the garden.
Each time a blood sample is sent from the emergency service to the laboratory, the sirens are activated. The Sirens and the Bullet sound simultaneously.
In collaboration with Claudio Muñoz Oyarce.

Federico Schumacher Ratti

(Chile, 1963)
As a composer he has dedicated himself mainly to the composition of acousmatic works, for which he has received various recognitions and distinctions in Chile and abroad. As a researcher he has been interested in the history of electroacoustic music in Chile and in musical cognition related to acousmatic music. He has participated and directed research projects funded by Conicyt and the Chilean Music Fund.
He is currently an associate researcher at the Faculty of Psychology at the Diego Portales University.

Title of work: Danza de la Protesta [Dance of Protest] Year: 2011
Duration: 5’41’’

Small work composed in the urgency and in support of the student mobilizations and its fight for a public education in Chile. This is a stereo reduction of the second section of the “Acousmatic combat music” series.

Felipe Cussen

Felipe Cussen holds a Ph. D. in Humanities from Universitat Pompeu Fabra and is professor at Universidad de Santiago de Chile. His main fields of research are experimental literature, links between poetry and music, and mysticism. He collaborates regularly with the musician Ricardo Luna as Cussen & Luna, and is part of Foro de Escritores and Collective Task. He has recently published the ep quick faith (records without records, 2105), the books Explicit Content (Gauss-PDF, 2015) and Closed Caption (Gauss-PDF, 2016), and the project Correcciones (Information as Material, 2106).

Title of work: We are not one world
Year: 2017
Duration: 2’50’’

This piece was made with the text of “Canto VII” from Altazor of Vicente Huidobro, read by 48 synthetic voices, whose pronunciation correspond to different languages. That material was later processed with random parameters.

Gregorio Fontén

Gregorio Fontén is a musician, multimedia poet, sound artist.
Currently doing an artist residency at Fundación Phonos, Barcelona.
His work is centred around the interaction between personal expression and the multiplicity of its outside. To create this continuum between expressing and discovering, he has developed a format he calls Songscape or Cantorama.
He regularly makes live performances and has works published in different parts of America and Europe.
He has participated in bands such as Cuchufleta and Hijos del Cóndor.

Title of work: El lugar que habito [The place I live in] Year: 2017
Duration: 10’05’’

‘El lugar que habito’ or ‘the place I live in’ is a sound poem part of the long project ‘V Region Songscape’.
A reflective poem written while doing different activities related to listening in a coastal town in Chile. Such as field recording, doing listening workshops with children and recording conversations with local fishermen.
The voice, the meaning of the words, the echoes, the silence, the appearance of the sounds of the environment, the voices of other people, the materiality of the recording and the digital processing… all are juxtaposed to propose a dialogue between being present and at the same time not being present.
How, in the multiple sonic trajectories of a location, we are all together and separated by our own personal goals and dimensions. Yet it is by the experience of time–be it through real-time interactions, memories and/or personal constructions–that we find a continuum established between being present and not being present. It is through this continuum that a feeling of sharing and being one can perhaps be articulated.

Family name: RadioRuido.2

RadioRuido.2 is an artistic group formed in 2014. Is conformed by Monica Bate, an visual artist and academic member from the Universidad de Chile; Felipe Fierro Dietz, visual artist; Nicolas Fuentes González, visual artist; Claudio Muñoz Pilonitis, sound technician; Rainer Krause, visual and sound artist and academic from the Universidad de Chile; Sebastian Valenzuela Valdivia, researcher and visual artist.

Title of work: n [excerpt] Year: 2015
Duration: 7’57’’

“n” is a project of production and exhibition of a multichannel sound installation with the voices of 100 people from 4 different regions of Chile [Iquique, Valparaíso, Santiago and Concepción].
“n” uses the human voice as material, medium and sign of aesthetic work, emphasizing its character of threshold between sonority and meaning; between speech and image; between physics and psyche; between index and symbol; between individuality and society; and between action of speaking and passion of listening.
“n” is a project of critical tension with the modes of cultural presentation, proposing horizontal formats of connection, roaming and communication between institutions, creators and cultural public at national level.
“n” is a variable number that indicates the amount of hours of work exposure in a specific place.

Mario Z

Mario Z (1970) is a visual and sound artist. He lives and works in Santiago de Chile.
He studied percussion at the Conservatorio Nacional de Música from the Universidad de Chile; graduated in Fine Arts, Painting category at Universidad ARCIS. He is teacher at the same University since 2002 in the Colour and Painting and Field courses.
His work has been developed through the painting, installation, sound and experimental music, using a media manipulation to create a crossover meaning, making new speeches and paradoxes.
He has shown his work in important national and foreign museums and galleries, and it is in private and public collections.
In 2013 won the “CONCURSO INTERNACIONAL A LA CREACIÓN Y AUTORIA AUDIOVISUAL JUAN DOWNEY”, in the video category at the “11 Bienal de Artes Mediales” from the Museo Nacional de Bellas Artes from Santiago de Chile.
In 2014 was nominates to the “Altazor” Premium in the installation and art video categories.

Title of work: think a song (créditos bonuz track)
Year: 2016
Duration: 4’33’’
Resignification of a song from “the carpenters” 1973.


Bárbara González Barrera

Bárbara González’ work is presented as a sound-visual assembly based upon an extensive process of experimentation that characterizes itself to be in constant reconstruction, using multiple interlocking supports to deal with space/time relationships. She performs acts with choreographic scores which are open to improvisation where her body works as a component more and as flow activator of mechanisms.
She has presented her investigation Acción Rizoma for more than ten years in different formats and artistic circuits, of these following festivals are standing out: AI-MAACO, Festival Internacional de Música Electroacústica, Santiago de Chile (2017); FIME, Festival Internacional de Música Experimental, Sao Paulo (2016); TSONAMI, Festival Internacional de Arte Sonoro, Valparaíso (2016 – 2015 y 2013); RELINCHA FESTIVAL, Músicas Experimentales, Valdivia (2016); BAM, 12º Bienal de Artes Mediales, Santiago de Chile (2015); INTERFACE – Cuerpo y tecnología, Santiago de Chile (2015); REHEAT-SEHR, Multidisciplinary Festival at Kleylehof, Austria (2014); ESCUCHAR – Sonidos Visuales, Buenos Aires (2014); IN-SONORA, Madrid (2012); y FRICCIONES, Santiago de Chile (2012).
Bárbara is a sound-visual artist, licensed in Visual Arts (2004) and university graduate as a Painter (2007) at the University of Chile. She is also holder of the Masters’ degree in Artistic Production and Investigation of the University of Barcelona (2011).

Title of work
Abstract from metronome 40

Live action recording
Assuming how disturbing something that reminds us of our own mechanic quotidian can be, a metronome unleashes triggering intervals out of adjustment from pulsations, distorting the usual way to perceive.
Materials connections that converge, in an instant that happens from the simple and complex human action, revealing the constant machine-nature tension.

Christian Delon

My name is Christian Delon, a Chilean musician born in Santiago in 1976. Since 2000 I have collaborated and actively participated in different groups dedicated to free improvisation and the realization of experimental scores. My work, published in the Chilean labels Chancacazo and Tsonami Records, is based on the exploration of the possibilities of sound and listening processes through the use of field recordings, amplified surfaces and feedback. I am currently a monitor in the sound stimulation project for young people with autistic spectrum.

Title of work: Residencia Melosilla [excerpt] Year: 2016
Duration: 7’38’’

Work done in the town of Melosilla in a rural forest in the year 2016, around its nature and particular sounds of the place. Collecting audios to later unite them all by means of a table of electrical sound, citara, stones, tapes, micro and recordings in telephones are included in the work.

Renzo Filinich

Bachelor in Sound Engineering, current student MA in New Media Art and Composer of Electroacoustic Music .
Interested in applying new technologies in music to develop new interactive listener and cognitive fields and spatial representation of sound, through the use of gestural interfaces for controlling sound and performance, using the concept of malleability of sound as musical mechanism facing the viewer.
In his works have addressed different aspects of the musical language as free improvisation, chamber works and sound art installations.
He show his works in many International festivals such as Argentina 2017, Colombia 2016, Días de Música Electroacústica in Portugal 2015, In Vivo Electro Workshop, Ircam Manifeste with Robert Henke – París 2014, acousmatic Forum Hope University – Liverpool 2013, Mixtur Festival – Barcelona 2013 , Ai- Maako 2010-2012 – Santiago de Chile, Tsonami Sound Art Festival Valparaíso 2007 to 2011.

Title of work: We do not have a body, but we are a Body
Year: 2015
Duration: 11’08’’

This acousmatic piece represents the substance, the infinite Reality as manifested through two finite attributes: thought and extension, soul and body. The body thus receives the same dignity as the soul. The soul is the idea of the body, ie the body lights. The human being is free to the extent that the body receives an adequate idea of himself. The uniqueness of each individual is the existential act of a thinking body. What makes the mind is knowing the body through their affections.

Rainer Krause

Rainer Krause was born in Hoyerhagen, Germany, in 1957.
Since 1987 he lives and works in Santiago de Chile as a visual and sound artist.
He has a Visual Arts master’s degree from Universidad de Chile, where he currently has a teaching position and is the coordinator of the postgraduate program in Sound Art
Krause has had solo exhibitions in Germany, Chile, Spain, and Canada; and has exhibited in group shows in Latin America, Europe and USA.
Since 2005 he has also worked in curating exhibitions, events and sound art projects.

Title of work: Captcha piece [excerpt track 4] Year: 2015
Duration: 4’40’’

Intentional google translation: My work “Captcha piece” reflects on its own production conditions. The soundtrack material is based on the audio recordings of the Media Art Lab Mercosul meetings in March of this year. The conversations were de-constructed and re-constructed not according to content criteria, but formal criteria: grouping extra and linguistic expressions (eh, ah, and …); Emphasis on translation problems among the four languages used (Portuguese, English, Spanish and German); Ordering in ascending order terms containing numbers; Contrast between seemingly contradictory technical terms; etc.