Klang & Realität #5 / Decha, Anna Schütten, Webmachine – Jinkyoung Choi & Sebastian Heidelberg

In the organizer's words:

The Sound & Reality series presents a multi-layered selection of sound and music realizations by participants of the course of the same name at the Institute for Music and Media at the Robert Schumann University of Music.
Phillip Schulze curates acoustic works, music groups and sound installations between experiment and pop, structure and freedom, fiction and reality.

DECHA is the musical solo project of multidisciplinary artist Viktoria Wehrmeister. She began in the 1990s as part of Klaus Dinger's band project la! NEU? and founded TORESCH (published by Offen Music) together with Detlef Weinrich and Jan Wagner in 2014. She was born in Mexico City, but only lived there for seven years. In 2010, the language of her childhood, Spanish, returned to her performances, adding forgotten parts according to her feelings and mixing them with invented language. Her poetic texts often contain self-reflections on life as a woman, mother, teacher and artist, while playfully modulating her voice in nuances from light to dark and transcending a clear gender identity. Her hybrid compositions move between low-fi and polyphonic sound arrangements. DECHA's albums Hielo boca (2019) and La vida te busca (2021), with which she has toured internationally, have been released on the Berlin label Malka Tuti.

The duo Webmaschine was founded in Düsseldorf in 2022 by Jinkyoung Choi (Webstuhl) and Sebastian Heidelberg (SuperCollider). A weaving frame, a loom and a weaving machine never just produce textile fabrics, but also sounds. In the performance sound weaving, these sounds become audible fabrics themselves with the help of a computer, inspired by weaving techniques, repetitive weaving patterns and the historical interweaving of weaving art and programming.

In her performance "echo installation", Anna Schütten uses the four-channel installation to create slowly emerging feedback loops and microtonal overlays. She amplifies the noises of the audience present and allows them to become a sonic component of the sound performance. With this performance, Anna Schütten fragments the real sounds of the FFT Düsseldorf into tonal components and tugs at the temporal perception of the acoustic participants.