CTM's opening concert at HAU will present three innovative and complementary acts, each of which will do its part to untune a harmonious, watertight reality in idiosyncratic ways.

At the core of the evening is is a collaboration between the New York- / Berlin-based Soundwalk Collective, American photographer Nan Goldin, percussionist Samuel Rohrer and video artist Tina Frank. "A Memoir Of Disintegration" is a sound composition based on David Wojnarowicz’s homonymous and provocative correspondence, which documents existence at the margin of society in 1980s underground New York City. The multidisciplinary artist, writer and activist, known for his rebellious struggle against conformity and materialism, was one of the most potent voices of his generation. An intense and dark journey through street life, drugs, art and nature, politics, friendship and acceptance, the live performance features Nan Goldin interpreting the most expressive excerpts of Wojnarowicz’s writings. Soundwalk Collective perform a live musical score thick with jarring physicality and juxtapose this with a sound memento of field recordings from New York City from over the past two decades.

↑ Still from "Last Night I Took A Man", 1989. Performance and Dialogue: David Wojnarowicz. Camera and Direction: Marion Scemama. Super-8 on digital video, color, sound 4:33 min. Courtesy of Marion Scemama, the Estate of David Wojnaorwicz and P.P.O.W Gallery, New York.

To start the evening, New York-based filmmaker and musician Rose Kallal and London musician, esoterica writer and publisher Mark O Pilkington unite their talents for an immersive experience of abstract psychedelia. Kallal’s disorienting, technicolored 16 mm film "Aldebaran" will provide the backdrop for a semi-improvised soundtrack of analogue modular synthesizer drones, together creating a captivating and totally disorienting stream of consciousness.

"Emerald Vision" 16mm film loops and sound, 2012 from Rose Kallal on Vimeo.

Dutch sound artist Thomas Ankersmit will also present his mastery of the Serge analogue synth, an instrument that rarely receives a spotlight in live performance. The German premiere of his solo act will feature the harnessing of a sound phenomenon known as otoacoustic emission, or in-ear tones. These "phantom sounds" are generated by listeners’ inner ears in response to certain sonic stimuli. The disturbing perception of sounds originating directly in one’s head has the tendency to obliterate any notion of space. In Ankersmit’s performance, in-ear tones and sounds conventionally perceived as coming from the loudspeakers form two intricately linked but distinct musical streams. The new performance was commissioned by OTO Projects in London.