M. Behrens | Theater Critic's Choice | Chicago Reader

M. Behrens 

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Germany's Marc Behrens creates music out of original field recordings: sometimes he collects ambient sounds from train stations or remote hillsides, and sometimes he makes the noises himself, banging on pipes, shaking trees, or rubbing wooden blocks together. But his electronic manipulation and processing render the sources irrelevant. Like that of an increasing number of European abstract electronic composers--including Bernhard Gunter, Francisco Lopez, and Goem's Roel Meelkop--Behrens's work is often extremely quiet. When it's audible at all, it presents itself in orderly formations of low-frequency machine hum, resonant metallic clanging, staticky drone, and muffled white noise. Live, Behrens plays the processed material on a number of minidisc players, then mixes in recordings--of his body, say, or of the room itself--made on the spot. He's also produced loads of installations over the last decade, and for this performance, his U.S. debut, he'll open with a pair of new video works. He calls Summation 0.3 an "aestheticized documentary" of various installation and video pieces he's made since 1991; Collateral Generator of Forms, which will be made in Chicago in the days immediately preceding the show, will feature in- and out-of-sync video and sound. Saturday, November 9, 10 PM, 6Odum, 2116 W. Chicago; 312-666-0795 or 773-227-3617.

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