arhgbrou 4:3, mbì-ɛshobì inter-sessions / /ˌɪntəˈsɛʃ(ə)n/

Arhgbrou 4:3, a series of surround sonic experiments, inter-sessions/ intercessions, sonic monuments based on non mathematical combinations and transformations of field recordings, mundane and acousmatic sounds in line with over 13 rhythmic variations from the gulf of Guinea. Arhgbrou 4:3 revisits rhythmic principles from Malleh through Mukonge with vocal references employing poetics from public aspects of the Ekpe, Ahon sacred society’s aesthetics amongst others. It uses a quad system plus 3 sub-woofers, powered by  ”Arhgbrou” and ”eMungoWest” electronic interfaces developed by the artist and partners.

Arhgbrou 4:3 is based on indigenous sounds transformed . A reflection of resistance sonic works rooted conceptually in variants of indigenous music from the Geographical entity a.k.a Southern Cameroons, and the   larger Congo basin .

 

*mbi-eshobi inter-sessions / /ˌɪntəˈsɛʃ(ə)n/ are improvisational sonic conversations, sessions @ Mbi Eshobi  surround lab.                                                                                                          *arhgbrou 4:3 , imagined for acoustic tents /

#inter-sessions #sonicmonuments  #intercessions .                                                                        Supported by ɛfúkúyú

>.

update studio efforbi ii/ ; fungi culture, electric wires, polymerised cotton thread figures , food colouring, coconut shells, plant fibres,

 

 

 

 

 

 

 

 

untitled thirty-seven (sǒ bàtú)/ Intercepted messages

translates as to bathe, to cleanse… sǒ bàtú would be  ‘to bathe one’s ears’, to  or ‘ear bath,’ in Kɛnyaŋ
(Kenyang), a language widely spoken in the cross-river basin of Manyu, in
the Cameroons. It’s metaphorically a sonic bath.Like a ritual, or an impulse that precedes an experience. The installation spatialises sounds,
hardened 100% cotton thread/plant fibre structures, glowing set of modelled and
animated “eye balls” in discontinued jail cells, torture chambers and re-purposed
prisons. The first set up,  was in a cluster of historical prison cells under the
colonial-era Batavia House in Fatahillah square, Central Jakarta, in the context of the Jakarta Biennial (JIWA).
A multi channel composition from field recordings mainly from
(water, fire, wind, earth) is configured to use the existing architecture to
accentuate the low frequency elements from the sub-woofers, creating a molten
state between acousmatic  sounds and a system of irregular monstrous
heartbeats.The collage also includes vocal excerpts/ideas from certain figures in
black liberation struggles with an emphasis on figures from the Bright of Bonny

cotton study_55

study, polymerised 100 percent cotton threads structure

Intercepted Messages/ : a collection of notes that take the form of poems,
/letters/sonic sketches from and around prisons, and political detainees, read,
sketched by selected voices around the world (from an imagined or real,
emergency or urgent position, in recognised or non-recognised languages) . Some
messages could evoke a possible future, or a cosmology of a possible
future. The video documentation of readings/ performance featuring the artist
and other performers reading selected notes or letters, are projected on a
water-soluble paper screen that dissolves over the course of the projection, with
the video image subsequently fading into the backdrop of the dark sky.

 

video documentation…

Live recording of so bàtú surround mix #1 by Mbieven-Efforbi Em’kal Eyongakpa, @ Mbi-Eshobi surround lounge  @studio Efforbi @ 13 seats.
,recorded november 2017 i, Supported by ɛfúkúyú,

gaia beats/bits III-i /doves and an aged hammock

Drift wood, drift plastic, multi-channel sound (6.4), analogue motor, hydraulic system, nets, plant fibres, mycellium, other.

Installation view at “Tidalectics”, TBA21 Thyssen-Bornemisza Art Contemporary, Vienna, June 2 — November 19, 2017.

Courtesy Em’kal Eyongakpa, KHaLISHRINE, TBA21

video documentation; gaia beats/bits III-i /doves and an aged hammock

documentation doves and an aged hammock-gaia beats 3-i TBAcontemporary (41)documentation doves and an aged hammock-gaia beats 3-i TBAcontemporary (42)sessions b5 plus docu1_40

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process

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many thanks dear itinerant friends who let I & I record their personal …those who sent objects, Larebi, Sami, Florian of Gelitin and his wonderful kids, Gelalin collective,TBA team, and  the studio/

 

Rustle 2.0/ Rustle Phase II

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Rustle is an intermedia project born  between the Congo Basin and Amazon rain forests. .
Rustle 2.0, mimics a system of connectivity and interference.
A sensorial experience, a non-linear fragmentary exploration of some rain forest biomes
and connectivity.
For this Eyongakpa draws from an aesthetic and connectivity prone to mycelial networks and
explores fungi/mycelium culture.
Custom walls from controlled mycelium culture on one hand organically blends with a web of plant
fibres (sisal and jute)creating an illusion of a dense mesh/ cloud of an un-recognisable system
of connectivity.
In March/April 2016, the artist recorded sounds in the Congo basin rain forest.
Sounds of communication by non human subjects in these ecosystems, as well as sounds from other
human interference (chainsaws, falling trees, air traffic etc).
A 5.1 surround sound composition, made from field recordings, is routed and synchronised with a
custom electronic midi controlled ‘deaf/light’interface creating visual rhythmic patterns in
relation to the sound. The soft and hard light curves give allusion to an animated electro-
cardiograms or multiple animated stock exchange curves.
The main electronic interface also sends midi commands to simulate different breathing patterns
and dead points to the central sculpture (breathe II 2013),
This together with levitation devices in the space and diffused light rays through the plant
fibres, creates a time based synchronised/ asynchronised system, one that stands between balance
and catastrophe.
Rustle 2.0 explores portions of these biomes, as in balance in these systems and some updates
by man.
The appendum ”2.0” in the title gives allusion to cybernetics, updates by man to a virtual
transcription of a living ecosystem
The installation which borrows from specific indigenous rhythmic patterns, mycelial networks and
indigenous lifestyles mimic life but has no.elements of real life within, except for the smell
from the dried hay, sisal and jute fibres as well as the dried mycelium panels.
The Mushrooms farmed are harvested and only organic waste are used.

video documentation excerpt /  32a Bienal de São Paulo (Incerteza viva)

link:

virtual rustle 2.0…video documentation (excerpt) 32a Bienal de São Paulo

photo documentation of Installation (32a Bienal de São Paulo- Incerteza viva, September 07- December 11 2016/ Sharjah Biennial 13 [SB13], Tamawuj March 10-June 12 2017)

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 Takamanda forest/ Njieaweretung (March-April  2016)

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 Fungi culture/ electronic interfaces/ build-up/ other  (July-August  2016)

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Sharjah (February-March 2017)

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beats/bits of(f) sPACE(s)

 

letters from etokobarek 1-i

documentation [beats/ bits of(f) sPACE(s), Apalazzo gallery,  March 18th- May 10th, 016]

other

http://moussemagazine.it/emkal-eyongakpa-apalazzogallery-2016/

ketoya speaks (intro)

 

video excerpt/ process                                                                                                                               unprocessed processes/ Nsanakang-Ketoya-Baso; Ossindinge speaks…a century later

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Installation views, Recent histories, Walther Collection, Ulm, May-Nov 2017

eyongakpa walther ks_1Untitled III (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland;                                 a century later), 2016untitled (ketoya speaks)_2016 (1)Untitled XI (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland;                                 a century later), 2016eyongakpa walther ks_7aUntitled XIV (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland;                                 a century later), 2016
untitled, emkal 2016 (70x105)Untitled XXVI (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland;                                 a century later), 2016eyongakpa walther_8aUntitled IX (Baso, Eshobi road), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland;            a century later), 2016eyongakpa walther_9Untitled V (Baso, Eshobi road), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland;              a century later), 2016

 

 

installation view, the incantation of the disquieting muse,saavy contemporary (documented by India Roper-Evans

00 THE INCANTATION OF THE DIQUIETING MUSE BY INDIA ROPER-EVANS _007 (2)

THE INCANTATION OF THE DIQUIETING MUSE BY INDIA ROPER-EVANS