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
for video documentation, (click on https://vimeo.com/233092177 )
many thanks dear itinerant friends who let I & I record their personal …those who sent objects, Larebi, Sami, Forian of Gelitin and his wonderful kids, Gelalin collective,TBA team, and the studio/
This gallery contains 4 photos.
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 literally explores fungi/mycelium […]
letters from etokobarek 1-i
documentation [beats/ bits of(f) sPACE(s), Apalazzo gallery, March 18th- May 10th, 016]
video excerpt/ process unprocessed processes/ Nsanakang-Ketoya-Baso; Ossindinge speaks…a century later
Untitled III (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland; a century later), 2016Untitled XI (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland; a century later), 2016Untitled XIV (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland; a century later), 2016
Untitled XI (Nsanakang), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland; a century later), 2016Untitled XXVI (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland; a century later), 2016Untitled XVI (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland; a century later), 2016Untitled IX (Baso, Eshobi road), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland; a century later), 2016Untitled XII (Baso, Eshobi road), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland; a century later), 2016Untitled 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
*??fullmoons later/ wata kulture II , performance revisits intermedia artwork ??fullmoons later /letters from etokobarek(europe), with a focus on a new chapter “wata kulture II”. For wata kulture II fragment, he explores the link between characteristic sound signatures of water bodies and suspension rhythm, from numerous ethnic rhythmic variations through contemporary music. He references Etokobi rhythmic variations (cross-river basin, south west Cameroon) , jazz (John Coltrane, Africa/Brass, 1961/ Billie Holiday: Strange fruit ), Amiri Baraka, (Why’s/Wise, 2009) among others and connect this with the ongoing mediterranean crisis…
5.1 surround sound experience…soundscapes, vj’ing, spokenword, music excerpts, percussions…
Performance organized in the framework of the festival Africa Acts in collaboration with FGO-Barbara and Kadist Art Foundation.
filmed by Smaranda Olcèse
“Walking pass a street in the neighborhood of Château Rouge, street vendors negotiating with their clients left me with a feeling of displacement and nostalgia — a sense of familiar sounds struggling in a Parisian architectural setting. The rhythmic currency, negotiation codes to product names, all perculiar to open markets public spaces across central and west Africa and the nuances inbetween.”
« Fumbua ! carton à 10 euros,
bobolo ! 3 pour 2 euros,
Safou, 8 à 5 euros, ceintures, arachide frais…. »
For his experiment, negotiations, chapter 1-i, Em’kal Eyongakpa composes a fragmented narrative from sounds recorded in Paris and Douala, in selected informal market settings, transport routes with excerpts from natural soundscapes or spaces where the objects of these negotiations are extracted. In these spaces of negotiations, identities are in constant mutation as the ancient confronts set urban codes. The dynamics of these spaces usually tend to mirror “maximalist” urban variants of ethnic music; like Bikutsi in Cameroun, Congotronics in RDC or even Juju in Nigeria.
In negotiations, chapter 1-i, the artist plays with undertones of negotiations and creolization of these highly political spaces. He attempts a dialogue between the intense anthrophony of these spaces in and with a “white cube”.
« How could one capture the beautiful essence or energies of these spaces of constant negotiations without over-altering the « maximalist » nature of the loud and seemingly chaotic environments. »
exhibition view at Kadist art Foundation: may 22nd – july 26th 2015
Photos : Aurélien Mole & Em’kal Eyongakpa — Courtesy of the artist & Kadist Art Foundation
Room 1: 7.1 surround sound installation (not available online…)
Room 2: Reference room (soundscapes/ poetry/ text reading/ vocals…)
Notes on orchestrated field recordings—by Amal Alhaag (view/download Negotiations Chapter 1-i —Emʼkal Eyongakpa)
conversation : Amal Alhaag and Em’kal Eyongakpa (view/download conversation_Amal&Emkal excerpt)