Arhgbrou 4.3, immersive sonic experiments, ephemeral sonic monuments/ sculptures based on non mathematical combinations and transformations of field recordings, mundane and acousmatic sounds, custom analogue rhythmic systems, in line with over 13 rhythmic variations from the gulf of Guinea and the larger Congo Basin area. Arhgbrou 4.3 revisits rhythmic principles from Mukonge to Malleh, with vocal references employing poetics from public aspects of Ngbe, and Nhon amongst others. It uses a quad system plus 3 sub-woofers, inspired by ”Arhgbrou” and ”eMungoWest” electronic interfaces in development by the artist and partners.
*mbi-eshobi inter-sessions / /ˌɪntəˈsɛʃ(ə)n/ are sonic conversations, sessions @ Mbi Eshobi surround lab, Bɔ́ Bɛtɔk
*arhgbrou 4:3 , imagined for acoustic tents /
#inter-sessions #sonicmonuments #intercessions . Supported by ɛfúkúyú
About Em'kal Eyongakpa
Em'kal Eyongakpa (b1981, Mamfe, Cameroons) approaches the experienced, the unknown, as well as collective histories through a ritual use of repetition and transformation. His recent ideas increasingly draw from indigenous knowledge systems and aesthetics, ethnobotany, applied mycology and technology, in his explorations of the personal and the universal. He is also known for self organised community research spaces and autonomous art hubs, from KHaL! SHRINE in Yaounde (2007-2012), to the recent research platform/ fund Bɔ́ Bɛtɔk/ ɛfukuyu. Eyongakpa holds degrees in Plant biology and Ecology from the University of Yaounde 1 and was a resident at the Rijksakademie in Amsterdam. The artist's work has recently been exhibited at the Jakarta Biennale (2017), the 13th Sharjah biennial (2017), La Biennale de Montreal (2016), the 32nd Bienal de Sao Paulo (2016), 9th and 10th Bamako Encounters(2011,2015), 10th
Dak'art biennial (2012) and several international art spaces and museums around the world.