sǒ 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
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.
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,
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
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 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
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
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
Rustle 2.0 explores portions of these biomes, as in balance in these systems and some updates
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)
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)
Takamanda forest/ Njieaweretung (March-April 2016)
Fungi culture/ electronic interfaces/ build-up/ other (July-August 2016)
Sharjah (February-March 2017)
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
Installation views, Recent histories, Walther Collection, Ulm, May-Nov 2017
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 XXVI (Ketoya), Ketoya speaks/(Dɛnyaland-Kɛnyaŋland-Kɛyakaland; a century later), 2016Untitled IX (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