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)


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]


ketoya speaks (intro)


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

1 (1)1 (3)

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



??fullmoons later/ wata kulture II *performance excerpt

*??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


(t)here 2014

in memory of Bakary Diallo.
(t)here untitled (t)here

negotiations (chapter 1-i, dualaland-paris )

negotiations ch1-i

“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  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, Asiko 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. »

Capture d’écran 2015-04-09 à 15.43 ok

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: multi channel sound installation (not available online…)

Room 2: Reference room (soundscapes/ poetry/ text reading/ vocals…)

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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)

BE-side(s) work – em’kal eyongakpa, friends and traces 2014-2009


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Be-side(s) work
Em’kal Eyongakpa, friends and traces 2014-2009
First edition limited to 99 numbered copies.

112 pages, full colour, Stucco Fedrigoni paper

A special edition of 33 copies, signed and numbered I-XXXIII, includes a code for one time audio download.
Curated by Em’kal Eyongakpa with Amal Alhaag .
Produced byBoîte (, Rijksakademie Van Beeldende Kunsten(, KHaL!SHRINE (
Printed and bound in Italy. November 2014
© the artist

overview by Amal Alhaag.


You don’t know how hard it is here
The streets is tricky in these parts here
You don’t know how hard this is here
The streets need this shit here— K’naan- T.I.A.

The B-side is the reverse side of a phonograph record. According to the urban dictionary, the B-side is the less popular song
but to audiophiles and the streets, B-side has come to be known as the more experimental, real or true-to-the-streets recording
of an artist. Be-side(s) Work directs us to the unknown side of the coin. A backstage entrance to the unprocessed processes,
blood, sweat and adventures of Em’kal Eyongakpa.
How does one interpret an anarchist archive created within one of the most prestigious institutions in the Netherlands? Shit.
Maybe, a delusional attempt or a facile interpretation of one of the layers of this book and skipping the institutional
bla bla/ hot air could suffice. Since Be-side(s) Works offers many layers of possible truths. Perhaps Be-side(s) Work traces the
boundaries of memories, metaphors, conversations, sounds, dreams and poetry. Perhaps Eyongakpa’s collection of yesteryears
interweaves realities, cities and moments offering us insight into a layered world — sampling experiences that are flavored with
emotions, thoughts and life. In this
recollection—on these pages where reminiscence is celebrated, mourning love and haunting dreams meet casually in a chapter.
While in other corners of the publication coliseums are built for nostalgia, icons and loved ones. Conceivably amassing
digitalized memories in such a manner proposes an overview to the frugality of life.
Walking on dusty glorified roads to nomad’s land, I wondered if ”letters from Etokobarek” speak of collective war amnesia or the
little man’s suffering? Listening to women gossip from the heart, I recognized the similitude to the casual poetry splattered in
the Book of Romance, chapter 17. Perhaps being in Hargeisa, Somaliland, among war ruins, dollars and hope, one overstands the desire to
share depictions of processes of yesteryears since forgetfulness awaits, like a hungry hyena on mankind. What’s memory worth in
time of Face Books?
This recollection of (visual) memories is made from the hearts and drawn with pencils sharpened by the harshness of life in
Eurolands. Biographies aside— its ability to recall worlds and knowledge systems remains far beyond our grasp, and there where
you forget to look, a bit of humor is hidden to relinquish misunderstood moments.

Bonding over words, world and jujuism; our conversations scrutinized the realities of Africa—the continent, not the country.
Finding similarities in differences provided depth to conversations that grew into collaboration where language, histories and
memories intermingle. When Em’kal invited me to contribute my curatorial two cents, I was not aware of the countless hours we
had to spend shifting through intimate moments and the conversations the process would spark. When I think of the hours spent in
the studio peeling off layers of digitalized memories and selecting thoughts that symbolized a certain era, process or profound
current affair, I remembered the Somali proverb; “If people come together, they can even mend a crack in the sky. Perhaps these
memories, friends, poems, visual footprints and processes show us ways to mend a crack in the sky?

Nonetheless, these precious sessions presented a thought-provoking puzzle, covering parameters of rites, coded-languages,
rituals and mundane routines–unified, these lingua francas of parallel veracities construct deeper notions and imagery that
underlie and challenge concepts of imaginations, dialogism, meaning and reality. At the end of the day, all that’s left is to
wander follow the traces, and loose track of time
in this publication.