Errant Bodies project space is dedicated to experimental work in sound, performance, voice and spatial practices. Through residencies, workshops, events and exhibitions, Errant Bodies emphasizes an engagement with process and dialogue, encouraging a dynamic and diverse approach to the sound arts. As a project space, it also intends to foster social and public activities, contributing to the creative scene in Berlin. It is organized and developed through its working group comprised of Berlin-based sound artists and researchers.


Local Sound Art Scenes / in collaboration with DAAD Artists-in-Berlin Program and Deutschlandradio Kultur

Local Sound Art Scenes
Cairo – Cork – Beirut – Ljubljana/Bergen
Presentation, Panel, Live-Performance

Monday, 30.11.2015, 19:00

Errant Bodies 
Kollwitzstraße 97
10435 Berlin

Magdi Mostafa, Cairo: Presentation of works
Panel with Mazen Kerbaj, Beirut, Karen Power, Cork, Magdi Mostafa, Cairo and Tao G. Vrhovec Sambolec, Ljubljana/Bergen
Moderation: Marcus Gammel
Live-Performance by Karen Power (electronics) und Mazen Kerbaj (trumpet)

The evening is dedicated to the question of how one can describe local scenes of sound art concerning its formation of members, their artistic background, artistic interactions/collaborations, sound aesthetics. How big are the local scenes and how and where do they show their work? How is the resonance of the audience?

But also we want to exchange thoughts on how sound art is reflecting the local and incorporating it in a sound memory through the use of site specific recordings or semantic references in works. Three sound artists from different countries (Karen Power/Cork, Magdi Mostafa/Cairo, Tao G. Vrhovec Sambolec/Ljubljana/Bergen) and the experimental musician Mazen Kerbaj from Beirut will talk about the scenes of their home cities.

This evening is part of a continuous discussion on global sound art by the DAAD Artists-in-Berlin Program and Deutschlandradio Kultur
In cooperation with Errant Bodies


Rhythms Of Presence / Tao G. Vrhovec Sambolec

Rhythms Of Presence (2015)
Installation by Tao G. Vrhovec Sambolec
Artist in residence at Errant Bodies Project Space, Berlin

Opening: Friday, November 20th, 2015 at 19:00 – 21:00
Exhibition from 20.11.2015 – 19.12.2015
Opening times: Thursday to Sunday, 11:00 – 17:00 and by appointment (contact: eb(at)
Intervention by Stefan Thut: 5.12 – 7.12. 2015, times TBA

Errant Bodies
Kollwitzstrasse 97
10435 Berlin

The installation Rhythms of Presence is comprised of two large floor surfaces. One is discretely installed at an undisclosed location and the other in the exhibition space. They are identical in size and shape. The floor surface at the undisclosed location is sensing human steps, transmitting their temporal and spatial information to the exhibition space, where a grid of mechanical knockers is invisibly tapping the rhythms of the remotely detected steps and following their paths from below the floor surface. Focusing solely on rhythms and paths of everyday walking, the installation Rhythms Of Presence aims to capture the invisible aspects of walking and investigate how they contribute to constituting presence, subjectivity, temporality and spatiality.

Displacing and superimposing the walking rhythms and paths of one place to those of another, the installation creates a hybrid and asymmetrical space where two simultaneous present times and presences interfere. A floor that becomes unknowingly performative and a floor that echoes steps from an unknown origin together form an open unsitely space that is both here, somewhere else and at the same instance nowhere and in-between. Stepping in this space one inhabits a concrete, yet un-mappable and disoriented territory.

During the exhibition at Errant Bodies Project Space artists, dancers, thinkers, writers and musicians will be invited to inhabit, question, activate, investigate, interpret and together imagine this space in becoming.

The installation Rhythms Of Presence is part of the three-year artistic research project (2013-2016) carried out under the Norwegian Artistic Research Programme at Bergen Academy of Art and Design, Norway.

Tao G. Vrhovec Sambolec (SI/NL/NO) is an artist and musician working with invisible ephemeral phenomena and the notion of space. His artistic practice is a poetic exploration of relationships between transitory and temporal phenomena like sound, weather and human activities and built environment and social spaces they inhabit. In his installations, he makes architecture sensitive to its immediate ephemeral surroundings and creating situations where the outside and inside, the unpredictable and constructed, the permanent and temporal converse. His works encompass interdisciplinary and mixed media installations, sound interventions and electro acoustic music. Tao is currently research fellow at the Bergen Academy of Arts and Design (KHiB), within the Norwegian Artistic Research Fellowship Programme. He has shown and performed in various museums, project spaces, galleries and festivals internationally.

Software and hardware development: Mr. Stock Interfaces
Carpenters: Seamus Cater, Bill Earwaker

Co-produced by:
Norwegian Artistic Research Programme and Bergen Academy of Art and Design
Zavod SPLOH, Ljubljana - Slovenia
Zavod Projekt Atol, Ljubljana – Slovenia
Španski Borci

Supported by: Ministry of Culture of the Republic of Slovenia

Sponsored by:
Future-Shape GmbH
Tremba GmbH
Showbots Engineering GmbH – BERLIN

Thanks to James Beckett


What is the sound of protest?

What is the sound of protest?
A performative evening and temporary exhibition
Curated by Joseph Young

6-8th November 2015

Vernissage 6-9pm on Friday 6th November
performances and talks start at 7.30 sharp

Continues 11-5pm, 7th & 8th November

Errant Bodies
Kollwitzstrasse 97
Berlin 10435

Does the sound of a coffee machine in a an artisan coffee shop signal a resistance towards the globalisation of the high street and is the sound of birdsong a protest against urban development?

Brighton (UK) and Berlin based artist Joseph Young continues his investigation into artistic utopias, revolutionary moments and social struggle to uncover some of the unlikely forms that the sound of protest might take.

Via invitation and an open call Joseph has selected a number of artists to collaborate with him in this short investigation; starting with a field recording and workshop weekend and ending in a temporary exhibition and performance event.

Featuring contributions by:
Raghed Barakat/ Helgard Müller/ Nicodemus/ Thomas Stern, Vincent Chomaz, Israel Martinez, Sybella Perry, Harry Ross, Stan Back & The Noise Glam, Lorenzo Tripodi, Symeon Yovev, Fred Dewey, Janine Eisenächer, Troy Mighty, Lars Müller, Michelle-Marie Letelier & Maria Verónica Troncoso, Erik Smith, Linda Weiss.

More details at


Errant Bodies Celebrates!

Errant Bodies Celebrates!

Please join us in celebration of our 5-year anniversary as a project space, 20 years as a publisher, and for the launch of Free Berlin No. 2

Saturday, October 10th, 2015 – 19:00

With works by:
Riccardo Benassi, Alessandra Eramo, fliegende Teilchen, Erik Göngrich, Heimo Lattner & Annette Maechtel with Stephanie Kloss and Judith Laub

Errant Bodies
Kollwitzstrasse 97
10435 Berlin

Errant Bodies is an independent press and project space. It has been developing publishing projects since 1995, initially in Los Angeles and since 2007 in Berlin. Since this time, it has been dedicated to supporting diverse discourses and projects in the fields of sonic and spatial practices, auditory culture and performativity, experimental writing and critical thought. Its publishing activities are developed through a number of series: Critical Ear – on sound and media art, Doormats – on experimental modes of being-political, Surface Tension – on sited work and the built environment, among others.

Errant Bodies further aims to engage the relation between cultural work and its local context through site-based research, collaborative projects, and through its project space. Opened in 2010, the project space fosters local community and international exchange on contemporary artistic topics, with an emphasis on sonic work and engaged listening. Through workshops, presentations and exhibitions, the project space is geared toward experimental research culture and the cross-over between art and social life.

The project space is managed by the Errant Bodies working group, a collective of Berlin-based artists and academics.

Free Berlin No. 2
With contributions from: Mario Asef, Riccardo Benassi, Alessandra Eramo, Erik Göngrich, Heimo Lattner & Annette Maechtel, Matteo Pasquinelli, Allegra Solitude

Free Berlin – free newspaper on the politics of creativity
Published by Errant Bodies Press, Berlin

The publication aims to contend with current debates on the topic of "the creative city" and specifically how "the artist" contributes to the cultural value of Berlin. With the steady intensification of "the Berlin phenomenon" this cultural value both fuels an extremely dynamic social milieu while lending to a political and urban apparatus geared toward economic development. The instrumentalization of creativity as a currency in the city of Berlin (and elsewhere) thus raises complex and important questions as to the role of artistic expression.

The publication considers these current debates around city politics and how creative practice may negotiate (or not) the social and economic consequences. How to deal with such a situation? Is there a way to produce without being complicit in the capitalization of creative expression? What type of critical position is possible? Are there possibilities for strategies of resistance, re-appropriation or withdrawal? What responsibilities (or not) do artists have for the city? And importantly, what are the historical agents that have made Berlin possible as a place of creative action and assembly?

By questioning the ways in which the artist performs as part of the creative city, the newspaper is envisioned as a creative base for diverse perspectives, and in support of free culture. It assembles together articles, expressions and materials from practitioners and thinkers working in Berlin, to bring forward reflections, historical references, and creative interventions.

Available at various locations, including Pro-QM, KunstWerke, Do you read me, and Errant Bodies Project Space.

No. 1, July 2015
With contributions from: Jeremiah Day, Jennifer Davy, Fred Dewey, Erik Göngrich, Brandon LaBelle, Janet Merkel, Marguerite van Sandick, Steffi Weismann

No. 2, October 2015
With contributions from: Mario Asef, Riccardo Benassi, Alessandra Eramo, Erik Göngrich, Heimo Lattner & Annette Maechtel, Matteo Pasquinelli, Allegra Solitude

No. 3 due out January 2016.


Sanne Krogh Groth / Politics and Aesthetics in Electronic Music

Book launch and presentation with:
Sanne Krogh Groth

author of Politics and Aesthetics in Electronic Music. A Study of EMS - Elektronmusikstudion Stockholm, 1964-79 (Kehrer 2014)

with guests Isabel Thomson & Vinyl, terror & horror

Saturday, September 19, 2015 – 19:00h

Errant Bodies
Kollwitzstrasse 97
10435 Berlin

Politics and Aesthetics in Electronic Music. A Study of EMS - Elektronmusikstudion Stockholm, 1964-79

This book explores the history of the Swedish electronic music studio EMS. EMS was established in 1964 with the intent to create an international centre for research in sound and sound perception, and to build one of the world’s most advanced hybrid studios. The principal creators of the studio were rooted in Swedish modernism, and had the EMS-project shaped in accordance to the social democratic cultural policy of the time. This enabled the project to achieve continuous financial support, as well as to stay at the forefront of technological advances.

EMS is one of the most significant electronic music studios, and for over 50 years it has operated as a place for innovation in the sonic arts, in particular acting as a platform for the development of text sound compositions in the 1960s and 70s. Today, it maintains an active program, and under the leadership of Mats Lindström supports ongoing productions in the field of auditory studies and electronics. The publication by Sanne Krogh Groth captures the history of this amazing place, and tells the important story of its pioneers.

The publication is supported by Statens Musikverk and ZKM, Karlsruhe.

Sanne Krogh Groth (DK, 1975) is MA in Musicology and Theatre studies (2003) with a thesis on Sound Art, and Ph.D. in Musicology from the University of Copenhagen (2010, Kehrer 2014). She is currently affiliated at the Royal Library in Copenhagen, conducting the research project “Composers on Stage” concerning 21st century composers. She is also part time lecture at the University of Copenhagen and editor-in-chief of the online journal Seismograf/DMT ( She has published internationally and occasionally co-curated at events and exhibitions.

Isabel Thomson has been familiar with Elektronmusikstudion in Stockholm since the 1990s and worked there for seven years as the international coordinator, from 2004 to 2011. During this time, the studio underwent big changes, under the artistic and administrative leadership of Mats Lindström.

Vinyl, terror & horror is a collaboration between Camilla Sørensen (b.1978) and Greta Christensen (b. 1977), both graduated from the Royal Danish Art Academy in Copenhagen in 2007/2008. The project is focused on the relationship between objects and sound and is presented in different situations as installation, sculpture, composition work or as live concerts. The work - whether it is a presented as an installation or a concert - uses sound to create a narrative that always directly refer to the medium playing it or the situation it is presented in. The sculptural work includes amounts of various materials where the live concert focuses exclusively on LP-records and turntables.

With support from Statens Musikverk, Sverige and The Swedish Embassy, Berlin.


Hearing Trouble / Sarah Lappin & Gascia Ouzounian

Hearing Trouble
Sarah Lappin / Gascia Ouzounian

Wednesday, September 16 – 19:30h

Errant Bodies
Kollwitzstrasse 97
10435 Berlin

You are warmly invited to a presentation and reception with architect Sarah Lappin and musicologist/sound artist Gascia Ouzounian. Sarah and Gascia are co-directors of the research group Recomposing the City: Sound Art and Urban Architectures at Queen's University Belfast. This group brings together sound artists, architects and planners in collaborative projects around the topic of sound and the built environment.

From September through November 2015, Gascia and Sarah will be based in Berlin to conduct research for their project Hearing Trouble. For this project, they are keen to interview sound artists, architects, planners, curators and community activists who have been involved with sound art, soundscape and sound studies communities in Berlin. The event will be an informal opportunity to meet Gascia and Sarah, who will give a short presentation on their project followed by a reception.
All are warmly invited.

The Hearing Trouble project is generously supported by the Arts and Humanities Research Council of the UK.

For more information on Recomposing the City, please visit:


Tittytainment / Ylva Bentancor

Sound art project by Ylva Bentancor

Opening: Saturday, September 5th, 2015 / 19.00h
Gallery hours: September 6, 7, 11, 12, 13 / 15:00 – 17:00h

Errant Bodies
Kollwitzstrasse 97
10435 Berlin

"Tittytainment" was a term coined by Zbigniew Brzezinski, the National Security advisor of US president Jimmy Carter, essentially to convey the idea that a mixture of "intoxicating entertainment and sufficient nourishment" can "tranquilize the frustrated minds of the globe's population." The term gained currency during the famous first State of the World Forum held at San Francisco's Fairmont Hotel in 1995, where this idea was apparently proposed as the solution to the "20-80 society" of the 21st century.

I first found the word Tittytainment in the book “The Global Trap”(1997) by Hans-Peter Martin and Harald Schumann. They describe the expression like this:

"...The pragmatists in the Fairmont Hotel reduce the future to a pair of numbers and a term: "20 to 80" and "tittytainment". 20 percent of the working age population will be enough in the coming century to keep the world economy going. "More workers will not be needed", said magnate Washington SyCip. A fifth of all jobseekers will be enough to produce all the goods and perform all the top-flight services that the world society can afford.... What about the others? Will 80 percent of those willing to work be without a job? "Certainly"... The question in the future will be "to have lunch or be lunch", to eat or be devoured. ....The term "tittytainment" makes the rounds... The frustrated population of the world could be kept happy with a mixture of numbing entertainment and adequate food. The managers soberly discuss the possible doses and reflect how the wealthy fifth can employ the superfluous remnant.... The organizers of the three memorable days in the Fairmont imagined themselves underway to a new civilization. However, the direction envisaged by the assembled experts from the executive floors and science leads directly back into the pre-modern age... The world model of the future follows the formula 20 to 80. The one-fifth society is brewing in which the excluded will be immobilized with "tittytainment"."

There are many books written on the subject and people who try to spread information about this kind of phenomenon, who try to open our eyes to at least be a bit critical towards the values that rule the world today. We work hard, we consume loads, and we speak less and less about human values. Materialism is the new religion, we think we do need all this stuff for real. And in the flow of information that gets to us through all possible angles we have no longer the energy to question what is really happening. It is a tricky question, and to bring it up often generates a lot of resistance. People feel stressed about it, of course. And this project cannot claim to pass any truths, its all speculations and personal theories. But what the project wants to communicate is that we will not stop talking about it, we have to continue to reflect about how it looks and express our own feelings of being trapped in this Tittytainment-world, if there is one?

Ylva Bentancor is a Swedish sound artist and composer, with focus in telling sound stories about phenomena’s in the society to create lines of thoughts within the listeners using sounds/instruments as language. She graduated from the Royal College of Music in Stockholm in 2000, with a diploma in Composition. After graduating she where one of the founder and editors of the web magazine who later also took over and renewed the Swedish Contemporary music journal in Sweden, Nutida Musik (founded 1957). Between 2003 and 2006 Ylva worked in the department of Composition/conducting at the Royal College of Music, responsible for seminars of Aesthetics and mentor. She’s been involved in projects of many kinds, from school cooperation’s at the Modern Museum in Stockholm to sound art-projects in the Middle East, and in Europe.