Biography
Curriculum Vitae
1972 | born in Regenstauf near Regensburg |
1982–1991 | High school at the Regensburger Domspatzen |
1995–2002 | Studies of Musicology and German Studies at the University of Regensburg, graduating with a Magister Artium degree |
2002–2011 | Activities as professional choir and ensemble singer, commitments at the Collegium Vocale Gent, RIAS Chamber Choir Berlin, Weser Renaissance etc |
2004 | Foundation of the vocal-experimental duo PARKDECK |
2009–2011 | „Sound Studies – acoustic communication“ at the UdK Berlin, class for experimental sound design; graduation with a Master of Arts degree with the sound installation „Panharmonicon 2“ |
2011– | working nationally and internationally as sound artist and sound designer |
Alois Späth lives and works in Berlin | |
Exhibitions |
|
2015 | „no stories / koane g’schichtln“. Two digital-experimental photo processings in LED light boxes and frames, as well as two sound installations made of IKEA-items, Ingo Seufert — Gallery for Contemporary Photography, Munich |
„AGNES, TINA, LION & MATHIS“. Three part sound installation with works of the series „Seriell – Individuell“, ohrenhoch – der Geräuschladen, Berlin | |
„Der Klang der Dinge lehrt mich Demut“ („The sound of things teaches me humility“). Artistic sound work for CD listening station, LOOP festival Barcelona, Video-Night Goethe-Institut: „Estatus Alterado“ | |
Wendelstein Höhlenmediale 2015 „Zeit – Moment – Ewigkeit“ („Time – Instant – Eternity“). Works by Annie Goh, Akitoshi Honda, Bartholomäus Traubeck, Bastus Trump. Curator and artistic director: Alois Späth | |
2014 | „Entdeckung“ („Discovery“). Sound/image installation „Hanging Stairs“ for four video disks, transducer and source player, Arts and Crafts Club Regensburg e.V. (in cooperation with Kontur, Kunstverein Stuttgart e.V.) |
Festival “Ton im Ton”. Installative 8-channel audio performance „dia-materiell (klangserie III) – keramik“ with sounds from the workshop of the potter Thomas Henle on ceramic objects as sound carriers and speaker ensemble, ELSA47 e.V., Bad Rodach near Coburg, Bavaria | |
Music for the play „DZIADY III“. Director: Natalia Korczakowska, Teatr Dramatyczny im. Aleksandra Węgierki, Bialystok (Poland) | |
Residence of artist at Artbase Helgeland 66°N (Norway). Creation of the sound installation „HOME BY THE SEA“. Live performance “Gazing at …” (visuals: Maike Zimmermann, sound: Alois Späth) | |
2013 | Sound objetcs „AGNES“ and „LION“ from the series “Seriell – Individuell”, Concept Store Garden of Anouk, Berlin |
Festival „Zither am Berg“ („Zither on the mounatin“) of the Deutscher Zithermusik-Bund e.V. Sound installation with self-sounding zither instruments, cave dome at the Wendelstein mountain | |
Central Asia tour on behalf of the Goethe-Institut Tashkent and Almaty. Four concerts as part of the „Gletschermusik“ („glacier music”) festival: | |
- Concert with the Teichmann brothers, Askat and Alois Späth, Bishkek (Kyrgyzstan) | |
- Sound room with Andi Teichmann and Alois Späth, Dushanbe (Kyrgyzstan) | |
- Sound room with Andi Teichmann and Alois Späth, Almaty (Kazakhstan) | |
- Concert with the Teichmann brothers, Omnibus Ensemble and Alois Späth, Tashkent (Uzbekistan) | |
Installative sound performance (8-channel audio) in the context of the presentation of the new Colorstone series by the Vögerl company, Parsberg | |
Conference „Klimawandel und Gletscherschmelze: Erkenntnisse und Ausdrucksformen zu einem globalen Phänomen” („Climate change and melting glaciers: insights and expressions for a global phenomenon”), organized by the Goethe-Institut. Installative sound performance, Tashkent (Uzbekistan) | |
2012 | Installative audio performance with Marco A. Fox during the concert “Sphaira” together with the Schola Gregoriana Tübingen, conducted by Wilfried Rombach, church of St Johannes, Tübingen |
Creation of three sound installations entitled “K” for the restaurant „Goldener Löwe“, Kallmünz | |
„Magisches Abschlusskonzert“ („Magical final concert“) of the music festival “Kulturwald”. Installative sound performance and playbacks with Marco A. Fox featuring PARKDECK, Stadthalle Deggendorf | |
Ars Electronica. Presentation by Sound Studies Berlin with the sound installation “Panharmonicon 2”, Linz (Austria) | |
Installative multichannel performance together with Marco A. Fox featuring PARKDECK. Playing on items of furniture and objects with musical set pieces, field recordings and sound layers, Bar „Miss Hecker“, Berlin | |
Great Eastern Bavarian Art Show. Sound installation for church bells, organ bass pipes, transducers and playback machine, church of the Conventual Franciscans, Regensburg | |
Scholarship and participation at the „Schlossmediale Werdenberg“ 2012. Creation of the multipart sound installation „dia-materiell (klangserie I)“, as part of the Festival for Old and New Music and Media Art, Werdenberg (Switzerland) | |
Performance of the sound piece “Neon Music” for source players (mp3 player), mixing desk and analogue effect device for the public performance of the installation “faint – Ohn’Macht” by Notburga Karl, Chapel of the University of Regensburg | |
2011 | Sound for the light-room-intervention „Fibonateur [-3–5–8–13-]“ by Notburga Karl and Margret Becker in the church of Groß Fredenwalde, Brandenburg |
Music festival „Kulturwald“ in the Bavarian Forest. Extensive sound installation on the hillside meadow of the ancient Centennial Farmhouse. Cooperation with Harald Christ featuring „Christ & Späth“, Bernried near Deggendorf | |
Sound installation as part of the series „sound OF“. Cooperation with Marco A. Fox featuring „PARKDECK“, Bathhouse Allessa, Offenbach | |
Music for the live radio play „On the Night Train“ based on the novel of the same name by Benno Hurt, Weinschenk-Villa, Regensburg | |
Master presentation Sound Studies „AUFHÖRN!“. Exhibition of the sound installation „Panharmonicon 2“, HomeBase Berlin, and Historical Museum of the City of Regensburg | |
2010 | Audio-visual installation „Rastplatz“. Cooperation with Harald Christ featuring „Christ & Späth“, Kommunale Galerie, Berlin |
Festival of Old Music „Stimmwercktage“. Sound installation, Cooperation with Harald Christ featuring „Christ & Späth“, Adlersberg near Regensburg | |
„Messages from the World of the Facebook“. Music, recitation and singing by Andi Teichmann (electronic) & Alois Späth (electronic, recitation, singing), Bar „Miss Hecker“, Berlin-Mitte | |
Festival „Esta Casa Esta Sonada”, sound work „_ _ _ for you“. Three German poems recited at night on a highway bridge, Maracaibo (Venezuela) | |
2009 | Stage music for the play „Der kleine Häwelmann“ of the puppet theatre „Pupille Schief“ (Gudula Zientek) with „PARKDECK“ (Alois Späth and Jana Sotzko, Berlin), Regensburg |
„Radio Rohrdamm, Sound Studies in Siemensstadt-Berlin“. Sound collage „Chants of flagpoles“. Collaboration with David Rusitschka, Berlin | |
Teaching |
|
2013 | Seminar for Sound Art on the topic „Sound – Culture – Forest“. Creation of experimental sound works with students of Media Technology on the sound sphere of the Bavarian Forest and the Musikc Festival as part of the practical course „Sound Techniques“, subject area Media Techniques, Technische Hochschule Deggendorf |
2012 | Course on Sound Art for the subject area Media Techniques, Technische Hochschule Deggendorf |
Bibliography |
|
2015 | Sabine Reithmaier: “Zauber der Zeitlosigkeit”, sueddeutsche.de (6/4/2015, also print version 6/5/2015) |
2014 | Gabriele Mayer: „Begegnung mit fremdartigen Welten“, mittelbayerische.de (11/16/2014, also print version) |
Kari-Ann Dragland Stangen: „Lover kunst i låve“, in: Helgelands Blad, 9/19/2014 | |
2013 | Antonia Bruhns: „Wie klingen verschiedene Gegenstände? – Klangkünstler Alois Späth“, radio documentary series „Allegro“, BR Klassik, 9/5/2013 |
Franziska Dürrmeier: „Der Klang der Kleiderbügel“, Süddeutsche Zeitung, 8/28/2013 | |
2012 | „Sakrale Sphären, Gregorianik-Elektronik-Mix in St. Johannes“, in: Schwäbisches Tagblatt, 12/8/2012 |
Jürgen Herda: „Kunststipendium“, oberpfalznetz (11/15/2012) | |
2011 | Edith Rabenstein: „Wo ein Boot ruft und Schirme wispern“, pnp.de (8/31/2011, also print version) |
Michael Scheiner: „Klangmaschine: Das Knuspern und Grispeln ‚nackter‘ Transducer“, mittelbayerische.de (6/1/2011, also print version) | |
Gerhard Dietel: „Nicht Lesung, sondern Live-Hörspiel“, in: Mittelbayerische Zeitung, 4/13/2011 | |
Lysann Weser: “Von Kürren nach Köln im Nachtzug”, kultur-ostbayern.de (4/14/2011) | |
2010 | „Der Klang des Idylls“, sueddeutsche.de (8/6/2010, also print version) |
2009 | „Pupille Schief und der kleine Häwelmann“, mittelbayerische.de (11/8/2009) |
Videos |
|
For video documentaries of the works by Alois Späth please check youtube and vimeo | |
Website |
|
www.aloisspaeth.de |
Alois Späth
„As a sound artist, I see myself oscillating primarily between the field of music and the visual arts, yet also between literature and various types of performing art forms such as concerts, theater, or happenings. In this respect, I work, create, and act – often and willingly – as an interdisciplinary artist. The poetological concept behind my work lies both in the creative process as well as in its exhibition context. When I create a new work, I try to learn about sounds and sound development, about objects and their sculptural quality, about atmospheres in space, and about the perception of particular situations. I try to find out what should emerge directly from things, constellations, and situations. For a very, very long time I monitor my artistic source material, my work materials, the world around me, and even myself in an attempt to recognize what every thing and every person around me has to say about itself and myself. Then, I arrange – in the truest sense of a composer – where ‘composing’ is equal to ‘assembling.’ I assemble what has been captured in audio, video, or image into a new artistic work.
In an ideal case, the shown or exhibited work conveys a message to the recipient about itself. As it spreads its sounds in space, a sound installation scrutinizes general sound phenomena or the sound phenomenon itself currently taking place. A pictorial work not only gives optical content or emphasizes visual abstraction but also challenges the viewer to recognize images in a new manner, especially in the present image. An installation, an atmospheric intervention, and a performance or concert all generate new changes in perceptions of space, of atmosphere, of performances and concerts, of place, of position, action, and time.” (Alois Späth)