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
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
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
2015 Sabine Reith­maier: “Zau­ber der Zeit­lo­sig­keit”, (6/4/2015, also print ver­sion 6/5/2015)
2014 Gabriele Mayer: „Begeg­nung mit fremd­ar­ti­gen Wel­ten“, (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“, (8/31/2011, also print version)
Michael Schei­ner: „Klang­ma­schine: Das Knus­pern und Gris­peln ‚nack­ter‘ Trans­du­cer“, (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”, (4/14/2011)
2010 „Der Klang des Idylls“, (8/6/2010, also print version)
2009 „Pupille Schief und der kleine Häwel­mann“, (11/8/2009)
For video docu­men­ta­ries of the works by Alois Späth please check youtube and vimeo

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)