Tuesday, June 1st at 12pm CET
On Twitch.
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Carina Pesch (born 1983) studied Social Anthropology, Political Sciences, and Philosophy at the University of Leipzig and at the Orient Institute Beirut. In high school she started to write short stories and articles for the local newspaper. Than she found her way to radio, acoustic narratives, and sound art. She was fascinated by the extra dimension that sounds and voices add to storytelling. During her journeys and field studies she discovered the world with all its corners, layers, and rough edges. She was trained as voice artist by Alexis Krüger, taught how to make radio features by Michael Lissek and Walter Filz, making ”Hörspiele“ (radio plays) she learnt from Krok & Petschinka, Tim Staffel, and Paul Plamper, sound art she learnt from Antje Vowinckel, Peter Cusack, and Chris Watson.
Today she works as sound and voice artist, author, director, and curator – mainly in the fields of radio, installation, and the walking arts for public broadcasters, museums, international festivals, and cultural institutions. She also co-curates the gathered listening event GERÄUSCHKULISSE – a forum for all who love good stories and immersive sound worlds. The makers of radio fiction, feature, or sound art are invited to present their work and discuss it with the audience. The NGO has a strong sense for community – in its talk concept and its projects.
Her own art works range between fiction and reality, always with a strong sense for the specific characteristics of phenomena, people, and places. Her radio works include documenatries as well as fiction and sound art. They oscillate between narrative and purely sound-based with fascination for the thin borderline between fiction and reality. Often she uses spoken word that transcends sentences and syntax and reaches a pure atmosphere or emotional quality. She also creates sound installations – some of them site-specific.
She aims to achieve intersubjectivity rather than assuming objectivity and focuses on human-human as well as human-environment relations. She chooses a subjective approach towards individuals and the world, faces them without judgement as a keen-witted observer drifting intuitively and being guided by fascination. She sets in scene encounters and creates contact points in dialogue. Instead of merely showing her findings from the process of creation she wants the audience to experience them. With enthusiasm she experiments with new media and new narrative forms. She is a specialist for spatial and binaural audio in linear compositions and interactive sound projects.
She works with high-quality field recordings, voice improvisation, and interviews. For the representation she relies on techniques of collage, rough cuts, rhythm, and a structure that reflects the core message. Her special interests are personal and social boundaries as well as transcending and blurring them, the confrontation and meeting of different worlds and horizons of experience. Many of her works have a strong link to environmental and community projects. She draws on traditions like the situationists, sound ecology, musique conrète, dada, and sound poetry.
She gives workshops in storytelling, recording, interviewing, soundwalks, and different voice impro techniques for universities, community radios, and cultural institutions.
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