Ingrid Kaufman: op. 1 – Priamel: Allegorie der Träumenden

28.01.2023, Einlass ab 18.00 Uhr, Konzertbeginn 19.45 Uhr
Kirche St. Gertrud, Krefelder Straße 57, Köln

Szene mit Badewanne, Raumtrenner, Tauchsieder, Wasser, Schaum,
Protagonist:innen & Mehrkanal-Tonsystem

Ingrid Kaufman ist die Hauptfigur einer Kurzgeschichte von Maria Wildeis, die 2021 im Rahmen der Publikation „anwesend“ von On Cologne e.V. entstanden ist. Zwischen Kunstdiskursen und Selbstzweifel bereitet sich Ingrid Kaufman auf die Aufführung eines neuen Stückes vor, in dessen Zentrum Badewannen stehen. Maria Wildeis interpretiert die Erzählung innerhalb ‚Ingrid Kaufman, op. 1 – Priamel: Allegorie der Träumenden‘ und verbindet den Klang einer Badewanne (Interpretiert von Fabian Jung) mit dem Kirchenraum und der dort installierten Orgel mit Elektronik und einem Mehrkanal-Tonsystem (8-Kanal Lautsprecherkonfiguration und Körperschallwandler). Die Aufführung ist als Szene konzipiert, deren visuelle Eingriffe von der Bildhauerin Katharina Maderthaner bestimmt wurden.

Künstlerische Leitung und Elektronik: Maria Wildeis
Installation, visuelle Eingriffe: Katharina Maderthaner
Instrumentalist, Performance: Fabian Jung
Technische Assistenz und Orgel: Sebastian Fecke Dia
Grafik, Design: Sebastian Wulff

18.00 Uhr Einlass, Zugang zur Installation
19.45 Uhr Konzertbeginn

Kirche St. Gertrud
Krefelder Straße 57
50670 Köln

DIN 1317-1: Absorbing Borders

Maria Wildeis
DIN 1317-1: Absorbing Borders

Sound + Installation + Performance
01 June 2022 at
Cité internationale des arts, 75004 Paris

In a letter of 6 October 1858 to his lover Mathilde Wesendonck, Richard Wagner expresses his enthusiasm for the Érard pianos: “But this wonderfully soft, melan- cholically sweet instrument completely cajoled me back to music. I called it the swan that had now come to lead poor Lohengrin home again!”

The central starting point of my artistic research is a Erard’s grand piano, which I was working with during my research at Cité internationale des arts Paris. I composed a sound piece with recordings of each note as fixed media in Max MSP and generated randomized rhyhtm patterns. I thus added sine waves of different length and frequencies to create site specific rhythm patterns through overlapping sine wave curves in the stereo field.

Camille Érard, Pierre Érard’s widow, gave Wagner a grand piano after his stay in Paris. He composed the first act and the libretto in Zurich. He decided to compose the second act in the “solitude of Venice and had his Érard grand piano transported over the Alps”. He wrote the third act in Switzerland, in the noble Lucerne hotel “Schweizerhof”. Wagner travelled with the grand piano not only to Venice but also to Biebrich, Vienna, Munich, Tribschen and Bayreuth.

Erard grand pianos were very popular and were thus moved around a lot in the style of European expansion. The European idea of colonising the world and making it serviceable left its mark in salty, rusty Érard pianos that were left behind. As early as the 18th century, the French manufacturer’s most popular pianos were export-
ed not only to Europe and America, but also to French colonies in Asia or South America.

The pianos transported not only their flattering sound to all parts of the world, but also the standard concert pitch negotiated in many European tuning conferences, which was finally fixed at A1 = 440 Hz at 20° Celsius. In 1920, the Treaty of Ver- sailles states: Article 282, paragraph 22. Convention of 16 and 19 November 1885, concerning the manufacture of a standard tuning fork; this was followed by the ISO standard and in 1957 by DIN 1317-1 (German Institute for Standardisation).

The artistic debate is accompanied by the presentation of two albino alligators, which are currently at home in the Palais de la Porte Dorée in Paris in the Aquari- um Tropical, in the basement of the building. The Art Deco building was opened in 1931 for the “Exposition coloniale internationale”. The sculptor Elizabeth Prophet called it “the most spectacular colonial display the West has ever seen”. Equally impressive is the presentation of these white beings, who come from the US state of Louisiana at the foot of the Mississippi, a former very early colony of France (17th century). They were taken out of their habitat to be observed separately as superla- tives of the Fremdenschau in an artificial environment.

In her work, Maria Wildeis deals with electronic music compositions and live performances. With the help of the medium of the soundscape, the linearity of the perception of time in humans and non-humans, as well as the spatial aspects of sound. Inspired by historical connotations of various objects and events, as well as the different sound events in nature and sensory abilities of some animals, the com- poser experiments with temporal and spatial factors through two- or multi-channel performances and installations.

Sources Research (selection):
– jpg&size=900
– – Wikipedia

Sources Film:
Concept, music + image: Maria Wildeis
Photogrammetry: Benoît Rogez Image
References: 2 postcards ‘Alligator mississippiensis’ © Déodat Manchon / EPPPD (Aquarium Tropical Paris)
Wagner: Tristan und Isolde WWV 90 – Prelude und Liebestod (Act III), France Musique
Die 432 Hz Verschwörung (+ Interaktiver Test), MULTI BE CAREFUL WHAT MUSIC YOU LISTEN TO!! 432HZ vs 440HZ, End Times Ultra
Animal Planet, Baby Albino Alligators Move To Their New Home | The Aquarium LimeWave, Louisiana Swamp
Alligators and Cypress with Spanish Moss at Lake Martin, Lafayette LA
Stillpoint X, Color White Light, Reflection & Absorption
Anne Müller, Geschäftsbrief nach DIN 5008 03/2020 in Microsoft Word virtual-oscilloscope/


„Oneiroi“ | Maria Wildeis

Wann 21.15 Uhr

Die Oneiroi dominieren die Träume in der griechischen Mythologie. Sie treten auf als Kinder des Schlafgottes Hypnos und der Nyx oder auch als Fledermausartige Wesen, die nachts ihre Höhlen verlassen, um ihre Geschichten an die Träumenden zu senden. Die Komposition begreift sich als Simulakrum eines Soundscapes und behandelt die Idee unterschiedlicher Zeitstrukturen im Raum, wo heterogene Lebensformen jeweils unterschiedliche sinnliche Erfahrungen hervorbringen.

Songs for Seals

Polyphonie für träumende Robben I – V
A Performance by Alisa Berger and Maria Wildeis

Alisa Berger and Maria Wildeis embark on a 360° musical expedition dedicated to the dreams of all nautical dogs.

Inspired by the seductive and synthetic-sounding noises of sleeping Weddell seals, archive recordings from Greenland, Iceland and the Arctic served as the starting point for this sound journey, which the artists transformed throughout using voice, instruments and computer software.

To further deepen the artistic research journey, they travelled to the seal centre Föhr thanks to the help of ON – Neue Musik Köln e.V. and the concert series for experimental electronics Polymer. On the island in the Wadden Sea, various compositions were created at five locations, which reflect the seals‘ habitat in their aesthetics.

Funded by ON Neue Musik:

Recorded at Föhr Island at 03. und 04. August 2021 during low tide.

3D Modulation / Unity Maria Wildeis
Sound Editing Maria Wildeis
Sound Mastering Maria Wildeis
Datamoshing Alisa Berger
Video Editing Alisa Berger 
Color Correction Alisa Berger

Voice, Xylophone, Monotron, DAW, 
Glowing Microphone,
Casio Keyboard,
Hydrophone (ASF-1+2 MKII), 
Stylophone, Daisy Duck Radio, Bluetooth UE Boom,
Small Bells, Watt

I –  Songs for Seals, STEG, 03.08.2021, 4pm during low tide
II –  Songs for Seals, WATT, 03.08.2021, 9pm during the end of low tide
III –  Songs for Seals, SCHIFF, 03.08.2021, 6pm during low tide
IV (a) – Songs for Seals, WINDRAD, 04.08.2021, 2pm
IV (b) – Songs for Seals, WINDRAD (Bonus Track), 04.08.2021, 2.30pm
V –  Songs for Seals, WIESE, 03.08.2021, 3.30pm during low tide

I –  Songs for Seals, STEG, 03.08.2021, 4pm during low tide

II –  Songs for Seals, WATT, 03.08.2021, 9pm during the end of low tide

III –  Songs for Seals, SCHIFF, 03.08.2021, 6pm during low tide

IV (a) – Songs for Seals, WINDRAD, 04.08.2021, 2pm

IV (b) – Songs for Seals, WINDRAD (Bonus Track), 04.08.2021, 2.30pm

V –  Songs for Seals, WIESE, 03.08.2021, 3.30pm during low tide

Wir haben Gäste: Lotus Power II

Fotoraum Köln
Anna Siggelkow (Fotografie) + Maria Wildeis (live Elektronik)
Video + Sound performance: 10. März 2021

Maria Wildeis präsentiert in der Ausstellung „Lotus Power II“ von Anna Siggeklow eine Klangcollage. Fieldrecordings aus der unmittelbaren Nachbarschaft des Fotoraums in Köln – Lindenthal wie auch Geräusche aus dem Innen- und Außenraum des Kunstraums sind Teil der Performance. Anna Siggelkow untersucht in ihrer multimedialen Arbeit „Lotus Power II“ das Verhältnis des Menschen zur Natur. Sie richtet ihren Blick auf die Dinge, die vom Menschen wider die Natur erschaffen, verändert oder beeinflusst wurden.
Die Ausstellung und die Klangcollage wurden vom Fotoraum Köln im Rahmen der interdisziplinären und interkulturellen Reihe „Wir haben Gäste“ gezeigt und vom Kulturamt der Stadt Köln und der Bezirksvertretung Innenstadt gefördert. Anna Siggelkow, // Maria Wildeis, //

chemical sound machine

Installation: Ketonge Konzert: Ketonge, Alisa Berger, Maria Wildeis Ort: Kunstverein Leverkusen Schloss Morsbroich Der Kunstverein wird zum Labor – Der Künstler und Musiker Manfred Rücker, alias ketonge, wird am 5. Feburar 2021 zusammen mit Maria Wildeis und Alisa Berger die bespielbare Installation chemical sound zum Leben erwecken und die Komposition später streamen.

Damenklomusik: Lichtparcours Braunschweig

03.10.2020 – Abgesagt
sound art /w Ketonge
Lichtparcours Braunschweig (Link)

Maria Wildeis und Ketonge (Manfred Rücker) entwickeln für „Die Wärterin“ eine Klangcollage, die im ehem. Toilettenhäuschen und je nach Wetterlage auch am Baldachin zu hören ist. In einem anschließenden Konzert werden Found Footage der Umgebung ebenso einfließen wie Gesang, Instrumentalmusik und Klangeffekte. Die Instrumente wurden durch die Künstler teilweise selbst produziert. Ketonge ist ein deutscher Komponist, Bildhauer und Medienkünstler. Maria Wildeis ist Kuratorin, DJ, Klangkünstlerin und Gründerin zeitgenössischer Off-Räume.

Tiefgarage @ NOISELAB

MAY 25 + 26 2019

Tiefgarage – stage at Noiselab

​A weekend dedicated to Noise and Sound Art on the former field station on Teufelsberg in Berlin Grunewald.

Tiefgarage stage on both days with Taka Kagitomi, Ketonge, Tzeshi Lei, Methlife – René Haustein & Philipp Höning, Kotaro Mitsune, Laura Not, OLEOS – Yarei Molina, Tintin Patrone, M’Shakti-La – Kenn Hartwig, Leonhard Huhn, Johannes Klingebiel,  Christian Lorenzen & Andi Voelk, OhBoiNoBoi – Sad Ed & Peter Hanson, Bernd Schurer, Ulrich Steinbach, Maria Wildeis

A collaboration of Institut für alles Mögliche, Dots Gallery, Plusnull e.V. and Teufelsberg crew.

Radio Mario

2019 – ongoing
hosting a radio show every 5th Sunday in the month with performances in experimental, electroacoustic, electronic and contemporary pop

upcoming: 29.11.2020
upcoming: 30.01.2021

31.1.2021: Taka Kagitomi & Riad Nassar, Kenn Hartwig
7.12.2020: Alisa Berger, Ketonge, Maria Wildeis
29.11.2020: Der Täubling, Alisa Berger, Tamponyoga
30.8.2020: MME dUO, Sandilé, Leonhard Huhn, Maria Wildeis
31.5.2020: C.A.R., seren.a, Xayíde, Ulrich Steinbach ( and
29.12.2019: Denise de Winter, Anna-Lena Meisenberg, M.Funk, Maria Wildeis (
30.6.2019: Soya Arakawa, FRAGIL, Hem Taf (
31.3.2019: Fabian Jung, Dominik Mahnig, Monibi (

Radio Maria from 674FM on Vimeo.

FAR OFF 2016 – 2018

FAR OFF Cologne

FAR OFF took focus solely on performance, time based and media arts and was held at various locations in Cologne. 2018 it was presented at Cologne ́s most discussed open space, the Ebertplatz. Far Off was broadely discussed in the media, e.g. here:

Ein kurzes Gespräch mit Maria Wildeis über die FAR OFF 2017

Der flüsternde Raum

curator, project manager
Collaboration with Andrés Krause.
(The Wispering Room) is a Sound Art project with Natascha Nikeprelevic, Holger Mertin, Joseph Suchy and ‚The Knob, The Finger & The It‘. The artists produce Sound Art and Experimental Space Music and have to deal with the very special acoustic conditions of the architecture of the chirch St. Gertrud, built by architect Gottfried Böhm in the 1960s.

St. Gertrud, Photo: Sebastian Linnerz
St. Gertrud, Photo: Sebastian Linnerz

Sat, October 11, 2014, 8 p.m.

Der flüsternde Raum is supported by SK-Stiftung Kultur.