Lets All Slow Down Time Together

Project w/ Florinda Ciucio

The installation ‘LET’S ALL SLOW DOWN TIME TOGETHER’ started with Florinda Ciucio’s visual exploration of open landscapes and urban panoramas and the question of why we seek these places out to find solace, comfort and reflection.

The installation is based on the proven fact that the emotional state of ‚being in awe’, prolongs your perception of time. Therefore the viewer is confronted and reintroduced with the element of time, regaining a sense of control, by elongating the perception of these minutes.

At the same time it is a symbolic live intervention by all coming together to try to prolong our individual perceptions of this time, creating a slower pace at that moment in this room together.

Sharing a state of contemplation is a disappearing public act. There are only few places left in public space that elicits a communal experience of reflection. Watching the sunset together is one that people still cherish, an act that still mobilises a diverse crowd, that can bring people together to create the energy of a communal moment.

The sound based on this concept started with the addition of a church bell, which was cropped, slowed down and played in reverse, so that its known attributes were blurred. The bells are slowly replaced by the sound of hissing birds. The church bell itself has a very rich texture and therfore is a great fixed sound to manipulate its time structure. Also the church bell itself draws attention to the social role of churches within time structuring in europe, before the inauguration of a global time at the end of 19th century. Before this, villages had been regulated acoustically mainly through the chronology of churches.

DIN 1317-1: Absorbing Borders, Sound + Installation + Performance

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):
– http://www.versailler-vertrag.de/vv10.htm
– https://richard-wagner-museum.ch/geschichte/fluegel-von-erard/
– https://opera-inside.com/tristan-und-isolde-von-richard-wagner-opernfuehrer-und-handlung/?lang=de
– http://archivobello.uchile.cl/thumb?img=content/registros/coleccion-eugenio-perei-ra-salas/037R/ugd_3389. jpg&size=900
– https://www.geo.fr/histoire/ancien-musee-des-colonies-retour-sur-la-naissance-et-le-destin-singulier-du-palais-de-la-porte-doree-a-paris-207187 – 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 https://academo.org/demos/ virtual-oscilloscope/

Oneiroi: 4 Channel Sound Performance @Museum Kunstpalast


„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.

Oneiroi: Concepts of Non-Linearity in Time

Multichannel Sound Performance and Research on Spacial Sound and Time Concepts in Music and Nature.

Oneiroi is an ongoing series of electronic music compositions and live performances. Throughout the medium of soundscape, I am questioning the linearity of time perception in humans and non-humans. Since many birds and bats can strech the perception of time for certain moments, to amplify vocal bird songs or other acoustic aspects, I am experimenting on time concepts and time perception through multichannel performances and installations.


26. June 2021 – Simultanhalle Köln
Upcoming: 04. February 2022 – Robert Schumann Saal, Museum Kunstpalast

The Oneiroi dominate the dreams within Greek mythology. More often, the Oneiroi are mentioned as an unspecified group being the personification of dreams. They are described as the children of the sleep god Hypnos and Nyx. Like bats, with black wings, they leave their caves at night and send their stories to the dreamers.

The project Oneiroi refers to a simulacrum of synthetic sounds which deal with differnt time concepts and different approaches to sound, like how heterogenous species are sharing one sound scape, although processing different sensual experiences.

William Adolphe Bouguereau, La Nuit, 1883, Öl auf Leinwand (Sammlung: Hillwood Estate, Museum & Gardens, Washington, D.C., USA)

In my master thesis I study methods of spatial sound structuring and media compositional approaches in the field of electronic music, acousmatics, field recording and additive synthesis. In the context of my main course, I am also concerned about the visual aspect of music, its visual associations.

I use sounds and noises for installations and spatial works. I work with computer programs, object-based languages, spatialization software, DAWs, but also game engines, VR programs and 3D graphic simulations.

At Simultanhalle Köln in summer 2021 I first time realized a two channel sound piece under the name of Oneiroi, which was installed in a garden and played a loop of 60 mins. The sound was generated by additive synthesis and was composed of different sound groups that simulated a natural situation with different sound events, like humming insects crossing on different levels and speeds a listener’s ear, the rusle of grass, the sound of wind going through twigs. A link to an excerpt of the piece follows in the description.

The project will also be outlined also as a 4-channel sound concert at Museum Kunstpalast during Sparda’s Palastrauschen, a one-day event at the Schumann concert hall in Düsseldorf.

At February 2021 I was invited at Fotoraum Köln for a site-specific live performance, which demonstrates my interest in soundscapes, field recordings and on-site sounds of the performance venue.
stereo, live modulation and field recordings

My work at Fotoraum Köln is combining field recordings from the immediate vicinity of the Fotoraum in Cologne – Lindenthal as well as sounds from the interior and exterior of the art space during the performance. These sounds became part of the performance and got distorted with effects and modulations. In her multimedia work „Lotus Power II“, Anna Siggelkow examines the relationship between humans and nature. She directs her gaze to the things that have been created, changed or influenced by man against nature. Her video formed an element in the video composition. The exhibition and the sound collage were shown by Fotoraum Köln as part of the interdisciplinary and intercultural series „Wir haben Gäste“ (We have guests) and sponsored by the Cultural Office of the City of Cologne and the City Centre District Council.

Andere Teilchen oder äußere Einflüsse, Interactive Sound Walk, Exhibition at NKR

Andere Teilchen oder äußere Einflüsse
Interactive Sound Walk,
with Joseph Baader and Vincent Stange

2. Dezember 2021 | 19 – 21Uhr [Vernissage] 
3. – 5. Dezember 2021 

Zu Gast im NKR – Neuer Kunstraum 
Himmelgeister Straße 107, Düsseldorf

Funded by Kunststiftung NRW and Kulturamt Düsseldorf.

“Andere Teilchen oder äußere Einflüsse” turns the exhibition hall of NKR into an active resonating body. The sound installation consists of two different systems, each playing different frequency bands (31-125 hz and 300-20,000 hz).

This creates a common sound space in which the sound spreads out and where the existing particles influence each other: The audience moves the sound and the sound moves the audience. The question of influence is negotiated in various ways. The physical phenomenon of the standing wave creates an acoustic walk-in sculpture in the work by Vincent Stange and Joseph Baader. Depending on the position in the room, different vibrations and chords can be heard. At the same time, these movement patterns are recorded by ultrasound sensors in the Max MSP-based installation by Maria Wildeis. The paths of the visitors affect the sounds of the high frequency spectrum at certain points.

Following presentation at Museum Kunstpalast at the end of January during Sparda’s Palastrauschen.

weitere Öffnungszeiten siehe 

Songs for Seals: 360° VRConcert Series at Föhr Island

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: https://www.youtube.com/user/oncologne2008

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

VDE70, site specific work, sound installation

Katharina Maderthaner, Maria Wildeis
Site specific work, sound installation
overseas container, sound, various building materials, door, light, bottles
Germany, 2021

VThe visual artist Katharina Maderthaner (Düsseldorf) and the sound artist Maria Wildeis (Cologne/Düsseldorf) were invited to participate in a visual art festival in a village in West germany on the topic „Sehnsuchtsorte“ (places of desire). The artists used the mentioned materials to create the illusion of a club which is behind the doors inside of an overseas container. The heavy metal container is standing on the parking place at the border of the town and becomes an unreachable place of longing whose doors remain closed.

Ingrid Kaufman: BTHVN 2020

Ingrid Kaufman
Eine Kurzgeschichte

Ingrid Kaufman, die Hauptfigur der Kurzgeschichte von Maria Wildeis, ist eine Künstlerin, was sie aber genau macht ist genauso schwierig zu bennen, wie ihre Kunst. Zwischen Kunstdiskursen und Selbstzweifel bereitet sich Ingrid Kaufman auf die Aufführung eines neuen Stückes vor, in dessen Zentrum Badewannen stehen.

Akustische Kunst: SimultanProjekte

Simultanhalle Köln
Antonia Beeskow, Distel Kenye mit Denede Zazario, Daniel Muñoz Barragán, Mark Matthes, Dennis Scheiba, Shuoxin Tan, Maria Wildeis, Sebastian Wulff, Raphael Zöschinger in Kooperation mit der Robert Schumann Hochschule Düsseldorf.

Kulinarische Intervention von Paula Erstmann.

Ein Seminar unter der Leitung von Phillip Schulze im
Master Klang & Realität vom Institut für Musik und Medien.

Förderverein Simultanhalle Köln-Volkhoven e.V.
Volkhovener Weg 209-211
50765 Köln

VIDEONALE:18 – Party /w Maria Wildeis & friends

Freitag, 5. März 2020, 8 p.m. – open end
online @ gather.town and youtube

Radio Maria Wildeis, ein Musikformat von Maria Wildeis für elektronische-,
Neue -, experimentelle Musik, Elektroakustik, Techno und IDM präsentiert live Konzerte und DJ Sets in Verbindung mit virtuellen Umgebungen, Echtzeitcoding und visuellen Effekten. Für die Eröffnungsparty der Videonale.18 spielen Maria Wildeis, Ulrich Steinbach und Paloma Groove. Die Visuals kommen von Regisseurin und Installationskünstlerin Alisa Berger (DE/JP) und dem französischen Netz- und Digitalkünstler Michaël Borras aka. Systaime (FR/SP). (Foto: Anna Siggelkow)

Foto: Anna Siggelkow

chemical sound machine: Kunstverein Leverkusen

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.

Master of Music: Institut für Musik und Medien, Robert Schumann Hochschule Düsseldorf

2020 – ongoing
Since Summer 2020 I am master student (M.Mus.) in the field „Klang und Realität“ (Sound and Reality) with a focus on „Transmediale Formen“ (AV Performance, New Music, et al) at the Institute for Music and Media at the Robert Schumann University of Music Düsseldorf, with Prof. Heike Sperling and Prof. Andreas Grimm.

Tiefgarage @ NOISELAB 2019

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 @ 674.fm

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 (https://bit.ly/radio-maria-4-a and https://bit.ly/radio-maria-4-b)
29.12.2019: Denise de Winter, Anna-Lena Meisenberg, M.Funk, Maria Wildeis (https://bit.ly/radio-maria-3)
30.6.2019: Soya Arakawa, FRAGIL, Hem Taf (https://bit.ly/radio-maria-2)
31.3.2019: Fabian Jung, Dominik Mahnig, Monibi (https://bit.ly/radio-maria-1)

Radio Maria from 674FM on Vimeo.

Institut für alles Mögliche: Gemeinde Köln

2018 – ongoing
founder together with
Institut für alles Mögliche, Berlin
Welcome the new project in town: Gemeinde Köln. Located at the former place of „Tiefgarage Ebertplatz“ now we will open up the new space „Gemeinde Köln“ which is a cooperation partner of Berlin/Leipzig based art project Insitut für alles Mögliche. The aim of the space is to broaden the network and to think of art as a network in general.



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.  www.derfluesternderaum.de.

Der flüsternde Raum is supported by SK-Stiftung Kultur.

3. Kunstfestival Strom

The 3rd Art Festival Strom was devoted to the ephemeral in art. More than 40 artists working in the fields of installation art, sound art, noise, film, performance and dance were invited to show their work at Kunsthaus Rhenania in Cologne. The artists presented on more than 500 sqm in free artist studios, the outside space and the exhibition hall of the artist studio house. The shown works deal with the matter of time, either conceptionally or within the chosen material, as through light, digital image and sound. Furthermore the curator developed a stage program with around 15 concerts and performances with new forms of electronic and new music and a cinema in the upstairs roof space showed longplay films of the last two editions of Videonale e.V. Bonn. Plus parties and guided tours.

Kunsthaus Rhenania, Photo: Daniel Lang
Kunsthaus Rhenania at Strom Festival, Installation: Lang/Baumann, Photo: Daniel Lang

September 5 -8, 2013. facebook.com/kunstfestivalStrom

Almost 1000 visitors came and the festival enjoyed widespreaded reviews and announcements in the press with the local TV WDR live on site during the opening and several reports in the main newspaper of Cologne, like Kölner Stadt-Anzeiger, Stadtrevue and others.

Installation Artists: Eli Cortiñas, Dan Dryer, Kerstin Ergenzinger, Jan Glisman, Stef Heidhues, Lang/Baumann, molitor&kuzmin, Evangelos Papadopoulos, Pepper&Woll, Sören Siebel, Jens Standke

Sound Artists (selection): Waltraud Blischke, Echo Ho, FU ACUNE, Natascha Nikeprelevic & F.X. Randomiz, Ursula Nill, OSMOSIS, Gregor Schwellenbach, Sculptress of Sound, The Knob, The Finger & The It, TITANOBOA

Film (in Cooperation with Videonale e.V.) (selection): Michal Kosakowski: Zero Killed (80:50 min., 2011), Frances Scholz: Episodes of Starlite I-V (50 min., 2011-2012), Tobias Yves Zintel: Earthly Powers (38 min., 2011), Christian Jankowski: Casting Jesus (60 min., 2011), Anahita Razmi: Walking Drunk in High Shoes (47:22 min., 2010), Shezad Dawood: Feature (55 min., 2008), Mariola Brillowska: des Teufels Kinder (67 min., 2010)

Supported by: City of Cologne, RheinEnergie Stiftung Kultur, Bezirksvertretung Innenstadt, HGK – Häfen und Güterverkehr Köln

Sponsors: Gaffel Kölsch, Finder TV, Entec, Kettler Druckverlag, Mice Portal, Colonia Spezialfahrzeuge, Steinzeug Keramo, Magtech, Kürten & Lechner

Kunsthaus Rhenania im Rheinauhafen, Bayenstraße 28, 50678 Köln, www.kunsthaus-rhenania.de