Monday 16 December 2019, 7.30pm

minoru sato -m/s & ASUNA + Floris Vanhoof

No Longer Available

Minoru Sato and Asuna have been collaborating since 2004. The pieces they created together have been mainly making by connecting two difference kinds of system as referenced by each other. One system is using air de-pressured organs by ASUNA and the other is using resonances by several glass tubes by Minoru. Their interest is focus on acoustic phenomena as sound waves - i.e. vibrations, reflections, resonances and fluctuations, they compose and perform those phenomena as audible experiences.

In 2008, they invited artist Keisuke Oki to new project which was named Valve/Membrance. In Valve/Membrance, the whole system had been extended through a connecting air pressured route. That project was chosen one of finalists of Transmediale. After that, the collaboration have returned to working by minoru sato -m/s + ASUNA. Recently they have been working on new approach which is include a point of view of combination tones depending on any site-specific characters. “Giuseppe Tartini Entangled Sleng Teng”, on 7” released from Meeuw Muzak in 2019, may be regarded as a practice of that approach. The featuring of their collaboration is that is on reflecting any environmental character which a performed site has, and is in composition of acoustic present  to be returned into the site itself as feedback system.

Minoru Sato

Minoru Sato is a sound artist with an interest in acoustic phenomena, which he explores through installations, multiples, performances and texts. Since 1989, he has presented work under the name “m/s”, establishing his own label “WrK” for creative activities in 1994. in addition, he also produces sound works under the name SASW, collaborative works as ASUNA and with his band ‘IL GRANDE SILENZIO’. In the role of curator, he has also organised a number of contemporary art exhibitions and performance events.


Asuna made experimental music and installation work from a very young age during the late 90’s. his first major work, “Each Organ” a sound installation reconsidering the concept of etymology in 2002. “100 Toys” are countless toy instruments and electronic music of experimental performances. ASUNA’s current touring work "100 Keyboards" is a live music performance featuring over 100 keyboards. Multiple sound waves on the same frequency are diseminated in multiple directions, creating a complex distribution of acoustic pressure. This causes what is known as a moiré pattern of sound interference. In this site-specific listening experience, you will hear subtle variations of sound interference and resonance that vary based on your location in the performance space. And about music works, Lucky Kitchen label in spain  released a his european debut album in 2003. Since then, many albums have been released from USA and European labels like a Meeuw Muzak. And also he has been collaborating with Japanese experimental artist Minoru Sato-m/s for over 15 years. And in recent years, he has been collaborating with a German electronic musician Jan Jelinek.

Floris Vanhoof

Floris Vanhoof (°1982, lives and works in Antwerp, Belgium)
is interested in the hybrid forms of music, visual art, and film.
His first projections -experimental films on 16 millimeter- evolved towards purely visual experiences which questioned our viewing patterns.
Inspired by structural film and early electronic music, he builds installations, creates expanded cinema performances, and releases his music.
Vanhoof makes his own instruments to explore the border between image, light, and sound.
As media-archaeologist, he confronts the digitally-spoiled audience with flickering 16mm films and 35mm slide installations - formats doomed to disappear.
He often chooses analog technology because of the greater transparency of the workflow, and because of its rich dynamic range. Cut loose from all nostalgia, he experiments with what used to be considered "hightech."
Vanhoof searches for new ideas with old media. He translates sound to image and vice-versa by connecting different incompatible media. He is especially curious about the effects his work elicits in the viewer:
How does our perception operate? Which new perspectives appear?