Florinn Bareth
      sound and media art.
about sound and media art music

In her videos, performances, installations and sound-pieces
Florinn combines her theoretical background with the joy
of building small synthesizers, getting lost in sounds, collecting
and reassembling audiovisual footage of our ubiquitous
multimedia environment.

The sounds and images of her works involve the audience in
irritating sensuous experiences, aimed at examining, questioning
and disrupting the habits and borders of our aesthetic and

The principal topics of both Florinn's art and theoretical interest
are raw sensuous perception as the precognitive basis of art,
patterns of media reception, synaesthesia and the potential of
art in the transformation process toward cultures of sustainability.



March 2014: Ghost Talk

Solo Exhibition at Science Friction, Copenhagen

The Ghost Talk videos reflect on the artist's communication with close
friends around the globe. Those personal ghosts are always present but still
not there, visible yet untouchable, distorted data as intimate companions.
A set of synthesizer-goggles and reflections on the computer screen even add
further layers of media, distance and alienation to the glitches, delays and
pixelations of video chat conversations.

During the exhibition an inaudible 18Hz sine wave is played. Frequencies lower
than 20Hz are not heard by the human ear but can be felt as vibrations in
various parts of the body and cause feelings of anxiety and discomfort. 18Hz
is the resonant frequency of the eyeball and thus can cause optical illusions.

Press Release



October 2013: Stop making Sense II

At the WCOMTC-festival Florinn presented her self-made synthesizer-goggles that transfer sight to sound in a dance perfomance. Two dancers wearing the goggles are watching a music video on a big screen and the changing light of the moving images produces its very own sound which is further influenced and transformed by movement in the room and the play with shadows.
Choreography and dance in collaboration with Camilla Milena Fehér.


photos by Susie Lee & Anders Rhedin


MønScrapMetal Orchestra

Out of scrap metal found on the attic of an old farm house (part of
Kunsthal 44 Møen/ the future Henning Christiansen's Archive) on the
island Møn Florinn built simple instruments, inspired by Henning
Christiansen. Wherever these instruments show up, people start exper-
imenting, playing, jamming and the MønScrapMetal Orchestra generates.

The first public appearance was an interactive surprise pop-up per-
formance at Green is Gold Gallery in Copenhagen on September 4th 2013,
Finissage of the Exhibition "DIY Depression/Therapy" by Anton Nesretiep.


      photos by florinn


July 2013: Stop making Sense!
The perceptional decontamination centre
Interactive sound and video-installation to be presented at
Roskilde Festival's Art Programme:

Visitors of the installation watch a music video on a big screen while
wearing synthesizer-goggles constructed by Florinn Bareth that transfer
sight to sound.
The frequenzy of a little syntheziser is modulated by the intensity of
light that impacts photo-sensors situated on the goggles. The changing
light of the moving images in the video thus produces its very own sound
that can be furthermore influenced and transformed by the movements
of the participant in the room.

The video clip as a composition of moving images usually is designed
to illustrate and enhance a song. It helps a sonic medium to gain access
to a bigger audience via the visual and its dominance in the mainstream
media. Yet in the youtube-culture the video for a song (be it the official
music-video or some fan-made slideshow of pictures) is just the technical
requirement for uploading the sonic material, sharing it online and
eventually it often plays invisibly in the background of our computer-
screens when we only want to listen to the music without paying attention
to the moving images provided simultaneously.

With the help of the synth-goggles the pictures that accompany the original
music can now produce their own sounds, creating a very new song
produced by the intensity and movement of light on the screen. The
persons wearing the goggles (and the audience in the room) can literally
hear what they see and influence the sounds playfully.

Participating in this interactive soundwork sensibilizes to the physical
experience of images and sound and encourages creative movement in
space with music. Festival guests can re-connect their senses of seeing,
hearing and body-movement.


      photos by Tine Møller-Iversen


2012: Invitation to We convert our Mind to creativity, Festival of
Art & Science, Trier: http://gedankenschloss.tumblr.com/post/

2010: construction of the synth-goggles and first public performance
at Internationales Performance Festival, Berlin:

Production of several short films and personal, experimental
essay-videos since 2005


contact@florinn.eu legal