Kathrin Lambert

January 2020

Kathrin Lambert (b. 1987) studied fine arts at the Academy of Arts Saar from 2012 to 2018. Before that she completed an apprenticeship as a media designer and is still working in this field. In 2016, she had a semester abroad at the Academy of Arts in Tallinn Estonia. After her Diploma in June 2018, she started a postgraduate studies (Meisterstudierende) under Prof. Andreas Oldörp. Since the beginning of her academic education the focus of her artistic research lays on sound art. Thereby, the handling of ordinary items and the reaction to existing structures is the priority. With her installations, she links to architectonic elements, embraces them and tries to use available energies. In creating her sound objects or instruments, she combines things and materials like household items or construction material. In performances, Kathrin interacts with these objects and instruments and creates a sound atmosphere by recording and looping the generated sounds.

For more information about her works, you can check the website below:
https://kathrin-lambert.tumblr.com

 

Statement

1. Nirumand

Paddle wheel, tablets, mallets, wood

Tehran commands an expanded system of water channels all over the city. Most of them ran dry by the time we arrived, but some lead water all year long. Even a few are quite powerful. Roaming our neighbourhood I fortunately found one of them at a street called nirumand, which actually means powerful on farsi. That‘s the origin of my sound object.

Inspired by these small water channels next to the streets, I felt the urge to connect with this, human made but as well natural, energy source.

During my working process it turned out that I want to use a paddle wheel to collect the energy of the water. After a bit of thinking and imagining some ideas, I found some interesting materials during my [re]search on bazaars. I decided to take these big cheap metal tablets, which are very common here, and use them as a kind of chime. To play them, I want to build an automatically and analogue object. So basically, the artwork is an self playing instrument, which is constructed in the following manner. The paddle wheel is connected to a set of gears with a rod. Those gears are linked to another higher situated set of gear via two fan belts. This set of gears drives the self made mallets, which are hitting the gongs during their circular movement.

 

A very interesting point of this project was certainly the procurement of the materials with my German background. For instance to handle the total other way of how Iranian stores are organised. You are forced to run a half-marathon to get stuff from different departments and doing that you spend very much time in the busy streets of Tehran. And last but not least the language and the letters. We were on a difficult mission!

 

 

2. Mantrouncement

Fieldrecordings and megaphone

In connection to the excessive use of horn speakers in Tehran, for example at the mosque, the cars of the junk dealers, the bazaar and even in restaurants, I was recording a lot of these announcements.

The mostly melodious impression Attracted me as well as the exotic sound of the shouts and the strange custom itself. All of these announcements are like loops, because the criers shout the same sentences or words again and again. So somehow it get’s the impression of a mantra.

In the most cases these criers are male, but in the mountains of Darakeh, there were a female voice which calls up the order code. For a tonal design, they used a delay effect on the voice to make it more melodious.

Hearing this was a special event and gave me the idea to select these recordings to create a digital mantra out of it.

 

 

3. Tehran Tour

Fieldrecordings and busradio

Tehran tour is a listening piece for the passengers of a bus trip through this noisy city, which is included in the exhibition of the sonic explorers project.

In general, the piece is an arrangement of different sounds I collected here in Tehran. In my working process I mixed different recordings together to create a fictitious soundscape. By taking them our of their original context and putting them together in another constellation I try to conceive new coherences.