Does emptiness have a voice? In sergey kasich’s expansive installation, Hollow Howl, a variety of objects distributed throughout the exhibition space serve as passively resonating, reflecting, and absorbing surfaces. Individual microphones attached to these objects capture air movements.

Amplified to audibility, these signals are manipulated by kasich to generate an algorithmic composition in real time. The audience can experience the composition with headphones, but also in the room as the piece influences the space‘s tonalities with its presence. The apparent emptiness is amplified, sensitising us to the invisible. At the same time, Hollow Howl reflects on the meaning of empty spaces and the drastic changes in Berlin in times of gentrification and housing shortages. The exhibition’s mostly hollow objects have been taken from various places that conflict with neoliberal property narratives: Berlin squats, unauthorised dumpsters, and homeless sleeping areas.
 
sergey kasich is a current music fellow of the DAAD Artists-in-Berlin Program.

Co-presented with DAAD's Artists-in-Berlin program.