© 2026. FAITICHE. ALL RIGHTS RESERVED. © 2026. HELICOPTER RECORDS. ALL RIGHTS RESERVED.
© 2026. CORD. ALL RIGHTS RESERVED.
CHRISTINA KUBISCH - TUNING (VINYL)
Faitiche는 새로운 아티스트를 맞이하게 되어 기쁘다. Christina Kubisch는 사운드 아트 1세대를 대표하는 작가 중 한 명이다. 그의 작업은 퍼포먼스, 콘서트, 비디오와 시각예술까지 폭넓게 확장되지만, 특히 사운드 설치와 전자음향 작곡으로 잘 알려져 있다.
《TUNING》은 크리스티나 쿠비시의 서로 다른 시기에 제작된 세 작품을 모은 음반이다. 이 작품들을 관통하는 공통점은 원래 음악으로 여겨지지 않았던 소리 현상을 작곡으로 변환한다는 점이다.
Jan Jelinek: 〈Gaming in Silence〉(2024)는 이번 컴필레이션에서 가장 최근의 작품입니다. 전자기파, 목소리, 추상적인 사운드 텍스처의 콜라주인데, 어떻게 이런 조합이 만들어졌나요?
크리스티나 쿠비시: 이 작품은 ZKM Center for Art and Media Karlsruhe의 사운드 돔을 위한 고정 매체 작품으로 의뢰받았습니다.
2005년 《Resonances: The Electromagnetic Bodies Project》 이후 저는 ZKM의 오래된 서버실과 새로운 서버실, 그리고 역사적인 컴퓨터 게임 컬렉션에서 지속적으로 녹음을 해왔습니다.
예를 들어 Asteroids나 Poly-Play 같은 게임들은 독특한 아날로그 전자기파를 발생시키는데, 저는 특히 그 밀도와 리듬, 질감에 관심이 있습니다.
원래 회화를 공부했기 때문에 제게 작곡은 추상화를 그리는 일과 비슷합니다. 소리를 최소한으로 가공하면서 겹치고 중첩해 하나의 독특한 음향 공간을 만들어냅니다.
최근에는 자기장 소리와 현장 녹음, 라이브 악기를 섞기도 하는데, 이 작품에서는 ‘침묵’에 관한 중국 노래 녹음을 함께 사용했습니다.
얀 옐리네크: 〈Two persons walking through a street in Madrid〉(2004)는 당신의 《Electrical Walks》 시리즈 일부입니다. 참가자들은 특수 헤드폰을 쓰고 도시 공간을 걸으며 보안 게이트, ATM, 네온사인 등에서 발생하는 전자기파를 듣게 됩니다. 보통 인간의 귀로는 들을 수 없는 환경을 스스로 움직이며 구성하게 되는 작업이죠. 이 작품에서는 무엇을 듣게 되나요?
쿠비시: 이 초기 작업에서는 같은 장소에서도 사람들이 움직이는 방식에 따라 무엇이 달라지는지 알고 싶었습니다.
스페인 작곡가 Miguel Alvarez-Fernàndez와 저는 마드리드의 큰 쇼핑 거리를 서로 반대 방향에서 출발해 중간에서 잠시 만난 뒤 다시 끝까지 걸었습니다.
각자의 움직임을 녹음했고, 이후 두 기록을 겹쳐 하나의 작품으로 만들었습니다.
전자기적 개념주의 작품이라고 부를 수도 있겠습니다.
얀 옐리네크: 〈Diapason〉(2009 버전)은 15개의 음차 소리로 구성된 설치 작업입니다. 극적인 전개 없이 잔향 자체에 집중하는 우연음악처럼 들립니다. 어떤 방식으로 작업했나요?
쿠비시: 《Diapason》은 지금은 거의 사라진 ‘비악기(non-instruments)’를 다룬 연작 중 하나입니다.
광산 노동자에게 신호를 보내던 전기 종, 치료 목적으로 사용되던 유리 하모니카, 청력 검사용 음차를 소재로 삼았습니다.
음차는 귀 가까이에 대야만 들을 수 있는데, Technical University of Berlin 전자음향 스튜디오에서 감쇠되는 마지막 순간까지 녹음했습니다.
주파수는 64Hz부터 2048Hz까지이며, 작은 추를 움직여 미세한 음정을 조정할 수 있습니다.
소리의 순서와 침묵의 길이는 미리 정하지 않고 우연에 맡겼습니다.
2009년 버전은 Holy Cross Church 설치를 위해 제작되었으며, 관람객은 자유롭게 공간에 들어오고 나가며 원하는 위치와 시간 동안 소리를 경험할 수 있었습니다.
Faitiche is delighted to welcome a new artist: Christina Kubisch belongs to the first generation of sound artists. Her practice ranges from performances, concerts, to works with video and visual art, but she is best known for her sound installations and electro-acoustic compositions.
TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered “non-music” into compositions.
Jan Jelinek: Gaming in Silence (2024) is the most recent work on this compilation. It’s a collage of electromagnetic waves, voice, and abstract sound textures. How did this combination come about?
Christina Kubisch: Gaming was commissioned as a fixed-media composition for the Sound Dome at ZKM Karlsruhe. Since Resonances: The Electromagnetic Bodies Project (2005), I’ve been making recordings in the old and new server rooms at the ZKM and in their permanent collection of historical computer games. Computer games like Asteroids (Atari, 1979) and Poly-Play (VEB Polytechnik, 1986) have specially generated analogue electromagnetic waves that interest me in particular on account of their density, rhythms and textures. I originally studied painting and to me the work of composition often feels like painting an abstract picture. I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In Gaming it’s my recording of a Chinese song about silence.
JJ: Two persons walking through a street in Madrid (2004) is a recording from your Electrical Walks series. Here we should give a brief explanation of one of your best known works: participants in an Electrical Walk move through public spaces wearing prepared headphones that allow them to receive electromagnetic waves from their surroundings – for example from security gates, ATMs or neon signs. They discover a situation that normally is inaudible to the human ear and they can actively shape it by choreographing their movements. I really admire this piece, not least because there’s no clear dividing line between participants and artist. What exactly do we hear in Two persons walking through a street in Madrid (2004)?
CK: With this early work, I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism.
JJ: Diapason (2009 version) is an installation that plays a composition based on sounds from fifteen tuning forks. This setting is audible in the recording: there’s no dramatic arc, no beginning or end – instead, it recalls a piece of aleatoric music focussing on the decay phase. How did you come to make this work and could you tell us something about your compositional method?
CK: Diapason is part of a series of three pieces that deal with “non-instruments” or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people’s hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin’s Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse.
TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered “non-music” into compositions.
Jan Jelinek: Gaming in Silence (2024) is the most recent work on this compilation. It’s a collage of electromagnetic waves, voice, and abstract sound textures. How did this combination come about?
Christina Kubisch: Gaming was commissioned as a fixed-media composition for the Sound Dome at ZKM Karlsruhe. Since Resonances: The Electromagnetic Bodies Project (2005), I’ve been making recordings in the old and new server rooms at the ZKM and in their permanent collection of historical computer games. Computer games like Asteroids (Atari, 1979) and Poly-Play (VEB Polytechnik, 1986) have specially generated analogue electromagnetic waves that interest me in particular on account of their density, rhythms and textures. I originally studied painting and to me the work of composition often feels like painting an abstract picture. I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In Gaming it’s my recording of a Chinese song about silence.
JJ: Two persons walking through a street in Madrid (2004) is a recording from your Electrical Walks series. Here we should give a brief explanation of one of your best known works: participants in an Electrical Walk move through public spaces wearing prepared headphones that allow them to receive electromagnetic waves from their surroundings – for example from security gates, ATMs or neon signs. They discover a situation that normally is inaudible to the human ear and they can actively shape it by choreographing their movements. I really admire this piece, not least because there’s no clear dividing line between participants and artist. What exactly do we hear in Two persons walking through a street in Madrid (2004)?
CK: With this early work, I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism.
JJ: Diapason (2009 version) is an installation that plays a composition based on sounds from fifteen tuning forks. This setting is audible in the recording: there’s no dramatic arc, no beginning or end – instead, it recalls a piece of aleatoric music focussing on the decay phase. How did you come to make this work and could you tell us something about your compositional method?
CK: Diapason is part of a series of three pieces that deal with “non-instruments” or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people’s hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin’s Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse.
Gaming in Silence: commission of the ZKM/Hertzlab, Karlsruhe 2023
elektronic sound processing: Tom Thiel
sound engineering and mixing: Eckehard Güther
Diapason: produced at Elektronisches Studio of TU Berlin
rearrangement: Eckehard Güther
Christina Kubisch, published by Edition Christina Kubisch / Random Musick Publishing
image front: Transitionen 2021 by C. Kubisch, sonagrams of electronic waves (courtesy: Galerie Mazzoli Berlin)
image back: Diapason Tuning Fork, property of Folkmar Hein, Photo: Archiv Christina Kubisch
design by Tim Tetzner
mastered by Giuseppe Ielasi
Thanks to Miguel Álvarez-Fernández, Folkmar Hein, Dominik Kautz and Mario Mazzoli
elektronic sound processing: Tom Thiel
sound engineering and mixing: Eckehard Güther
Diapason: produced at Elektronisches Studio of TU Berlin
rearrangement: Eckehard Güther
Christina Kubisch, published by Edition Christina Kubisch / Random Musick Publishing
image front: Transitionen 2021 by C. Kubisch, sonagrams of electronic waves (courtesy: Galerie Mazzoli Berlin)
image back: Diapason Tuning Fork, property of Folkmar Hein, Photo: Archiv Christina Kubisch
design by Tim Tetzner
mastered by Giuseppe Ielasi
Thanks to Miguel Álvarez-Fernández, Folkmar Hein, Dominik Kautz and Mario Mazzoli
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© 2026. FAITICHE. ALL RIGHTS RESERVED. © 2026. HELICOPTER RECORDS. ALL RIGHTS RESERVED.
© 2026. CORD. ALL RIGHTS RESERVED.
CHRISTINA KUBISCH - TUNING (VINYL)
Faitiche는 새로운 아티스트를 맞이하게 되어 기쁘다. Christina Kubisch는 사운드 아트 1세대를 대표하는 작가 중 한 명이다. 그의 작업은 퍼포먼스, 콘서트, 비디오와 시각예술까지 폭넓게 확장되지만, 특히 사운드 설치와 전자음향 작곡으로 잘 알려져 있다.
《TUNING》은 크리스티나 쿠비시의 서로 다른 시기에 제작된 세 작품을 모은 음반이다. 이 작품들을 관통하는 공통점은 원래 음악으로 여겨지지 않았던 소리 현상을 작곡으로 변환한다는 점이다.
Jan Jelinek: 〈Gaming in Silence〉(2024)는 이번 컴필레이션에서 가장 최근의 작품입니다. 전자기파, 목소리, 추상적인 사운드 텍스처의 콜라주인데, 어떻게 이런 조합이 만들어졌나요?
크리스티나 쿠비시: 이 작품은 ZKM Center for Art and Media Karlsruhe의 사운드 돔을 위한 고정 매체 작품으로 의뢰받았습니다.
2005년 《Resonances: The Electromagnetic Bodies Project》 이후 저는 ZKM의 오래된 서버실과 새로운 서버실, 그리고 역사적인 컴퓨터 게임 컬렉션에서 지속적으로 녹음을 해왔습니다.
예를 들어 Asteroids나 Poly-Play 같은 게임들은 독특한 아날로그 전자기파를 발생시키는데, 저는 특히 그 밀도와 리듬, 질감에 관심이 있습니다.
원래 회화를 공부했기 때문에 제게 작곡은 추상화를 그리는 일과 비슷합니다. 소리를 최소한으로 가공하면서 겹치고 중첩해 하나의 독특한 음향 공간을 만들어냅니다.
최근에는 자기장 소리와 현장 녹음, 라이브 악기를 섞기도 하는데, 이 작품에서는 ‘침묵’에 관한 중국 노래 녹음을 함께 사용했습니다.
얀 옐리네크: 〈Two persons walking through a street in Madrid〉(2004)는 당신의 《Electrical Walks》 시리즈 일부입니다. 참가자들은 특수 헤드폰을 쓰고 도시 공간을 걸으며 보안 게이트, ATM, 네온사인 등에서 발생하는 전자기파를 듣게 됩니다. 보통 인간의 귀로는 들을 수 없는 환경을 스스로 움직이며 구성하게 되는 작업이죠. 이 작품에서는 무엇을 듣게 되나요?
쿠비시: 이 초기 작업에서는 같은 장소에서도 사람들이 움직이는 방식에 따라 무엇이 달라지는지 알고 싶었습니다.
스페인 작곡가 Miguel Alvarez-Fernàndez와 저는 마드리드의 큰 쇼핑 거리를 서로 반대 방향에서 출발해 중간에서 잠시 만난 뒤 다시 끝까지 걸었습니다.
각자의 움직임을 녹음했고, 이후 두 기록을 겹쳐 하나의 작품으로 만들었습니다.
전자기적 개념주의 작품이라고 부를 수도 있겠습니다.
얀 옐리네크: 〈Diapason〉(2009 버전)은 15개의 음차 소리로 구성된 설치 작업입니다. 극적인 전개 없이 잔향 자체에 집중하는 우연음악처럼 들립니다. 어떤 방식으로 작업했나요?
쿠비시: 《Diapason》은 지금은 거의 사라진 ‘비악기(non-instruments)’를 다룬 연작 중 하나입니다.
광산 노동자에게 신호를 보내던 전기 종, 치료 목적으로 사용되던 유리 하모니카, 청력 검사용 음차를 소재로 삼았습니다.
음차는 귀 가까이에 대야만 들을 수 있는데, Technical University of Berlin 전자음향 스튜디오에서 감쇠되는 마지막 순간까지 녹음했습니다.
주파수는 64Hz부터 2048Hz까지이며, 작은 추를 움직여 미세한 음정을 조정할 수 있습니다.
소리의 순서와 침묵의 길이는 미리 정하지 않고 우연에 맡겼습니다.
2009년 버전은 Holy Cross Church 설치를 위해 제작되었으며, 관람객은 자유롭게 공간에 들어오고 나가며 원하는 위치와 시간 동안 소리를 경험할 수 있었습니다.
Faitiche is delighted to welcome a new artist: Christina Kubisch belongs to the first generation of sound artists. Her practice ranges from performances, concerts, to works with video and visual art, but she is best known for her sound installations and electro-acoustic compositions.
TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered “non-music” into compositions.
Jan Jelinek: Gaming in Silence (2024) is the most recent work on this compilation. It’s a collage of electromagnetic waves, voice, and abstract sound textures. How did this combination come about?
Christina Kubisch: Gaming was commissioned as a fixed-media composition for the Sound Dome at ZKM Karlsruhe. Since Resonances: The Electromagnetic Bodies Project (2005), I’ve been making recordings in the old and new server rooms at the ZKM and in their permanent collection of historical computer games. Computer games like Asteroids (Atari, 1979) and Poly-Play (VEB Polytechnik, 1986) have specially generated analogue electromagnetic waves that interest me in particular on account of their density, rhythms and textures. I originally studied painting and to me the work of composition often feels like painting an abstract picture. I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In Gaming it’s my recording of a Chinese song about silence.
JJ: Two persons walking through a street in Madrid (2004) is a recording from your Electrical Walks series. Here we should give a brief explanation of one of your best known works: participants in an Electrical Walk move through public spaces wearing prepared headphones that allow them to receive electromagnetic waves from their surroundings – for example from security gates, ATMs or neon signs. They discover a situation that normally is inaudible to the human ear and they can actively shape it by choreographing their movements. I really admire this piece, not least because there’s no clear dividing line between participants and artist. What exactly do we hear in Two persons walking through a street in Madrid (2004)?
CK: With this early work, I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism.
JJ: Diapason (2009 version) is an installation that plays a composition based on sounds from fifteen tuning forks. This setting is audible in the recording: there’s no dramatic arc, no beginning or end – instead, it recalls a piece of aleatoric music focussing on the decay phase. How did you come to make this work and could you tell us something about your compositional method?
CK: Diapason is part of a series of three pieces that deal with “non-instruments” or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people’s hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin’s Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse.
TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered “non-music” into compositions.
Jan Jelinek: Gaming in Silence (2024) is the most recent work on this compilation. It’s a collage of electromagnetic waves, voice, and abstract sound textures. How did this combination come about?
Christina Kubisch: Gaming was commissioned as a fixed-media composition for the Sound Dome at ZKM Karlsruhe. Since Resonances: The Electromagnetic Bodies Project (2005), I’ve been making recordings in the old and new server rooms at the ZKM and in their permanent collection of historical computer games. Computer games like Asteroids (Atari, 1979) and Poly-Play (VEB Polytechnik, 1986) have specially generated analogue electromagnetic waves that interest me in particular on account of their density, rhythms and textures. I originally studied painting and to me the work of composition often feels like painting an abstract picture. I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In Gaming it’s my recording of a Chinese song about silence.
JJ: Two persons walking through a street in Madrid (2004) is a recording from your Electrical Walks series. Here we should give a brief explanation of one of your best known works: participants in an Electrical Walk move through public spaces wearing prepared headphones that allow them to receive electromagnetic waves from their surroundings – for example from security gates, ATMs or neon signs. They discover a situation that normally is inaudible to the human ear and they can actively shape it by choreographing their movements. I really admire this piece, not least because there’s no clear dividing line between participants and artist. What exactly do we hear in Two persons walking through a street in Madrid (2004)?
CK: With this early work, I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism.
JJ: Diapason (2009 version) is an installation that plays a composition based on sounds from fifteen tuning forks. This setting is audible in the recording: there’s no dramatic arc, no beginning or end – instead, it recalls a piece of aleatoric music focussing on the decay phase. How did you come to make this work and could you tell us something about your compositional method?
CK: Diapason is part of a series of three pieces that deal with “non-instruments” or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people’s hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin’s Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse.
Gaming in Silence: commission of the ZKM/Hertzlab, Karlsruhe 2023
elektronic sound processing: Tom Thiel
sound engineering and mixing: Eckehard Güther
Diapason: produced at Elektronisches Studio of TU Berlin
rearrangement: Eckehard Güther
Christina Kubisch, published by Edition Christina Kubisch / Random Musick Publishing
image front: Transitionen 2021 by C. Kubisch, sonagrams of electronic waves (courtesy: Galerie Mazzoli Berlin)
image back: Diapason Tuning Fork, property of Folkmar Hein, Photo: Archiv Christina Kubisch
design by Tim Tetzner
mastered by Giuseppe Ielasi
Thanks to Miguel Álvarez-Fernández, Folkmar Hein, Dominik Kautz and Mario Mazzoli
elektronic sound processing: Tom Thiel
sound engineering and mixing: Eckehard Güther
Diapason: produced at Elektronisches Studio of TU Berlin
rearrangement: Eckehard Güther
Christina Kubisch, published by Edition Christina Kubisch / Random Musick Publishing
image front: Transitionen 2021 by C. Kubisch, sonagrams of electronic waves (courtesy: Galerie Mazzoli Berlin)
image back: Diapason Tuning Fork, property of Folkmar Hein, Photo: Archiv Christina Kubisch
design by Tim Tetzner
mastered by Giuseppe Ielasi
Thanks to Miguel Álvarez-Fernández, Folkmar Hein, Dominik Kautz and Mario Mazzoli
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