Floris Vanhoof combines homemade musical circuits and abandoned projection technologies for installations, expanded cinema performances, films and music releases.
Translating the one medium to the other to find how our perception operates and which new perspectives appear.
Part of my practice is to carefully dose sounds and visuals.
Considering how much to show or let hear and what to omit.
Subtly overloading our perception so our imagination goes to work.
Looking inside and outside.
Creating small problems that put big ones into context.
His "De Karekiet van Karakas" is all deeply pulsing oscillations pitched against light trickles of machine noise, forming a track so abyssal it creates an abstract world all of its own, where the music speaks its own strange language. Tiny figures loop and flourish then fade, like amoebas fluttering momentarily into life.
(Pitchfork)
The combination of Vanhoof’s modular waveforms and near-strobing assemblages of projected light have the ability to overload the brain’s capacity for synthesis, forcing it to switch modes and enter a pre-lingual altered state. This was the effect I experienced when I saw him perform in Los Angeles earlier this year.
(The Wire)
Studio based in Antwerp, Belgium
Performances took place at ISSUE Project Room New York, Palazzo Grassi Venice, Café OTO London, Aural Mexico City, ZKM Karlsruhe, Donaufestival Krems, Liquid Architecture Melbourne, International Filmfestival Rotterdam, Hangar Bicocca Milano, Les Urbaines Lausanne, Xing Bologna, Electrónica en Abril Madrid, Meakusma Eupen, CC Brooklyn, OKLA Montréal, Circuit Beaumont Quebec, M HKA Antwerp & Bozar Brussels.
Installations were shown at Concertgebouw Brugge, LLS387 Antwerp, CINEMATEK Brussels, De Warande Turnhout, Audio Foundation Auckland New-Zealand, STUK Leuven, Kunsthal Rotterdam, CIAP Hasselt, Ambika P3 London, SMAK Ghent, Castlefield Gallery Manchester, Vooruit Ghent, Netwerk Alost, Bozar Brussels, Filmfestival Ghent, Beursschouwburg Brussels, De Centrale Brussels, FOMU Antwerp & Donaufestival Krems.
︎︎︎bio NL
Translating the one medium to the other to find how our perception operates and which new perspectives appear.
Part of my practice is to carefully dose sounds and visuals.
Considering how much to show or let hear and what to omit.
Subtly overloading our perception so our imagination goes to work.
Looking inside and outside.
Creating small problems that put big ones into context.
His "De Karekiet van Karakas" is all deeply pulsing oscillations pitched against light trickles of machine noise, forming a track so abyssal it creates an abstract world all of its own, where the music speaks its own strange language. Tiny figures loop and flourish then fade, like amoebas fluttering momentarily into life.
(Pitchfork)
The combination of Vanhoof’s modular waveforms and near-strobing assemblages of projected light have the ability to overload the brain’s capacity for synthesis, forcing it to switch modes and enter a pre-lingual altered state. This was the effect I experienced when I saw him perform in Los Angeles earlier this year.
(The Wire)
Studio based in Antwerp, Belgium
Performances took place at ISSUE Project Room New York, Palazzo Grassi Venice, Café OTO London, Aural Mexico City, ZKM Karlsruhe, Donaufestival Krems, Liquid Architecture Melbourne, International Filmfestival Rotterdam, Hangar Bicocca Milano, Les Urbaines Lausanne, Xing Bologna, Electrónica en Abril Madrid, Meakusma Eupen, CC Brooklyn, OKLA Montréal, Circuit Beaumont Quebec, M HKA Antwerp & Bozar Brussels.
Installations were shown at Concertgebouw Brugge, LLS387 Antwerp, CINEMATEK Brussels, De Warande Turnhout, Audio Foundation Auckland New-Zealand, STUK Leuven, Kunsthal Rotterdam, CIAP Hasselt, Ambika P3 London, SMAK Ghent, Castlefield Gallery Manchester, Vooruit Ghent, Netwerk Alost, Bozar Brussels, Filmfestival Ghent, Beursschouwburg Brussels, De Centrale Brussels, FOMU Antwerp & Donaufestival Krems.
︎︎︎bio NL