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marc andré

@sparccq

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Vogelhaus, 2026 This summer, I had a meeting together with the people responsible for the student initiative Kiosk6 and the municipal civil engineering department after an anonymous (coward) complaint was made about the sculpture, raising concerns about fire safety and structural stability. The meeting also brought up questions about ownership and the rights connected to the site: the kiosk itself belongs to Kiosk6, while the land it stands on belongs to the city and is rented to the initiative for the symbolic amount of €1 per month. The discussion became part of the wider institutional and administrative context of the work. Vogelhaus was already part of my diploma project when this happened. I transformed the former East German K600 kiosk into a giant birdhouse, turning it into a sculpture, a piece of public infrastructure and a potential habitat for (anthro-)birds. The work also became a way of dealing with the realities surrounding a public artwork: ownership, responsibility, administration, regulations and the question of who gets to use and transform a place. During the exhibition, the kiosk hosted a sound work and a live radio show, becoming a place for different kinds of use and encounter. Thanks to @zs0ldosanna , @sparccq , @kiosk.sechs @d.enifesoj and , and especially to @tillroettjer . Without you, none of this would have been possible. Vogelhaus, chipboard, 500 × 390 × 270 cm Part of the diploma project Alles Wetter taken in Weimar; Thüringen; Deutschland by @sparccq
9
2 months ago
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“TENK PROLAZI GRADOM” (A TANK PASSES THROUGH TOWN) OF VESNA PARUN DEALS WITH THE IMPACT AND AFTERMATH OF WAR COMING OVER INNOCENT AND FRAGILE HUMAN CIVILISATION AND NATURE; WRITTEN OUT OF THE PERSPECTIVE OF A NON PARTICIPANT. “LETTERS FROM THE STREETS“ EMERGES OUT OF AWARENESS OF TRANS- GENERATIONAL IDENTITY, CULTURAL TRAUMA, (FALLING INTO FEAR AND ANGER) AND A GENERAL UPRISING OF ADVOCATES OF WAR AND DESTRUCTION ON BOTH NATIONAL AND INTERNATIONAL SCALE. “LETTERS FROM THE STREETS” IS GENERATED FROM METAL PARTS TRAPPED IN ASPHALT AT POTOK-RIJEKA. THE PICTURES OF THE TRAPPED FASTENERS REMEMBER A YESTERDAY NOT FAR GONE. THE TYPEFACE REINTERPRETS THE USE OF METAL PARTS FOUND NEXT TO A FACTORY AS A METAPHORIC SITE WHERE TANKS GET ASSEMBLED; WEAPONS MANUFACTURED. REPURPOSING THE LITERAL COMPONENTS OF (INFRASTRUCTURE) & WARFARE (SCREWS, NUTS, NAILS, ETC.) INTO A VEHICLE FOR POETIC WITNESS. THE POEM ALONG WITH A QR-CODE TO THE ACAPELLA PIECE IS EXHIBITED IN FORM OF POSTERS IN PUBLIC SPACE ALONG THE COAST OF CROATIA. PRINTED AT @risoandfriends TOGETHER WITH @ebelosevic MULTIPLE VOICE RECORDINGS OF THE POEM WERE MADE AT YAMAHA MUSIC SCHOOL RIJEKA AND ARRANGED SPATIALLY FOR HEADPHONE PLAYBACK. LISTEN ON SOUNDCLOUD. HEADPHONES RECOMMENDED. by @sparccq
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4 months ago
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BUILT FROM GLASS AND METAL, “BOX OF HEARTS”(2025) IS AN INSTRUMENT OF SOLITUDE. AURALLY MUTED ON BEHALF OF ANC(active noise cancellation). HIDING IN PLAIN SIGHT. A STETHOSPHONE(modified stethoscope+microphone) ENABLES TO “LISTEN” TO ONESELF. DIAGNOSING THEIR OWN ALIVENESS. THE WORK MIRRORS CONTEMPORARY TENSIONS BETWEEN VISIBILITY AND DETACHEMENT, PROBING HOW TECHNOLOGY MEDIATES OUR PRESENCE. THE GLASS-BOTH BARRIER AND INTERFACE- ECHOES THE FRAGILITY OF SOLITUDE. THE RESULT IS ISOLATION: A TRANSPARENT ENCLOSURE WHERE SILENCE BECOMES MATERIAL, AND THE PARTICIPANT’S BODY TURNS INTO THE ONLY SOUNDSCAPE. by @sparccq
4
5 months ago
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THE COMPOSITION “••tt0u;‘ch# so°·˙ ⁄⁄⁄ˆƒ/â\R”(2025) IS AN ODE TO INTIMACY IN URBAN CIVILISATION. IT DEALS WITH CLOSENESS AND DISTANCE IN RELATION; THE INTRIGUE AND BEAUTY OF BOTH. A SITE OF INCESSANT FLUCTUATION, WHERE THE THRESHOLDS BETWEEN INTERIOR AND EXTERIOR CEASELESSLY OSCILLATE. AS A MULTI SENSORY ELECTROACOUSTIC COMPOSITION ITS TELLING THE STORY OF MEETING WITH A PAINTING IN A VIVID METROPOLITAN ENVIRONMENT. THE PAINTING OF TOPIC IS “CHENGDU II” BY MAGDALENA CICHON (2020). THE PIECE EXPLORES BINAURAL RECORDING AND STRONG DIGITAL PROCESSING AS A CONNECTOR OR SEPARATOR BETWEEN THE PHYSICAL AND DIGITAL REALM. THE FIELD RECORDINGS LIKE TRAFFIC, FOOD SHOPS AND SUBWAY SOUNDS ARE RECORDED IN BERLIN; AN IMAGE OF METROPOLITAN NOISE. “TOUCH SO FAR” POEM IS DEALING WITH QUESTION OF GENDER IDENTITY, URBAN LIVING AND THE CONTRAST TO RURAL ENVIRONMENT, MENTAL STABILITY AND COMMUNICATIVE BEHAVIOUR. TRANSLATED AND PERFORMED BY YUEYU WANG INTO CHENG-YU MANDARIN. THE FINAL VERSION OF “TOUCH SO FAR” IS EXPERIENCED/LISTENED OVER HEADPHONES AND A METAL CHAIR WHOSE SEAT A TRANSDUCER IS ATTACHED TO, TRANSPORTING THE TEXTURE AND HAPTICS OF THE BASS COMPONENT RESEMBLING PHYSICAL TOUCH OF THE COMPOSITION. THE LISTENERS GET INTO DIRECT CONTACT WITH THE PAINTING. by @sparccq
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6 months ago
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by @sparccq
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2 years ago
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zzlzzzzzzlpzzzzizzzzvzzzx by @sparccq
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2 years ago
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TW: flashing imagery drumdaddy. out now. soundcloud. by @sparccq
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2 years ago
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fj,/..(0q=1>>> by @sparccq
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3 years ago
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schön, dich wiederzusehen taken in Heimat by @sparccq
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3 years ago
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dont mess with DOOM by @sparccq
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3 years ago
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empowerment taken in Santa Cruz de la Sierra, Bolivia by @sparccq
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4 years ago
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🦈🦈🦈 by @sparccq
4
7 years ago
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