und transit.03

will be presented within the exhibit ‘Dock / Ancien Palais de Justice’ sound installation and listening space
Les Brasseurs, art contemporain, Liège

Opening: January, 12th, 18:00
Exhibit runs from January 16th – February 02 2019
Opening hours: From Wednesday to Saturday, 14:00-18:00
Rue du Pont 26/28, 4000 Liège, Belgium

und transit.03  – Duration 10:00”

We all have the ability to ignore spaces that surround the paths to our destinations. As with most passageways, they are a means to an end, yet not an end in themselves. 

Struck by the loneliness and practicality of such passageways, I conceptualized the first und transit sound installation in Krems, Austria 2009, a series of compositions, in order to create soundscapes for the emptiness of these spaces.

France Jobin

About the exhibit:

by Paul Devens

Just before the independency of Senegal in 1960, the colonial power of France yielded, at Cap manuel in Dakar, a new courthouse. It is a typical kind of a modernistic, Corbusian approach of that time, where progressive ideas of enlightment and uplift ruled. French architects Daniel Babani (1914 – 2006) and Pierre Roux-Dorlut (1919 – 1995) were the designers of this concrete palace; a complex of courtrooms, office rooms, utility spaces and mezzanines.

After the independency the building remains in its original function but also changes into a monument, one of a past, coloured by western influence and power. 

Recently, long after the courthouse lost its original function, the building serves as a stage for African contemporary art at the Dak’Art biennial.

At first, the western-colonial initiative to build the courthouse according to imposed western standards and the issues of post-colonial identity consequential to that, which questions the significance (more).

Following to that the withdrawal from public life and decay and finally, the promotion to one of the major stages of contemporary art in Africa, mostly shaped by African artists from the Diaspora, mainly to western countries. This transformation throughout these years of existence, became manifest in the building itself, its direct environment, the African context and beyond.

The work ‘Dock / Ancien Palais de Justice’ raises questions within the debate of the western and the non-western art discourse by the appropriation of archetypes, symbols and signs and the inclusion of a multiplicity of perspectives.

The installation ‘Dock / Ancien Palais de Justice’ invites the visitor to walk around in a construction, based upon the original floor plan of the old courthouse. This is indicated by microphone stands and running audiotape, which links the resonance of a past to recorded sounds of today.

The ideas on habitat and identity, colored in a personal human environment, and how it changes when the situation is transitional, opened up ways to invite a number of sound artists to compose a dedicated soundscape for this project. A listening space is equipped with a surround installation to serve a spatial experience of these contributions, curated by Cedrik Fermont and Paul Devens.

With contributions of:

Anne Wellmer (DE/NL)
Cedrik Fermont (CG/BE/DE)
Christian Galarreta (PE/FR) 
Cilia Erens (NL)
Elise ‘t Hart (NL)
Elsa M’Bala (CM/DE)
Eran Sachs (IL)
Erdem Helvacioǧlu (TR/US)
France Jobin (CA)
Jett Ilagan (PH)
Justin Bennett (GB/NL)
Kamran Sadhegi (IR/US)
Leonie Roessler (DE/NL/US)
Lloyd Dunn (CZ/UK)
Mike Kramer (NL)
Raul Keller (EE)
Robert Curgenven (AU/IE)
Simon Weins (DE/GB)
Stelios Manousakis (GR/NL)
Soheil Soheili (IR)
Zeno van den Broek (NL/DK)

A short speech by Mique Eggermont (NL), independend curator and art historian, will open the exhibition. She organized and initiated several contemporary art projects in Senegal, often linked to the contemporary art biennial, Dak’Art.

After the speech, Elsa M’bala, Cedrik Fermont and Paul Devens will give a small concert.

Paul Devens* is a Maastricht based artist and composer, whose practice covers the field of composed sound and architecture and researches social perspectives of the local. 


‘Dock / Ancien Palais de Justice’ is coordinated and curated by Les Brasseurs (Jérôme Mayer and Corentin Lahaye), Paul Devens and Cedrik Fermont.

Technical support: Frankable, Joep Hinssen, Dennis Muñoz Espandiña.

Special thanks to Mique Eggermont.

This exhibition was made possible with the generous support of: Mondriaan Fund and Stichting Stokroos.

* Paul Devens (born 1965 in Maastricht, the Netherlands) is a Dutch contemporary artist. He lives and works in Maastricht.

Drawing on a research-based approach within his artistic practice, Paul Devens develops bodies of works that connect elements from sound and architecture. Collecting site-specific audio recordings, Devens actively considers the physical space and social context. He does this through the method of “acousmatic listening”: selecting aspects from particular situations and implementing them in a new one – oftentimes critiquing the original situation. His research manifests in sound based installations, architectonic interventions, performances, and CD and vinyl releases. Simultaneously, he considers the presence of the audience as an integral part of the work in his installations and performances. His work furthermore alludes to infrastructures around value, preconception and code in civil society.    

His work has also been performed, screened and featured in group exhibitions in Ctrl_Alt_Del (Istanbul, 2003, 2005, 2007); OCA/ISP (Oslo, 2004); Kunsthal Charlottenborg (Copenhagen, 2010); Radio Art Festival (Tallinn, 2011); Diapason Gallery (New York, 2011); D-0 ARK Biennial of Bosnia-Herzegovina (Sarajevo, 2013); Jerusalem show (Jerusalem, 2014); Stimulating Synapse, EMAA (Nicosia, 2015); Galerija Umjetnina (Split, 2015); Hacking Habitat (Utrecht, 2016); bb15 (Linz, 2016), Off program ‘Electromagnetique Mobile’ Dak’art (Dakar 2018); IBB ‘Circumstantial Radio’ (Curacao, 2018) among others. Devens plays in bands like Otomax (2016), Kendo Bahn Orchestra (2011) and Meerschaum (2017), he teaches art at Mafad, Maastricht and sometimes works as a curator.   

und transit @ la vitrine sonore – sporopole

und transit – a 16.5 hours – multichannel sound installation @ Sporobole‘s Vitrine Sonore

11227903_10153258198449037_3922572741823182292_n©France Jobin

On alternate weeks from September 15th 2015 to October 31st 2015 –
Every day – from 8 a.m. to 12:30 a.m.

Week of 09.15.015
Week of 09.29.2015
Week of 10.11.2015
Week of 10.25.2015


Und transit

We all have a capacity to ignore the space we must use to get to our destination. Like most passage ways, they are a means to an end, and rarely are treated as an end in itself. Upon being introduced to minoritenplatz, I was immediately struck by the loneliness and practicality of this passage way.

Inspired by the solitary and functional aspects of La vitrine sonore’s location, I plan to collect a number of field recordings from in and around its emplacement, in order to create a series of soundscapes based on the sound of emptiness in this space.

France Jobin

und transit – sound installation will be presented in September 2015 at la Vitrine Sonore of Sporobole in Sherbrooke. The result of a 3 week residency in situ, will transform this passageway into a place to stop, listen and meander.


La vitrine sonore

Sporobole launches a new annual program that provides a curator the opportunity to gather sound artists around a curatorial approach and concepts about the Sound Window diffusion device. During a three-week residency, each artist will have unlimited access to the sound laboratory and will develop a project which will be broadcast and discussed during a round table that will conclude the year’s program.

The Sound Window is a permanent system for sound projection on the façade of Sporobole, along the sidewalk on Albert Street. Made up of sixteen loudspeakers, it makes it possible to enter into direct contact with passers-by making their way to the above-ground parking garage next door to Sporoble on city’s main street, Wellington. The linear arrangement of the sixteen speakers and their position at the geometrical interface between Sporobole and the thoroughfare make this new outdoor sound gallery a singular platform for sound spatialisation and the projection of works of sound art.


Review – unter den linden – und transit (NVO) 2010 – by thorsten soltau, aeamg

I8U / Und Transit

»Unter Den Linden/Und Transit« beginnt mit einer dreißigminütigen Komposition von Christophe Charles, basierend auf einem Konzert welches er im Studio von Mark Fell (SND) gab. Der Anfang ist mikrotonal einfach gehalten, kurzgeschorene Klangpartikel wirbeln aus dem Mix, ehe Bordun und Paukenschlagähnliche Sounds einsetzen und dem Mikrokosmos mehr Breite und Tiefe geben. Im späteren Verlauf kommen manipulierte Flugzeuggeräusche hinzu, aufgenommen aus der Ferne, die den dünnen Klangstrom überlagern. Das Stück tritt nie auf der Stelle, die teilweise noisigen Sequenzen (clever integriert durch den Einsatz von stetig veränderten Equalizerparametern) interagieren als Brücke für einen gänzlich anderen Fortgang des Stückes. Nach einer Viertelstunde verlässt Charles jedoch die Opulenz der ersten Minuten und verwischt granuliertes Flirren mit maschinenhaften Summen zu einem minimalen Soundtrack, der am Ende in ein älteres Stück von 1987 übergeht, basierend auf dem Klang einer Telefonklingel, einem Silo und einem Abfallwagen, der in seiner klanglichen Naivität durchaus in die Livekomponenten von David Jackman gepasst hätte.
Umseitig bieten i8u 5 Kompositionen, die die deutsche Wocheneinteilung abbilden und mit »Montag« eine frequenzangereicherte Droneexkursion bieten, die sich durch röhrende Schachmuster windet und gleichzeitig exorbitant hohe Sinuswellen verarbeitet, die den Hörgenuß zumindest via Kopfhörer etwas erschweren. Dabei finden sich in den Kompositionen durchaus mikrotonale Zusammenhänge verarbeitet, die sich via Lautsprecher schwer fassen lassen dürften. Während »Dienstag« reduziertes Dröhnen mit Sinusschnipseln bietet, fällt die Zurückgenommenheit am »Donnerstag« ganz: eine tödlich schöne Wolke aus
zerfaserten Klassikpartikeln (GAS lässt grüßen) schwebt über dem sinusoiden
Klanguntergrund, in dessen Verlauf sich weitere minimale Schwebebestandteile einbinden. Während der Tag vorm »Wochenende« sich eher an Mika Vainio’s Installationsklangdichte versucht, ist das tatsächliche »Wochenende« ein sich langsam steigender Mix aus Klavierklängen, Feldaufnahmen und Sinustönen, dessen Opulenz sich jedoch bisweilen bis an den Rand des erträglichen bewegt. Eine nicht ganz unanstrengende Arbeit.

(thorsten soltau, aeamg)

Review – unter den linden – und transit (NVO) 2010 – by massimo ricci, brain dead eternity

I8U / Und Transit

Admittedly, your reviewer is still far from enlightenment in regard to the generation of Unter Den Linden. Christophe Charles refers to a concert by Mark Fell in 2009 as a “Grundton” for the composition, then specifies that sources recorded in the same year and in 1987 (!) were also used. Then again, there’s a mention of a prior piece called “HCDC”, made after the death of Daniel Charles in 2008, and a hint to Massenet for good measure. These scattered pills of knowledge should not detour the potential audience from the fact that these 30 minutes surely belong in the high ranks of acousmatic music. A masterful sequence of quiet environments and breath-holding atmospheres, ruptured by extraordinary moans of flying airplanes (as loyal readers know very well, I could listen to those sorrow-eliciting sliding drones for the whole extent of my residual life and die happy). Even the most insignificant constituents become essential, including the chugging of various vehicles or the weak signal of a radio. The composer’s insightfulness does the rest, highlighting the existential breathing that perennially underlies silence in the “right” way, creating a world of vacant presences that place the addressee inside their sheer enormity, ultimately reminding us about what “sensible listening” really means.

I8U presents the sonic result of her observation of “a particular passageway in Minoritenplatz” as she was attending an artistic residency in the Austrian city of Krems. For a second time I am left guessing by the liners, which didn’t manage to let me comprehend if that area was subsequently utilized for a quadraphonic installation, or just inspired it. Und Transit – mainly derived from field recordings – stands on its own legs without the environmental component, though. It is largely based on stationary gaseous matters and distinct tones, motionless chords and slightly anguishing impressions depicted by an otherworldly frozen ensemble (except the first movement, which – at the risk of derision – might vaguely recall the “legendary” intro to Pink Floyd’s “Shine On You Crazy Diamond”). One remains enthralled by these stunning suspensions, enhanced by sharp ultrasonic frequencies that successfully divert our attention from the outside world’s remote manifestations while mixing seamlessly with the evening’s crickets. The struggle of this excellent work to prevail over the depression drawn out by the misshapen mazurka echoes coming from the neighbouring hill emphasizes the seriousness of the gap between actively researching human beings and pork-swallowing retards quite effectively. And yet, both sides share this cosmic macrocosm we were thrown in (which, to be honest, is rather degrading). Therefore, play this in utter quietness to appreciate its true worth: the fourth track – “Freitag” – is the decoding key for shaving the hairiest hearts.
massimo ricci, brain dead eternity)

Review – unter den linden – und transit (NVO) 2010 – by Felix, freistil

I8U / Und Transit


An der Untergrenze der Wahrnehmungsschwelle beginnt dafür die Aufnahme von Christophe Charles, unter den linden (nv°22). Das Stück, das ursprünglich den schönen Titel „Why is there something rather than nothing?“ trug, bezieht seine Umbenennung nicht auf Berlin, sondern auf einen spanischen Lastwagen gleichen Namens sowie auf den Filmtitel „Sous les tilleuls“ von Jules Massenet, der – wie auch dieses Stück gegen das Ende zu – Glockentöne und ihre Veränderung durch Windgeräusche hörbar macht. Komponiert nach dem Tod seines Vaters Daniel Charles, schafft Christophe Charles aus vielen field recordings eine Computermusik in stiller, friedlicher Atmosphäre. Teil zwei dieser 22. nv°-CD entstand während dreier Monate, als i8u, bürgerlich: France Jobin, in Krems/NÖ artist in residence war. Der leere Raum des Minoritenplatzes inspirierte sie zur Quadrophonie-Komposition und transit. Von der Struktur und dem Gestus her ideal zur Arbeit von Christophe Charles passend, öffnet auch die Klanginstallation von i8u ruhige akustische Räume. In Summe zwei wundervolle soundscapes: skulpturale Elektronik an der endlich abgeschafften Grenze zwischen Musik, Architektur und Bildender Kunst.
(felix, freistil)

Review – unter den linden – und transit (NVO) 2010 – by TJ Norris, Toneshift

I8U / Und Transit

This is one of nonvisualobjects’ three new releases, all of which are collaborations, or split eps, by two artists. Here we have the latest by both Marseille’s Christophe Charles and Canadian sound sculptor i8u respectively. Starting with Charles’ Unter den Linden, a wonderfully atmospheric 30-minute composition which was performed in concert at SND Studios (UK) in early 2009. By using the sounds of wind — and of flying things like planes and birds — the skies are heralded. The above and beyond sounds pay homage to his recently deceased father, Daniel Charles. There’s something of a spirited rumble, though this is quite low-flying and vibratory. A transitional piece that lulls and suspends throughout, like a haunting reminder, or a flickering light at the end of a dark cavernous space that you gravitate towards curiously. Once through you are out on a bustling street, walking through the din of the city. Worlds slowly collide, politely shifting as an ascending craft swallows the scene, leaving behind a semblance of trickling water and whisper.

On Und Transit i8u (France Jobin) paints a restrained world with sine waves by bending elegant sounds, paired with the echoey hollows of a passageway in Lower Austria. During an art residency she found a certain inspiration in the Minoritenplatz, a long corridor towards her studio. Within these sounds of emptiness Jobin recorded a certain reverberation here, a path that shuttles you in secret. The five pieces that comprise the recording are a collection of manipulated field recordings in and around the city of Krems known for its eye-popping riverscapes and historical architecture. Unlike most North American cities contemporary art is integral to the social structure of daily life here. i8u helps draw from daily walks through the city in what may be better described as a micro-encoded mapping of her meanderings. It is on Donnerstag that this becomes most evident on this very elusive work. It lifts gently, opens with an airy drone, rises and glides away.

TJ Norris

Review – unter den linden – und transit (NVO) 2010 – by Frans de Waard, Vital Weekly

unter den linden – Christophe Charles | und transit – i8u on NVO

The second new release is also a split one, this time between I8U and Christophe Charles. He opens up with a piece called ‘Unter Den Linden’ and it uses various sounds of airplanes, telephone bells, a silo and a Spanish garbage truck. It lasts thirty minutes and it takes a while before it unfolds. The processing seems to be minimal here, but you’re never sure then about these sort of things. Its an alright piece of music based on field recordings, but also the best I ever heard in this field. Canada’s I8U has five pieces, which she recorded while doing a 3 months artist residency in Krems, Austria. While walking to the studio, she noticed some particular passageway at the Minoritenplatz, which seemed ‘lonely’, ignored by those who used it. She collected field recordings around the small city of Krems and did a four channel installation based on the emptiness of the passageway. These five pieces are typical of the current interests of I8U: high pitched sine waves, but not high involume, and down on the ground there are bits of low end sound. Field recordings are hard to recognize here, if at all. Here too I have the idea that I am listening to something that is actually quite good, but also not very surprising. It might be due to the fact that I8U uses a too similar approach to treating her sounds. The outcome, in both cases is however nice enough.

(FdW) Vital Weekly


und transit on NVO 022 (2010)

NVO 022 christophe charles / i8u
unter den linden / und transit
on nonvisuelobjects

unter den linden

The “Grundton” of this 30-minute composition is the recording of the concert given at SND STUDIOS SHEFFIELD (UK) in March 2009, entitled “Why is there something rather than nothing?” by Mark Fell and powered with d&b speakers by Tony Myatt (MRC, University of York). The sounds of planes have been recorded in Mallorca (Spain) in 1987, and in Pilat (France) in 2009. This music comes after HCDC, composed in November 2008 after the death of Daniel Charles – his last days were darkened by breathing difficulties, hence the overall presence of the “wind”. The last five minutes were composed in 1987 with telephone bells, a silo and a Spanish garbage truck, under the name “unter den linden”. The piece is not related with Berlin, but with Jules Massenet’s “Sous les tilleuls” (from “Scenes alsaciennes” where bells are heard in a distance and thus modified by the wind), and evokes a peaceful atmosphere just before the bombs begin to fall.

Christophe Charles, September 2009

This world of ours is one relative world. Any number of other possible or actual worlds are conceivable. Each such world is able to reflect all the others without ceasing
to be the real world that it is of itself.

Nishitani Keiji

und transit

The conceptual framework of “und transit” was conceived while taking part in a 3 months artist residency in Krems, Austria (2008/09). While in transit (daily walks) to my studio, I was inspired by a particular passageway in Minoritenplatz.
Like most passageways, which are a means to an end – and are rarely treated as an end in itself – I was immediately struck by the loneliness and practicality of this space as well as the capacity of the users to ignore it on a daily basis. During the course of my residency I collected a number of field recordings in and around Krems, in order to create a series of soundscapes based on Minoritenplatz’s sound of emptiness through the means of a quadraphonic installation.
These compositions represent some of the pieces composed for “und transit”.

i8u (France Jobin)

Follow your bliss.

Joseph Campell


NVO 021
Tim Blechmann / Seijiro Murayama
NVO 023
asher / fourm
selected passages / set.grey