Rosa Ronsdorf
Rosa is fascinated by the endless possibilities of
sound, electronic experiments, sonic meditations, feminist
sound waves, eco-empathic listening and trance states.
In her work takes
form in concerts, performances, records, installations, textiles and publications.
In her work she uses her voice, synthesizers, poetry, edited
samples, textiles and biochromes.
When we talk about sound, we are talking about the invisible. It
does not provide a complete picture and leaves room for subjectivity, emotion and
empty openings.
Sound reflects, it sets things in motion and is
ultimately movement itself. A chorus, a river, a highway: they contain
each have a score and co-create with the environment in which they 'sound'.
Rosa's practice is about listening to the resonances as one
possibility.
Rosa composes from silence and deep listening, as a starting point for a
dialogue in sound about perceiving a connection with a human being,
non-human, space, city or planet. She is also fascinated by the
memory. Pauline Oliveros once has one of her sonic meditations
closed with the question: "When will you stop hearing the sound...
When does memory begin?" Can sound be a memory? Wear
we carry melodies with us as resounding echoes of times gone by?
She makes music for a large audience, focusing outward and
seeks connections from the stage with her band and performances.
︎
Rosa is fascinated by the endless possibilities of
sound, electronic experiments, sonic meditations, feminist
sound waves, eco-empathic listening and trance states.
In her work takes
form in concerts, performances, records, installations, textiles and publications.
In her work she uses her voice, synthesizers, poetry, edited
samples, textiles and biochromes.
When we talk about sound, we are talking about the invisible. It
does not provide a complete picture and leaves room for subjectivity, emotion and
empty openings.
Sound reflects, it sets things in motion and is
ultimately movement itself. A chorus, a river, a highway: they contain
each have a score and co-create with the environment in which they 'sound'.
Rosa's practice is about listening to the resonances as one
possibility.
Rosa composes from silence and deep listening, as a starting point for a
dialogue in sound about perceiving a connection with a human being,
non-human, space, city or planet. She is also fascinated by the
memory. Pauline Oliveros once has one of her sonic meditations
closed with the question: "When will you stop hearing the sound...
When does memory begin?" Can sound be a memory? Wear
we carry melodies with us as resounding echoes of times gone by?
She makes music for a large audience, focusing outward and
seeks connections from the stage with her band and performances.
︎