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description=sound installation artist, kinetic sculpture, nature and technology art, Dutch media artist, ecological sound art, installation art, sculpture, art in public space, art and technology, art and nature, culture vs nature, ;
keywords=sound installation artist, kinetic sculpture, nature and technology art, Dutch media artist;
description=Rainwater transformed into sound and ice, exploring global consumption, transformation, and the fragile balance of our shared environment.;

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electronic sound performance for the opening of the sea exhibition in which the installation plays a leading role this artwork is commissioned by sea science encounters art texel 2019 in the netherlands with the support of gemeente texel mondriaan fund prins bernhard cultuur fund stift leader size 6 5 x 4 x 3 meter materials hdpe recycled plastic bags nylon pvc side channel air pumps arduino steel cables year 2019 technical assistance for installing the artwork by john de kuyper murun sum and me murun sum and me mixed media installation exhibited in de vishal haarlem 2019 materials short video of solar powered kylkobys mongolian shaman violin mongolian horse hair tail cast of my belly button tones in between installation sound performance by hori van der meijs during their stay in the second city of serbia novi sad the artists have visited various abandoned sites in the city in order to research about atmosphere in old abandoned architectural places some see those abandoned buildings as scars and others see it as interesting architecture with stories and memories interesting for their research in this matter is to create and interpret these building sites into small scale sound performances and installations in order to document the reactions of its inhabitants and see which differences it will give for instance when taking into account the age and background of the spectators and the brief troubled history of serbia using sound and architecture in order to express and questioning specific atmospherical findings in novi sad they are strongly linked to each other they depend on each other and determine each other s character and the atmospheric meaning of a site also the character of sound specific building materials as well as their shape will tell a story which has different meanings for anyone suluv gallery exhibition opening sound performance the outcome of this residency research will give new meaning and give insight into the development for european capitals of culture 2021 in novi sad november 2019 suluv gallery in novi sad serbia artist in residency suluv art foundation in collaboration with european capitals of culture a hori van der meijs collaboration project supported by embassy of the netherlands serbia a nomadic diptych land art mongolia 5th biennial 2018 ronald van der meijs approached the biennial s theme through the perspective of traditional nomadic music in its contemporary manifestation music has always been an important means by which nomadic peoples can transmit and keep alive stories emotions expressions of the landscape and their history like a modern nomad the artist travelled by car and tent for 28 000km from the netherlands along parts of the silk road into mongolia and back again the journey was intended as an inquiry as to what was left of the traditional nomadic life and its music his photos and audio field recordings from the journey form a part of the answer along with the range of nomadic instruments he collected which are a testimony to the diversity of nomadic cultures in central asia the artwork consists of the collected instruments along with the natural elements of the steppe modern solar panels and traditional materials combine to create pitch and sound they are held together using construction techniques derived from nomadic tents the artist investigated during his journey the location brings the instruments to life in a sound composition determined by the rhythms of nature sun clouds wind this play of the elements shows similarities to human music the resulting composition of pitch and tone of which the instruments are capable this is after all similar to the way in which people respond to their environment here the modern and traditional go hand in hand in looking for a universal language for humanity a nomadic diptych from ronald van der meijs on vimeo at the end of the journey he found that the traditional nomadic life doesn t continue to exist in the way that he thought it would in mongolia there are still lots of nomadic herders using gers and urban people using tents to escape the hot cities in summer weekends but mongolia is transforming fast nomads are governmentally pressured and trying to adjust to changing climates and the technocratic age which leaves little space for playing traditional music a roadmovie about the travels during the art project for best quality use a headphone please subscribe to our youtube channel organisation land art biennial mongolia 2018 theme who are we now curator prof lewis biggs o b e titel a nomadic diptych sound installation at the steppe location size 14 x 2 x 2 meter year 2018 commissioned by land art biennial mongolia materials kobyz kazakh violin dombra s kazakh string instrument morin khuur mongolian horsehead violin tuur mongolian frame drum rope and wood original ger materials solar panels electric motors work at the mongolian national modern art gallery in ulaanbaatar nomadic instruments with solar panel and electrics journey pictures by ronald van der meijs audio field recordings of the journey video presentation of the steppe location installation by ronald van der meijs the expedition vehicle toyota landcruiser troop carier bj75 1987 journey towards the land art biennial journey after the land art biennial back to europe at this link you can see a daily polarsteps blog of the journey until azerbaijan on the way back thanks for the generous support to all art foundations and private sponsors mondriaan fund embassy of the netherlands in beijing verbeke foundation prins claus fund dordtyart foundation mir project foundation lam 360º many private sponsors solo exhibition at stibbe lawyers art collection amsterdam for the first time these two inflatable artworks came together in this huge eight story high atrium they both breath slowly in and out which crackels the typical kind of recycled plastic shopping bags the fact that both inflatable works of art are sound related gives an enchanting sound that resembles raindrops in a forest in this way a suggestive element from nature is introduced into this modernist building location stibbe lawyers zuid as amsterdam year 2019 curated by wouter klein velderman compression in a sea of tension these aluminium sound installation units are the first prototypes for a research based wind sound installation that explores the diversity of wind sounds in different locations the construction is lightweight and made from reused street lantern masts a tensegrity structure holds the elements together creating a system in which the whole exists through a balance of pressure and tension when there is sufficient wind the nylon strings vibrate and generate sound this sound is amplified by the hollow aluminium tubes which function as resonance chambers the principle of wind activated strings is derived from the greek aeolian harp the resulting sounds create an acoustic image of the prevailing wind and produce a rich variety of wind like tones the aim is to produce at least ten of these prototypes and place them on a desert or steppe plain where one would be surrounded by the singing sounds of the wind in addition plans are being developed to perform with these wind measuring devices electronic systems will be used to amplify and manipulate the wind sounds by connecting sound parameters to wind speed and wind direction in this way a local wind sound archive will be created which can later be used for sound performances year 2018 materials used aluminium lamp posts monofylament nylon wood steel wires stainless steel bitumen coating size 4 x 4 x 5 meter wxlxh per unit commissioned by anningahof zwolle with generous support of stichting stokroos vrienden van anningahof cloud sequencer 53 18 02 3 n 5 05 12 0 e last photo made by sander heezen this project is a first start for a new sound research into the diversity of clouds sun and wind in order to create a sort of natural sequencer for an outdoor sound installation this site specific instrument consists of seven solar powered bass organ pipe units interacting with the brightness of the sun to control the volume of the sound in this way passing clouds form a natural sequencer for this installation each organ pipe unit catches the wind with one of the 5 small sails controlled by a system of pulley wheels and counter weights for pitching the sound of each organ pipe by a moving valve the weather conditions of the island determine how the sounds and its composition evolve as a constant changing requiem for the west vlieland village which disappeared into the north sea in 1736 like that village the installation is completely handed over to the unpredictability of the weather this plays a major part in the concept of this sound installation one has to accept the weather in all its appearances this means that it needs sun clouds and wind to produce a variety of sounds so if there is no sun at all there is no sound to produce what is left in this situation is the sound of nature itself cloud sequencer 53 18 02 3 n 5 05 12 0 e from ronald van der meijs on vimeo the location is situated on the dutch island of vlieland commissioned into the great wide open 2017 as a solo project and early starter for the group exhibition later that year size of the biggest bass organ pipe 300 cm materials brass solar panel 12 volt wind turbine steel cable pvc air tubes zinc year 2017 sound architecture 07 sound architecture 07 where do we meet in this ongoing series of works i never begin with a predetermined idea about the overall shape instead i am guided by the details of a location and the way it develops over time in this case a tree on the lawn stands alongside the machine like appearance of the silos in front of a large modern pig farm where no human activity is visible the sound sculpture grows organically over the course of several days one could say that i paint very slowly with metal pixels on the lawn gradually creating a shape that carries a certain tension the artwork concerns the encounter between nature and culture a major theme throughout my work it is a sound piece and the sounds depend on natural elements a hailstorm or a strong breeze can make the bicycle bells resonate in a meditative way the time of year and the specific character of the location play a crucial role because the work relies on these natural elements the spectator must be very patient especially at this location where no fruits fall from trees onto the bells and the season does not bring much hail or strong winds concepts such as coincidence patience and acceptance of the situation therefore take precedence however during the production days we came up with the idea of releasing a few piglets onto the grass between the bells of the installation when we tried this it created a very interesting interaction between the piglets and the artwork the sound of the bell caps reflected the nervous movements of these small animals as a result the pig farmer happily performed with his piglets during visits while producing this work at the site of piggy s palace i began to think about the similarities between the artwork and the pig farmer s company this led me to the subtitle where do we meat a wordplay that refers not only to meat but also to the idea of meeting and encountering one another which applies in many contexts for pig farmer erik stegink the theme of nature and culture is also a reality he seeks to align his business a cultural activity with nature and its surrounding environment public opinion and complex strict legislation form the cultural counterpart to this this situation calls for communication and innovation for which the company has already received several awards the many cultural forces present in our society create a powerful dynamic here and just as with the natural elements influencing the artwork these forces are also difficult to predict year 2017 organisation kunstenlab enschede commissioned by kunstenlab enschede exploring earthly sounds for nine candles exploring earthly sounds for nine candles at mir project 2018 credits 3rd picture art reservoir nl in honour of winning the vishal art prize haarlem 2015 2016 by constructing this site specific installation a first attempt is being made to study ultra low sound by pitching up the sound of each organ pipe as slowly as possible in a random order this results in a ultra slow changing bass rhythm caused by the burning speed of its different sized church candles the installation refers to the decay of life and uses typical items of the church next door in order to express this the continuously shifting pulsating bass sound reflects the slow rhythm of time and the subtle movements of consciousness the installation refers to the gradual almost imperceptible decay that is inherent to human life while simultaneously pointing to the awareness through which we perceive this decay consciousness enables human beings to recognise transience to reflect on mortality and to search for meaning within this experience to articulate this tension the installation makes use of objects traditionally associated with the church symbols of spaces where existential and spiritual questions about existence are contemplated these objects refer to the role of religion as a framework through which people attempt to understand life death and what may lie beyond the limits of physical existence at the same time the work reflects on the conditions of contemporary society in which value systems are often organized around youth speed strength productivity and continuous growth within this framework decay and vulnerability are frequently concealed or denied the installation instead foregrounds their opposite slowness fragility and the inevitable transformation of living systems by confronting the viewer with these elements the work appeals to a shared human awareness the consciousness of our own transience and the fragile balance between mind body and nature it invites reflection on the quiet often barely perceptible processes of decay that accompany life and suggests that decay is not merely an end but also a fundamental dimension of existence one that has long been acknowledged within both spiritual and philosophical traditions the candles function as the musicians of this sound installation their varying sizes gradually yet irregularly alter the pitch of each organ pipe as a result the overall sound is in constant flux producing a rich spectrum of low soft pulsating bass rhythms the air pump is enclosed within a black rubber skin covered box to dampen its noise when activated the box inflates becoming the beating heart of the installation as a sound artist i was interested in raising the pitch of ultra low organ pipe tones as slowly as possible in dialogue with the nearby church organ in order to create a continuously evolving drone like soundscape to give a sense of the timescale the smallest candles need to be replaced every six hours while the largest can b...