top of page

Luda Gallery

November, 14–26

as part of the festival's sound art program

37 Telezhnaya st.
Mon–Sun: 16:00 – 20:00
Free admission

Get directions (PDF)




Alexey Grachev, Dmitry Shishov and Andrew Strokov (Russia), Anastasia Koroleva & Alex Pleninger (Russia), Tine Surel Lange (Norway), Anne-Sarah Le Meur (France) & Kumiko Omura (Japan–Germany), Victor Pedersen (Norway)




Sergey Komarov (Russia), Karolin Tampere (NNKS, Norway)

Tine Surel Lange_Desert Creatures_2019 © Tine Surel Lange.jpg

Tine Surel Lange (Norway), Desert Creatures: The Salton Sea, video, 2019 © Tine Surel Lange



Sound installations & video

November, 14–26


Alexey Grachev, Dmitriy Shishov, Andrew Strokov (Russia)

The Measure of Chaos

Sound installation, 2020 - work in progress

Engineers: Alexey Grachev, Dmitriy Shishov (Stieglitz  Academy); Andrew Strokov, Alexander Groznykh (Luda gallery)

Algorithms and “trainable machines” form the personal profiles of users and constantly analyze their behavior. So when two people make the same request, Google gives completely different results. Everyone swims in their own cosmos, on their own wavelength. The diligent but linear algorithm protects us from encounters with the random.


This installation, in which chaotic natural data are transformed into signals, is an attempt to catch and preserve in sound the invisible random element which continues to exist in free movement, bypassing trainable algorithms. The work is in two parts and displayed in two spaces.

At the exhibition at the Stieglitz Academy, the installation takes the form of an abstract canvas to which 16 electronic modules are attached. Each module is a board equipped with a Geiger counter and an analyzing circuit. As the particle passes through a gas capacitor, an impulse is generated which is then converted into a control signal. The data obtained from the module is sent as triggers to the Raspberry Pi micro-computer and transformed into MIDI commands for the Waldorf synthesizer in polyphonic mode, which produces notes through the Marshall guitar amplifier. At the same time, data from the counters is analyzed and displayed on screen. The video is a graph generated in real time showing the distribution of particles recorded by the counter, a different visual iconography and a unique generated random number.  The parameters of the sound synthesis change depending on the generated number.

At Luda gallery, data obtained from the modules from space 1 is sent under MQTT protocol as signals to a micro-computer in space 2. The microcomputer sends the control signals to a Korg MS-20 synthesizer, which generates notes and assembles them into a sound composition. The parameters of the sound synthesis also change depending on the generated number in space 1. Simultaneously, on a projector the micro-computer displays a visualization of the data obtained in the form of a particle darting around the screen.

Anastasia Koroleva (Russia)

Ferrum 2.0

sound installation, 2021

Supported by Vladimir Smirnov and Konstantin Sorokin Foundation

Special thanks to Nikolay Golikov and Alex Pleninger

The multichannel sound installation is based on the interaction between ionizing particles and resonant vibrations of metal, their frequency and rhythmic pattern. Solenoids knocking on a metal sheet generate surface vibrations that are picked up by piezoelectric elements and transmitted to speakers. The presence of ion particles increases the audible vibration of the stimulating structure. The dramaturgy of what is happening develops at every moment of the performative action. The particle becomes an instrument for influencing its own auditory sensations. The actor is the structural non-manifestation of the natural and the cosmic, of which the carrier is the particle.

Tine Surel Lange (Norway) 

Arctic Creatures: Repparfjord

Desert Creatures: The Salton Sea

video, 2019

Supported by Arts Council Norway and Norwegian Composer’s Fund

Tine Surel Lange is concerned about the climate crisis, and her current music is saturated with the fear of environmental destruction, as well as the new opportunities and life forms that could evolve from this. With a fascination for the downfall of the human race and magical realism, her ongoing “Creatures” project explores environmental disasters around the world.

Victor Pedersen (Norway) 

I am multitudes

video, 2020

Presented in collaboration with North Norwegian Art Centre program, curated by Karolin Tampere

The animated video work shows bacteria and fungi cultivated from samples of the artist’s body. These cultures are sampled from fingers, toes, ears, inside the mouth, the anus, etc. Half of the human body consists of microbes. Research now shows that bacteria can to some extent affect what we think and feel. In an occidental worldview, humans imagine that they are independent and separate from other life in nature. But bacteria challenge these concepts by showing that we are not individuals, but collectives inhabited by millions of organisms. There are several consciousnesses inhabiting a body.


November, 14 at 7:30pm

Anastasia Koroleva, Alex Pleninger (Russia)


audiovisual performance, 2021

Gravis studies the connections of sound and video coexisting in a single space, and the nature of boundaries between the visual and audial by mixing several narratives in the viewer’s perception. The sound improvisation by Alex Pleninger combines numerous approaches in working with sound; Anastasia Koroleva’s video unites animated fragments with an 8-bit video sequence of her own devising. The duo of composer and video artist strives to rebuild the customary hierarchy of sound and video, drawing the viewer into the created space. 

Anastasia Koroleva (Russia)

Interspecies communication 

sound performance, 2021

The performance is built on sound interaction between the person and another natural agent. The stochastic sound of passing ionized particles controlled by solenoids, combined with synthesized sounds created by the person, creates a complex texture of reality.

Anastasia Koroleva

Video and media artist, performer, sound artist. Works in the field of sound art and digital animation, creates multichannel compositions and videos for audiovisual performances. Participant of numerous festivals, concerts and exhibitions in Russia and abroad. Koroleva held a personal exhibition at the Vladimir Smirnov and Konstantin Sorokin Foundation in 2020. Collaborates regularly with the company Keen Association – Moscow. Lives and works in Moscow, Russia.

Alex Pleninger 

Composer, sound artist, engineer, inventor of musical instruments. Since the late 1980s he has written and performed electronic compositions, and composed music for theater and film. In 2005 he recorded an album with Ethnica Music Project, and took part in international tours by the group. Since 2010, he has worked as a composer with the independent studio SounDrama. In recent years he has combined academic electronic sound with chiptune. He took part in re-releasing the Soviet synthesizer Polyvox. In 2015 he founded the company Keen Association – Moscow that develops innovative sound instruments. Participant of numerous festivals, exhibitions and concerts in Russia and abroad. Lives and works in Moscow, Russia. 

Alexey Grachev, Aleksandr Groznykh, Andrew Strokov, Dmitry Shishov, Anton Shchegolev (Russia)


audiovisual performance, 2021

This is a performance that took place during the assembly of part of the “Measure of Chaos” installation, and is an individual improvisation by each participant. The artists/engineers wired up a matrix of Geiger counters, and converted the triggers obtained into sound. “Consequences” is a continuation of the “Measure of Chaos” project, but the main difference is that human will is involved. In the installation, all the settings are static and do not change, but during the performance the parameters are interpreted by humans (apart from the flight of the ionized particles through the bulb, of course).

November, 20 at 8:30pm

Anne-Sarah Le Meur (France) and Kumiko Omura (Japan–Germany)


audiovisual performance, 2021


The performance explores the metaphorical power of colours in the ethereal 3D-space. It develops multiple evocations: green for nature, blue-turquoise for the hope and dream of a better life, dark pink and red for love-drama, orange for decay-rust. Macro and micro worlds evolve similarly. An undulating surface-space, like a screen, makes colored lights visible and sometimes breaks them. Fascinating black spot, an unreal negative light realised by programming attracts, organises, or devours the other elements. It appears and disappears continuously. Simple shadow, scary black hole, dead star or dilated pupil?


Anne-Sarah Le Meur 

Anne-Sarah Le Meur studied computer graphics in the 90's. Influenced by painting and experimental cinema, her images, abstract and organic, paradoxically almost-flat, explore the plastic potential of 3D-space via programming and numbers. After playing with wire textures, she is interested in lights, one of which is negative and black, very rich in pictorial and symbolic terms. She belongs to the second french computer artists wave. She has exhibited in ZKM Karslruhe and Charlot Gallery Paris represents her.


Kumiko Omura


Kumiko OMURA is a Japanese composer in the field of contemporary music. After studying at the Tokyo University of Fine Arts and Music, she studied composition with Prof. Nicolaus A. Huber and electronic music with Ludger Brümmer at the Folkwang-Hochschule Essen in Germany, and participated in the annual composition course at Ircam, Paris. In 2006-2010, she was a guest artist by ZKM (Center of Art and Media) in Karlsruhe, Germany. Omura won the Irino Prize, the grand prix at the Gaudeamus Music Week in Holland, prize at the Hannover Biennale in Germany, the young artist prize at the Nordrhein-Westfalen in Germany, and Takefu composition prize. Her works have been performed in Europe, America, Korea and Japan at such festivals as the Wittener Tage für neue Kammermusik and musica viva in Germany, Festival Agora and Centre Acanthes in France, and International Computer Music Conference.

bottom of page