Tintin Patrone, Nils Knott & Daniel van Eendenburg present Fluktuation 8 an installation about architecture and experimental music that explores the creative evolution of basic living elements.
Music, stage and associated rituals are examined in less obvious ways and sometimes may even seem absurdly self-evident and banal. By using themes such as cultural traditions, pre-modern sound devices and general hedonism, Fluktuation 8 is an installation, upon which thoughts that have apparently just been developed are manifested: heute denken - morgen fertig notes are made and then crossed out again, mistakes are intended to be repeated.
On display from the 23rd - 26th October in the Islington Mill Gallery space Fluktuation 8 culminates in a performance by the Krackisten Orchestra on sunday at 7:30 during an open-day of workshops, presentations and performances.
Islington Mill Manchester – shadow play of Fluktuation 8 at sines & squares festival with KKO
Christina Koehler, known artistically as Tintin Patrone, is a German-Filipino sound and performance artist whose work explores the dynamic intersections of music, art, sound, and experimental expression. Her practice is rooted in an ongoing investigation of sound as a cultural system, examining how it shapes—and is shaped by—personal and collective identities.
A central element of her artistic inquiry involves the inclusion of robots and artificial intelligence, which she employs to question conventional notions of human subjectivity and embodiment. By integrating these non-human entities into her work, Tintin Patrone actively dismantles traditional concepts of "human nature," proposing new frameworks that reflect the evolving relationship between technology, society, and the self.
Her performances, installations, and plays often draw influence from musical Concept-Art, Fluxus, and experimental music, echoing a spirit of avant-garde experimentation. These pieces are not merely artistic expressions but are critical investigations into the role of non-human agency in the arts.
Equally integral to her process is the ethos of collaboration. Deeply inspired by the culture of associations and collectives, she frequently works alongside other artists and interdisciplinary groups, fostering environments of shared discovery and creative exchange.
The Krachkisten Orchestra produces improvised electric sounds with selfmade analog instruments. In addition to gigs at Hamburg’s Golem and Golden Pudel clubs, the orchestra, which was founded in 2009, has toured Germany and Europe. In the past few years, various artists’ initiatives such as the French performance art network dimanche rouge and the Belgian project for performative art sign 6 invited the Krachkisten Orchester to Paris, Brussels, and Helsinki; machine raum, a Danish platform for video art and digital culture, brought the ensemble to the Vejle Kunstmuseum. 2014 they took part at the 4th Moscow International Biennale for Young Art.
Inspired by the intonarumori (noise-intoners) the Italian Futurist Luigi Russolo (b. 1883) invented, the Krachkisten or noise boxes used in the orchestra’s concerts are homemade analogue instruments enhanced with electronic components taken from dismantled children’s toys. The presentation in an exhibition space highlights the modernist-looking design of the boxes, lending them a sculptural appeal that complements their functionality. This sort of interplay between music, art, sound, and experimental gestures is what Tintin Patrone, founder of the orchestra, is interested in.
Daniel van Eendenburg was born in Hamburg in 1972, grew up here and, after completing an apprenticeship as a carpenter and working in theatre, graduated from the HAW for Design in 2005.
Since 2005 he has worked independently as an illustrator and artist and is a co-organizer and performer at Rock and Wrestling, which takes place annually in Hafenklang in Hamburg. Production Unfuk was initially the name of a student project for puppet animation, but was then continued by DvE to manage the artistic works and projects. In 2005 “ We Serve” was created, a glimpse into the near future. With the help of mechanical assistants (robots and automatons) solutions to everyday problems were developed. In 2010 “ Superdiscount” followed , a discourse on the present. The hidden aesthetics of 1 Euro consumer products were researched and crystallized. The results of both projects were recorded using screen printing. This was followed by various smaller exhibitions and installations, Gewuchs Part 1 and 2 in 2012 and Gewuchs Part 3 in 2014, now with sound . Launched together with Nils Knott, it was essentially an attempt to transfer Ferreri's "Das Große Fressen" into the exhibition context with artists from all disciplines.
Dve's work then explores the decoding of aesthetic issues and their partly experimental but also practically applied representation. Preserving the haptic and counteracting digital dilution is an essential part of her implementation.
Nils Knott is a contemporary experimental artist born in 1973.