05.03.18 — 30.03.18
Inne Eysermans
Interne 10

1988°, Antwerp
Music Production, European Postgraduate in Arts in Sound

Founding member of Amatorski and Antwerp-based musician, composer and sound artist Inne Eysermans pushes the boundaries with her innovative, often collaborative research of music and sound in relation to text and (moving) image. Having previously combined music, sound and image in installations and soundtracks and inspired by the (de)construction of pop song, she aims to create sonic relationships and build a broader auditory with a new social context. For this residency, she explores sound, music and image in an environment filled with sports and (young) female athletes through performative installations and collaborations with other artists and musicians corresponding to her project.

More info about the artist on mixcloud and soundcloud.


intake interview

Describe briefly the path (whether artistic or not)  you have followed so far.

I am an Antwerp-based musician, sound artist and founding member of the band Amatorski. I have been composing music for theatre, film (fiction/documentary), television series, etc. I have been exploring the field between sound and music in my performances, in live soundtracks with (moving) image and in collaboration with writers, radio producers and visual artists. Currently, I am exploring sound/music and spatial composition in the environment of sports – with a focus on female athletes – and through interaction with different media or disciplines.

How would you describe your work in terms of themes, style, techniques, …?

I have been searching for the role of sound and music in relation to text and (moving) image. The environment that is introduced by text and/or image is often a starting point in building the auditory scene. All possible sounds (field recordings, found sounds, sound fx records, etc.) are the source material that will be transformed or processed, following or interrupting the environment (or the order of events) in text and/or image. Music is often used to interact with the timbre of sounds, to add a thematic narrative, to underline, to deconstruct or to give structure to the narration. The perception of sound (timbral qualities), autonomous sound versus a network of sounds are recurring and central themes in my work. My fascination and previous work in pop music is always an important input. I am specifically interested in the construction and deconstruction of pop songs. I like to use certain elements out of music (song form, motives, harmony, melody, rhythm, etc.) in combination with sound. In curating shows, assembling mixtapes, performing DJ-sets, or creating site-specific work, I combine sound and music in order to build sonic relationships and a broader auditory and social context. Recently, I have been focusing on creating  site-specific performative installations with multiple speaker set-ups and soundtracks for various multimedia (text/sound/image) projects.

What would you consider your most important achievement (whether or not artistic) to date?

I consider myself a very lucky person, being able to work on a variety of projects with focused, talented people.

Who or what has been an inspiration to your work?

Laurel Halo, Robert Ashley, Laurie Anderson, Julia Holter, Paul Lansky, Eli Keszler, Mica Levi, Rashad Becker, Tim Hecker, Tortoise, Broadcast, Daniel Lanois, Yannis Kyriakides, Siri Hustvedt, Alessandro Baricco, Etgar Keret, Salomé Voegelin, Hildegard Westerkamp, Patricia de Martelaere, Jeanette Winterson, Lydia Davis, David Lynch, Sofia Coppola,…

Which (art) disciplines other than the ones you’re familiar with, draw your attention or would you like to immerse yourself into?

Philosophy, landscape design/architecture and urban planning, psycho-acoustics, sports,…

Describe what your focus will be during your residency in Gouvernement?

During the residency, I will interact with the environment of a skatepark and observe (young) female (amateur or professional) athletes in relation to the environment in order to amplify their performed sounds. My aim is to articulate the environment of sports and give a voice to identities which are less present in urban space. I want to get closer and map out and (de-)construct its acoustical properties and inhabitants through sound/music. I am exploring this through the field of sound/music, spatial composition and through cross-disciplinary collaborations in order to generate listening mechanisms and sonic relationships with the environment. I’m happy to present a first try-out at the end of the residency.

In which circumstances or environment would you consider yourself at your most creative?

Time, space, sports, books, a green environment and being surrounded by instruments, recorders and electronics.

How does “INTERNEN” appeal to you specifically?

As Gouvernement gives a platform to different disciplines – covering concerts as well as exhibitions – I am very happy to be a part of it. Its residency program, ‘Internen’, will give me the opportunity to develop my project: exploring sound and music in the environment of sports, performance and installation in cross-disciplinary collaborations.

What do you expect from a residency in terms of personal artistic development and in terms of  guidance and support?

It depends, but having space and time to develop is the most productive context. Also, having the opportunity to create with other artists or to curate a show which gives reference to your project, is the most wonderful context to get started.

Which  individuals (closeby/faraway, realistic/utopic, lliving/dead) would likely be seated next to you in your  “gouvernement” or foundation?

At this moment: Paul Lansky.


intermediate conversation (13.03.2018)

You focus on sport and the female presence in that specific world. How do you approach that?

Having played sports myself since I was young and still being interested in sports probably explains a part of the involvement of sports in this research project. The combination of music, sound art and sport can be considered as a straightforward marriage. Furthermore, I consciously try to connect with female athletes in this research, in this case female skaters. Their physical (and hence auditive) absence in sports area attracts less attention than we might admit. It feels as if something is missing, as if the sound requires or lacks something. Yet one cannot erase the auditive presence of someone. The atletic world can be very inclusive.

How does shuffling between music and sound art influence your attitude or work ethic?

I don’t imitate the surroundings, nor do I translate impressions to real songs. Through both my previous work as musician and collaborative projects with texts, image and sound, all these methods merge and harmonize. Either I control this procedure or I let these different manners collide: the way in which a song is composed using rhythm, melodies and motives, the way in which spatial composition and the perception of sound are dealt with and the way in which an installation can also be disguised as a performance. Sometimes I decide these interfaces, sometimes I don’t manipulate. A prudent balance between intentionally intervening and watching from the side line.

Why choose an installation in a hallway?

More than a performance does this installation evoke a virtual world, dressed with asynchronized auditive and visual fragments – a setting which documents rather than represents something finished. Stien De Vrieze has visually monitored the scene during a skate session in Mechelen. Starting from that characteristic environment, a skate park, as a physical world, I create and trigger a virtual scene, integrating elements from the real and fictive atmosphere. Compare it to the structure of a game. You can establish music and sound in a space through different steps that can be linear, pointwise or mapped. That’s how spontaneous actions occur. The installation adopts that structure. Nine speakers hang scattered around the room in a spatial composition. They each produce different sounds in loop, sounds that influence each other or harmoniously fuse at one certain moment in time. The same perception is applied to the projection of images. The images act more like a sort of light whilst they can also collide with the surrounding sounds.