Sound performance based on introspective, deep, bare tones that are a translation of the sound captured by contact microphones incorporated to a sculptural modules. These modules will act as instruments activated by the interaction with self designed 3D printed “claws” inspired by the metal subculture.  We use the elements and symbols from the subgroups of the subcultural metal scene as instruments on stage, that as part of an aesthetic, have lost their original “purpose” to feed a new symbolic reason to be.  As an artistic duo,  Raffael Seyfried  and I, both interested in music (also metal music), new media and materiality we are rethinking this objects not only as aesthetic containers, but also as actors/instruments. In our praxis together we have always been interested on translation between the spatial, haptics, resonant and sound fields.  The sound process of the piece is defined by multiple intertwined feedback loops forming a network of emerging chaos. These feedback networks are violently interrupted by the other specially created sculptural sound objects which are being struck with metal claws by the performer. The resulting vibrations are picked up by contact microphones. The sound process is implemented as a patch on a modular synthesizer system. The patch consists of three main elements: distortion, reverberation and delay. These are configured in such a way that they feed into each other and feed back into themselves. One of the more unique ways in which sound is treated in this work is the frequent translation from the electronic into the physical realm and back. Sound is not only fed from the physical sound objects on stage into the electronic synthesizer but also inside the synthesizer the signals are fed through multiple physical springs. In this way the sound takes on an organic and unpredictable quality.  Posters for the event, Containerklang #9 BRUTAL in Artheater Cologne by  Johnny Riesgo , documentation by  Andreas Keller
       
     
  Live feature performance from the chamber music hall in Deutschlandfunk by Nieves de la Fuente Gutiérrez, music by Raffael Seyfried.   With: Nieves de la Fuente Gutiérrez , Claudia Mischte, Kerstin Fischer, Daniel Berger, Jean-Paul Back, Ilse Strambowski, Susanne Flury, Volker Niederfahrenhorst, Carlos Lobo & Robert Dölle  Sound technicians: Christoph Rieseberg, Daniel Dietmann  Director: Anna Panknin and Hanna Steger  A village transformed by mining in the midst of a hostile landscape: using virtual reality and sound, Nieves de la Fuente plays with the image of a place in between sci-fi and the documentary, industrialization and nature or auto-induced alien-ess.  The Andalusian village of Minas de Riotinto differs from all the other villages in the area, as mining has been practiced here for almost 5,000 years. The village was already completely demolished once and moved to another location, due to the importance of the extracted metals. Today, almost all the old mines have closed, but in 2016, one of them was put back into operation because of the commodity prices' rising.  The ongoing exploitation of the soil has created an empty, barren, red-colored landscape around Minas de Riotinto. "Mars landing in Riotinto" traces this development on a "red river" (Riotinto) - with the help of the people who live there and have participated in it. On the other hand, the artist shows us in this feature that nature does not give up her territory without a fight...  At the Cologne Congress 2018, the author will present a VR and sound installation for the audio track of the feature, live in the Deutschlandfunk Chamber Music Hall and in the Deutschlandfunk radio program. The production is based on an artistic installation  "No habrá servicio los domingos ni en cumpleaños de la Reina Victoria" .
       
     
 The exhibition "Bridge" provides an insight into the collections of (extra)terrestrial research in recent years. In her observations of landscapes and mission simulations Nieves de la Fuente Gutiérrez shows materials and testimonies from the preoccupation with past and future places, landscapes characterized by transformative-terrestrial actions, rediscovered as memories in their own imaginary.  In dialogue with  Karin Lingnau , Nieves de la Fuente Gutiérrez constructs the image of a research station as a display of different formats of fictional and factual entanglements. It presents textures and artifacts, collected and considered again, extracted from the original habitat, reset, in booklet, text, image, sound.
       
     
Metal
       
     
 An artist book which meditates on the power of objects in Postcolonial collections of the Global North. Are objects agents of their own movement? What are the implications of the increasing verisimilitude of digital reproductions?    A book by:  Sam Hopkins  and Simon Rittmeier  Photography:  Hannes Wiedemann   3D Artist: Nieves de la Fuente Gutierrez  3D Production: Urs Fries / KHM  Essay: Kitso Lynn Lelltiott  Graphic Design: Studio Carmen  Strzelecki    Book presentations: Bayreuth: June 19th, 2015  IWALEWAHAUS  Cologne: tba Berlin: August 27th, 2015  Vice Versa
       
     
 Origamazing! is an application created on processing that reflects on the transformation or translation from text into an object, a 3D object. The process of translation starts with the understanding of the structure of 3D data. Every point that builds the object is placed on space, being its position described by 3 coordinates, X, Y, Z. Every point exists just in the virtual space, like the one that is created between the speakers in a conversation, where the words that are already said, live.  Through the writing of different words and constellations of sentences, 3D objects fold, floating in the digital space. In this project I think of the moment in which the common language, or slang and scientific language meet. By scientific language I mean the one from the computer, with a closed structure of numbers and coordinates where poetry has no place to be. When they meet, a conflict is created, a tension for the position-in and possession of the room provided.
       
     
 “A robotic voice sounds from the receiver of a classical telephone. A letter is recited, written by Hugo von Hofmannsthal as his alter ego Lord Chandos to Francis Bacon in 1902.  A video installation composed of three screens shows early twentieth century recordings - short sequences of a coach journey, a river, and a landscape reminiscent of England. Hofmannsthal retreated to the British province to understand the language of nature and escape the confusion of his occupation with language and literature. A few seconds later, the black and white image starts to flicker, colorful codes run across the screen. Just like when fast-forwarding a videcossette, and the needed data is not rendered in time, the clips show contortions, flickers and pixels in foreign colors.  In her work FEHLERFAKTOR the young artist Nieves de la Fuente Gutiérrez generates glitches in the rendering processes of analog and digital data.  A hex-editor-Software allows her to view the collected data and to access their inner structure. similar to biology, de la fuente Gutiérrez understands the digital image as a system with a phenotype and genotype. She decoded the genotype of the three video clips of fehlerFaktor and inserted the code into a text. This second text is also a letter with the title “an lord Chandos, ein Fax aus der Zukunft (To Lord Chandos, a fax from the future)” written by Durs GRünbein in 2002. In this letter to hofmannsthal’s alter ego he addresses the natural changes of language in the course of time.  The errors in FEHLERFAKTOR originate from a misinterpretation of data are determined by the system and can be compared to a mistake that occurs in a translation of literature or a misinterpretation of a daily situation due to unfamiliar parameters.  The artist creates errors and glitches that provoke and challenge the viewer’s perception. The work addresses the dificulties and sheer endless possibilities of interpretation of the complex digital system  (...)” Julian Schneider
       
     
 Imaginarium is a work related with the idea of producing fake astronomical pictures in order to place them in the private sphere.  We believe in the pictures that show us the new discoveries of humanity because we do not own the instruments needed to produce these pieces of evidence. What we own, on the other hand, are the tools to produce those pictures, not in a documentary, but in an artistic way. I just make use of the “sientific themes” in photography to re-think it as an ornament.