Most of my art works and collaborative projects are sonic explorations: sound tracks, audio/video installations as well as radio works. They revolve around the creative challenge to present something invisible like sound in “space” and the relation between these visible and invisible spaces. This includes working with the built environment of a cityscape and urban media-spheres. To organise project networks and the production of events are a vital part of my wider artistic practice, which led me to the curating of a number festivals and other art events. It all started off with an enthusiasm for independent, self-created and -organized projects and media platforms. To curate art events then provided the intriguing opportunity to meet face-to-face with online collaborators, whom I previously only had worked remotely, as well as other interesting and inspiring people.

steamy radiosauna


planet ocean
planet ocean @ VAC

planet ocean is a sound collage of underwater recordings and voice excerpts from Graham Hawkes. Hawkes is a former civilian ocean engineer, who has devoted most of the past three decades to designing, building — and finding someone to pay for — a submarine capable of cruising the deepest reaches of the ocean.The sounds used in this collage are comprised of underwater recordings of the ocean. It includes underwater earthquakes, submarine test transmissions, seals as well as terrestrial animals that use echolocation for their orientation (in this case recordings of Victorian bats). All sounds were kept in their original state, no sound processing.

unrelated relatedness series

planet ocean is together with My City is a Hungry Ghost and Nature in the Dark part of the unrelated relatedness series, which Jan exhibited at the VAC in Bendigo, Australia. Each work brings into play the different elements, tactics or technologies that we employ in our search to unify the inner and outer worlds that we inhabit.

This series is part of Jan’s creative Ph.D in Media Arts at the Centre for Creative Arts, La Trobe University, in which he is investigating the phenomena of contemporary sound and communication practice and environmental aesthetics. Ph.D title: From Sound to Waves to Territories, supervisors: Norie Neumark, Hugh Davies.


This is a production 2013.

Concept/ Idea: Jan Hendrik Brueggemeier
Installation design: Silvana Iannello
Sound design: Jan Bartholomaeus
Photo credit: Jan Hendrik Brueggemeier / Silvana Iannello

Text link to the video: planet ocean

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My City is a Hungry Ghost is a dense collage of language, sound and video, which oscillates between moments of introspection and political articulation. It is designed as a four channel video loop including a Mini FM radio transmitter. In an installation comprised of video screens and hundreds of tiny loud speakers, Jan will be broadcasting and receiving his own radio transmission from within the gallery.

My City is a Hungry Ghost is based on found excerpts from a variety of literary sources revolving around the issue communication at the nexus of media, politics and subjectivity.

The content of the video is based on a montage of four voices each represented by one actor standing or sitting in an empty room with one chair. Each actor is brought to light when her or his voice is heard or otherwise stays in the dark and is only lit by the light of passing cars falling through venetian blinds. While remaining silent for themselves, they let us tune into their thoughts and inner monologues. And as the four monologues expand, a larger conversation unfolds investigating poetics and politics contemporary urban life.

Italo Calvino’s “The Invisible Cities” served as first inspiration for My City is a Hungry Ghost. Calvino’s description of the City of Melania was of particular fascination. Melania is reported to be the place for an ever continuing dialogue among generations of denizens. Although through its course the participants may die and new participants are born and take their place in one role or another. Re-contextualising Calvino’s Melania, ‘My City is a Hungry Ghost‘ is an re-enactment of found excerpts from a variety of literary sources* revolving around the issue communication in the making at the nexus of media, politics and subjectivity.

Watch the full length video as a four-in-one screen adapted version:
Use the embedded video player at the top or alternatively use the direct vimeo link (27’22”).

Listen to the soundtrack of the installation (27’22”)

Text References / Sources of Inspiration

  • Invisible Committee, The Coming Insurrection, 2007
  • Barbara O’Brien, Operators and Things, 1958
  • Piotr Czerski, We, the Web Kids; 2012
  • Anthony G. Banet, Jr.; Interview with Wilfred R. Bion; Los Angles, April 1976

unrelated relatedness

My City is a Hungry Ghost is together with planet ocean and Nature in the Dark part of the unrelated relatedness series. Each work brings into play the different elements, tactics or technologies that we employ in our search to unify the inner and outer worlds that we inhabit.

This series is part of Jan’s creative Ph.D in Media Arts at the Centre for Creative Arts, La Trobe University, in which he is investigating the phenomena of contemporary sound and communication practice and environmental aesthetics.
Ph.D title: From Sound to Waves to Territories, supervisors: Norie Neumark, Hugh Davies.


This is a production 2012/3.

Concept / Direction: Jan Hendrik Brüggemeier
Sound design: Jan Bartholomaeus
Director of Photography: Scott Lewis, Zoopatrol / Melbourne
Multimedia programming: Zsolt Barat, Softmonsters / Berlin
Post-Production / Compositing: Curtis Moyes, Green Brain Media / Melbourne
Installation design: Silvana Iannello / Melbourne


Female Voice 1: Tracey Callander
Male Voice 1: Garth Ernstzen
Female Voice 2: Marita May Dyson
Male Voice 1: Jez P.A. Speelman

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As part of the Nature in the Dark project that I initiated in 2012 together with the Victorian National Park Association (VNPA), the Centre for Creative Arts, La Trobe University, and Unlikely – Journal for Creative Arts I produced the following videos together with Renuka Rajiv, Scott Lewis and Hugh Davies.

All videos re-purpose photgraphs and video footage from scientific surveys in Victorian forests and oceans. More about Nature in the Dark can be found here.

I love forms beyond my own and regret the borders between us.
– Loren Eiseley in ‘Magic’, 1972

It’s local time!

By Jan Hendrik Brüggemeier, Scott Lewis and Renuka Rajiv (2012)

Working collaboratively Jan, Scott and Renuka were like private investigators sifting through thousands of digital VNPA images of unsuspecting creatures from the night. We discovered a myriad of native animals and birds alongside a few ‘feral’ bandits and selected the ones that most appealed to us, then created a montage in a mostly playful way. We interspersed the images with a hand drawn animation style that appears like live drawing to complement these covert snapshots. We also integrated a scratch film technique whereby we scratch the emulsion from a 16mm film and then bond a decomposed leaf structure to the surface. The soundtrack is composed of analog elements like sound effects of crackling branches and digitally synthesised sounds and brings these animals to life as they dance into the dark.

Scott Lewis is a filmmaker based in Melbourne Australia. His short films are visually based in a lyrical way. He founded Zoo Patrol Productions in 2007. A boutique production company that specialises in short films, documentaries, web clips, showreels, music videos, educational videos and live event documenting.

Renuka Rajiv is a Bengalore-based visual artist. She studied printmaking at the Victorian College of Arts in Melbourne. In her art practice she likes to exhume something personal through the mediums of drawing, printmaking, paper mache and stitching. Her drawing process involves constant making and re-making. While not being afraid of repetitiveness, she is interested in the abstract rhythm that emerges out of the relationship between each component and the larger body of drawings. In this project collaboration her main concern was to make her drawing animations follow the flow of the audio/video montage.

Current and Waves

By Hugh Davies & Jan Hendrik Brüggemeier (2015)


By Hugh Davies & Jan Hendrik Brüggemeier (2015)

When viewing the underwater footage provided by Nature in the Dark (NITD) 2, one thing that stood out for the artists was the continuous movement of plants and animals as they exist in a world of water. Observing how frequency and oscillation of waves affect these living things is mesmerising. It shows the otherwise invisible currents and how they organise the shape, movement, habits and navigation of the underwater world. The video follows the interplay of these elements visually but also takes into account that the underwater world’s most predominant mode of sensing is acoustic.

NITD 2 was made possible through the support of Victoria National Parks Association’s (VNPA) Reefwatch and Parks Victoria with special thanks to Steffan Howe and Mark Rodrigue.

The source material for Current and Waves stems from Merry Marine Sanctuary, Bunurong Marine National Park and Flinders Pier in Victoria, Australia, and was provided by Parks Victoria and Museum Victoria.

Hugh Davies is an interdisciplinary artist primarily concerned with spatial practice. Coming from a background in film and television production and with education in multimedia and fine art, Hugh’s practice engages with sculpture, interactive installations, screen works and games. His work has been exhibited internationally. Currently Hugh is a senior lecturer in Media: Screen + Sound at La Trobe University and serves as board director of the independent gaming festival Freeplay. Prior to that he lectured in Media and Communication at RMIT, and worked as multi-platform producer for the Australian Broadcasting Corporation as well as he was chairman of the board at ANAT (Australian Network for Art and Technology).


On the pile of rubble of information, speculation and desires, not finished lines of thought, stories only incompletely told and anecdotes from a post modern approach to the subject of airship travel, or put in other words: in the light of failure, accidents and fantasms … the fact still remains that these airships managed reasonably well to establish a regular global air service for a couple of years and once airborne with an absolutely stunning scenic view.”

Friedrich Liechtenstein and Jan Hendrik Brüggemeier take it from there, and throughout the show they develop this fragile but grand airy castle of splendour: The Big Golden Zeppelin. But this time in order to come back the Zeppelin must be bigger than its predecessors and golden.

Amusing as well as touching and during the performance one is tempted to think from time to time: … why not?


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related post:
The Big Golden Zeppelin
Gregory Whitehed’s website

Here two short excerpts from The Big Golden Zeppelin appearance on German local TV:

Tuning In Before the Show (Based on Gregory Whiteheads Liturgy for Radio):


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An interactive installation composed of light, words and sound based on the diaries and private letters of Oskar Schlemmer

On stage Oskar Schlemmer brought the painting in motion. His costume designs and space compositions taught the abstract form language of painting to jump and run. With the Bauhaus artist Oskar Schlemmer the theatre found connection with the artistic avantgarde of that time. The diarist Schlemmer is a witty and seismographic observer of a nervous epoch between the world wars aside from propaganda and party lines. He reveals his uncertainess, his doubts as modern protagonist at the breaking point of tradition and innovation.

The Circle is red is an interactive light and sound installation. The project was conceived and dramaturgically supervised by Jan Hendrik Brüggemeier. The listening environment by Ulrike Haage is based on the letters and diaries of Oskar Schlemmer. The Circle is red was produced for the Crash!Boom!Bau! Festival at the Nalepa Studios in Berlin.  In this radio play the actors Leslie Malton and Gerd Wameling perform as the speaking voices. The light designer Mattjakob dal Pozzo created a versatile spatial light zone, with which he will interact with live during the performance. (“The Circle is red”, quote: Oskar Schlemmer, diary Octobre 1923)

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In this installation at the Kuenstlerhaus Schloß Wiepersdorf designed Jan Hendrik Brueggemeier two ‘black clouds’ out of 420 small loudspeaker to display 6 discrete audio channels.

As a topic, clouds trigger manifold associations and are a largely known cultural phenomenon. ‘As-Sahab’, the name of the alleged media production unit of Al-Qaeda means “The Cloud” in Arabic. In the old testament it is reported, that god liked to hide his appearance behind a cloud when calling Moses on the seventh day of the creation of the earth. The cloud also serves as an analogy for radio and the more recent phenomenon of wifi and wireless culture. It describes how the reception area is spread out. As well, it leads to the first days of the radio, when people experienced radio as a god-like appearance – a disembodied voice addressed to them directly.

Radio, today, is on one hand a synonym for popular culture and mass distribution. On the other hand, it can be tagged with politics of territory and strategic warfare. It may be surprising, but to a certain degree radio is culturally and technologically rooted in war and military invention – similar to the Internet.

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Together with the British painter Will Martyr and Jan Hendrik Brüggemeier have developed a series of temporary game courts in the public space. Commissioned for the to design an intervention for the public square in front of the Theaterhaus Jena, Germany, it turned out that this square used to be main auditory hall of the venue, which once was re-designed by Walter Gropius, the director of the Bauhaus school.

Vorplatzspiele’, intrigued by the transition of the public space of a theatre in a societal sense to a more physical public space of the square, questions a new kind of performer: who are the urban performer?

With the game court a framework is provided ready and open to be explored. The design of the game court can be on one hand be seen as a bastardization of existing popular sport games e.g. soccer and basket ball and their very familiar lineaments. On the other hand it echoes the notion of the game as a driving force in the legendary didactics of the Bauhaus, as well as its idiosyncratic play with rigid geometry as present in the work of modern painter like Wassily Kandinsky or the performance work of Oskar Schlemmer.


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SCHILLERMOB – Thrilling Figures: Lawless Sound Thieves and Picture Robbers

workshop img 01

From May until June 2005 John Heck (Tape-beatles), Jan Hendrik Brueggemeier (pingfm), Daniel Ziethen and Sebastian Rallo conceived and executed a row of workshops on STREET-ART and AUDIO/VIDEO-Collage with Thuringian teenagers from 14 to 18 years old at the Cops+Robbers Festival in Weimar.

Departing from the call of the French Revolution (“fraternité, liberté, egalité”), today the word “free” is influenced by the commercial sense meaning “gratis”, or “free in price”.

Theft as a form of illegal appropriation appears in problems in current production techniques and the production of culture in the areas of media and music. The discussion about rights of usage in media development (music downloads) plays as much of a role here as contemporary music techniques, for example sampling different sound fragments to make a new piece of music.

Schiller’s robber figures are an interesting parallel in this respect, since they also decided to lead an ostensibly illegal way of life. Their motivation for this came from idealism and love of freedom however. Subsequent to this is Schiller’s idea of the importance role of aesthetics in society as a regulator.

Aesthetics are however always something to be shared, to be adopted, borrowed, taken, stolen and copied. This implies that every artwork is theft, adoption or predation of intellectual images and ideas. It does not become criminal through theft, but through assertion of ownership. The increasing commercialisation and exclusivity of common goods such as culture and language make Schiller’s artistic autonomy appear utopian.SCHILLERMOB flyer front

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From 2000 – 2006 Jan Hendrik Brueggemeier has been founding member and one of the driving forces of the webcast band pingfm. has been a web based platform for audio/video experiments with impetus on live production of audio and video.

Throughout its active phase the members of pingfm were fascinated by three aspects of streaming and networked media: their low-bandwidth aesthetic, their global interaction and their potential to hybridise different media and spaces like club, theatre, concert, installation, radio, cinema and performance.

Back in those early days live audio/video streaming felt strangely anachronistic in comparison to the more general trend in digital production and its increasing high fidelity. Live-streaming instead meant to one had to:
a.) lower and reduce one’s sound and video quality and not to increase it and
b.) to face what ADILKNO had called “electronic loneliness” because online audiences were more diverse and at times more or less global but still rather marginal in terms of listener numbers.

In order to compensate for that pingfm organised live performances, festivals and conferences like the ping-in-progress-festival in Weimar (2001). pingfm was involved in the preparation and participated in the NO BORDER-Camp Radio in Strasbourg (2002). It received the Bauhaus University Award and participated in the online event series ‘Fusion’ organised by Jill Scott (aside others). It performed at the Webcastlounge at the ART Frankfurt (2001) organised by Station R.O.S.E. Together with Theaterhaus Weimar pingfm hosted the Sleep-Camp at the Kunstfest Weimar (2001). And together with the artist-duo radioqualia pingfm was topic of discussion on the empyre-mailinglist. In 2004 it participated in the Ars Electronica’s long night of radio-art, organised by the ORF Kunstradio.

pingfm was a member of the Dutch webcast station DFM rtv International, the British webcaster pirate TV and Radio Kinesonus, the Japanese platform for experimental sound. pingfm hosted a weekly 2hrs live show on DFM rtv International as well as 1 hr programme slot on the local FM radio.


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