Tucked deep in the cinematic apparatus light projections of rapidly rushing graphic patterns are transformed into sound vibrations. In ‘CineChine’ you experience in physical proportions the phenomenon optical sound – an invention of the 1920’s applied in celluloid and synthesizers – where light and sound are similar.

Objects that remind of a disassembled movie machine are positioned in the room.
Beams of light shoot through rotating disks, projecting a composition of dynamic black and white, hard edged forms that find a direct antecedent in the experiments with sound on film carried out by the Russian avant-garde in the late 1920s.
The changing light frequenties are picked up by light sensitive speakers and transformed into sound.
Soon it is clear that the tones you hear are one and the same with the light that you see. All light is potential sound.
The transdisciplinary composition of ‘CineChine’ treats elements of cinematography from the viewpoint of the projector. The perspective of time&rhythm and light&sound are based on projection, shutter speed and rhythm of the machine.

For every exhibition a new location specific composition is made.