Zsolt Sőrés
area: Sound art
Key Facts
nationality
Hungaryarea
Sound artresidence
Budapestrecommending institution
TONSPURtime period
October 2024 - October 2024Zsolt Sőrés (Ahad) is a composer, improviser, sonic ontologist and intermedia artist. He has been living in Berlin since he was received the DAAD Artists-in-Berlin Program fellowship in 2021. He has been teaching at Liszt Ferenc Academy of Music since 2014. Among others he organized experimental music festivals and sound art series between 1995-2011 in Budapest (Pause-Sign Festival; Relative /Cross/Hearings etc.). In 2014 he curated the first international sound installation art exhibition in Hungary (Sound Art – On the Edge of Perceptibility). He often collaborates with artists from other artistic fields and disciplines. His current group projects: trio with Franz Hautzinger and Kazuhisha Uchihashi, duo with André Vida (Un-garians), Zappi W. Diermaier’s faust, Hilary Jeffery (Ensemble Treffen Um Die Ecke), formations with Nicola L. Hein, Matt Rogalsky, Richard Scott, Jean-Michel Van Schouwburg, Ute Wassermann among others. He runs his own music label Hinge Thunder since 2020.
During his residency at MQ, Zsolt Sőrés will create a multi-channel sound installation in the TONSPUR_passage, which is a continuation of his Astro-Noetic series begun in 2021 and is also related to his new solo work MUT NAQ FO MUS (IC), which will be presented at the Venice Music Biennale - 68th International Festival of Contemporary Music in September 2024. In this work, the artist explores the problem of an ‘anthropologically tuned cosmos’.
In his sound installation, he wants to explore the following questions:
– Why does our reality and our universe seem to be designed to be easily observed by humans?
– What content are we able to grasp from the deep structure of reality, based on the physical and symbolic definitions of sound?
– To what extent can our reality, which exists in constant uncertainty at the quantum level, be simulated?
– How are we able to see beyond the realised possibilities of acoustically unstable systems?
– How can we become shapers of our reality, rather than sufferers, by entrusting ourselves to random and intuitive processes such as real-time composition (i.e. improvisation)?