Robin Rimbaud aka Scanner
Amsterdam © Robin aka Scanner Rimbaud
Headphones © Robin aka Scanner Rimbaud
Scanner Live © Robin aka Scanner Rimbaud
Diva entrance © Robin aka Scanner Rimbaud
Into The Blue Belfast © Robin aka Scanner Rimbaud
ZeitraumJuli 2007 - Juli 2007
Robin Rimbaud aka Scanner is a conceptual artist, writer, and musician working in London, whose works traverses the experimental terrain between sound, space, image and form. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. Committed to working with cutting edge practitioners he has collaborated with Bryan Ferry, Radiohead, Laurie Anderson, The Royal Ballet, Mike Kelley, and Douglas Gordon. His work has been presented throughout the United States, South America, Asia, Australia and Europe.
Scanner - British artist Robin Rimbaud traverses the experimental terrain between sound, space, image and form, creating absorbing, multi-layered sound pieces that twist technology in unconventional ways. From his early controversial work using found mobile phone conversations, through to his focus on trawling the hidden noise of the modern metropolis as the symbol of the place where hidden meanings and missed contacts emerge, his restless explorations of the experimental terrain have won him international admiration from amongst others, Bjork, Aphex Twin and Stockhausen. Scanner is committed to working with cutting edge practitioners and has collaborated with artists from every imaginable genre: musicians Bryan Ferry, Radiohead and Laurie Anderson, The Royal Ballet and Merce Cunningham and Random Dance companies, composers Michael Nyman and Luc Ferrari, and artists Mike Kelley, Derek Jarman, Carsten Nicolai and Douglas Gordon. Since 1991 he has been intensely active in sound art, producing concerts, compositions, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. In 2004 his Sound Surface work was the first ever Tate Modern sound-art commission and he is currently producing Night Haunts for Artangel for 2006-2007, whilst sound-designing a new car horn for the USA. He has performed and created works in many of the world’s most prestigious spaces including SFMOMA USA, Hayward Gallery London, Pompidou Centre Paris, Kunsthalle Vienna, Bolshoi Theatre Moscow, Tate Modern London and the Royal Opera House London. His work has been presented throughout the United States, South America, Asia, Australia and Europe.
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I was extremely happy with my stay in Vienna in 2007. It was an honour to have such an opportunity to reside in such a richly influential and inspiring location, so close to museums, galleries, cafes, and individuals set on making a mark in the cultural life of the city. My apartment was the cube space where I was able to work at ease for the duration of my stay. All facilities worked in fine order and I have no issues at all with the condition of the apartment. It was quiet and secure. I was able to easily connect to the internet though it was difficult at first to work out exactly how to do this with no wi-fi and no clear instructions in the room to assist.
I met with many local creative people in my stay, including the other resident artist, Ina Wudtke, who I found very engaging, as well as making trips to meet with legendary figure Hermann Nitsch at his museum and exploring the city, the galleries and museums. I was grateful to be able to make return visits with the membership pass to some of the museums as this made it a very inspiring opportunity.
I collaborated with Georg Weckwerth on developing a new installation that played for three months with in the locality of the MuseumsQuartier. Entitled Klusterblock the work explored an idea ofthe ensemble voice, playing with an amalgam of German/English, suggesting the use of the voice as a wall of sound, leaving subtle traces of the human, embedding the walls with harmonies of an imaginary nature, so the voices echoed throughout the courtyard and alleyways.
In addition I created a new work for Kunstradio at ORF, Draussen / Drinnen, and a ring tone for mobile handy phones to celebrate the 5th anniversary of the MuseumsQuartier, which was freely distributed online.
So in all it was an extremely productive compressed period of time. My only regret was not being able to stay longer but I feel that I connected well with the city and people and will retain happy memories of my stay and hope to return again for a longer period one day soon.