“Concentrating on the sense of listening, particularly in contrast to primarily visual languages, has allowed me to investigate alternative forms of perception.” – Jessica Ekomane

With Antechamber, the Berlin-based sound artist and computer musician Jessica Ekomane (b. 1989, FR) presents a new sound installation, commissioned specifically for the attic of KW. The work continues Ekomane’s inquiry into how sound can act as a transformative force, intertwining her research into mathematical knowledge systems with electronic compositional practices.

The sound piece central to Antechamber, a live process computed through a programming software, recurs over the course of the day. Ekomane employs rhythm as a tool for interpreting time, translating these rhythms—from the solar cycle to computation and musical notation—into sound. 

Through the interplay of noise and rhythmic patterns, the composition emphasizes the cathartic and physical effects of sound, thereby creating an environment where time is not only a sonic, but also a somatic experience. In this way, the multichannel sound installation transforms the attic into a site for embodied listening. Facing all windows, the seating arrangement is designed to send the gaze in and out of the building, offering a space for rest and reflection. Much like an antechamber or waiting room, the attic becomes a liminal site where time stretches, slips, pulses, and passes. Here, the body engages with alternative modes of knowledge through sound, and experiences the relationship between rhythm, mathematics, and time.

Curator: Emma Enderby

Assistant Curator: Nikolas Brummer

Supported by