This is Antye’s bio.
AGF, poemproducer, Antye Greie-Ripatti is an artist & facilitator, sound recorder and music producer. she/her published more than 30 records, countless media projects and organizes sound interventions with others around the globe, initiated recon on rec-on.org and lectures around sound facilitation.
Antye Greie-Ripatti calls herself online poemproducer, audio sculptress, performing and producing as AGF. She/her weaves deconstructed language, field recordings, low frequencies, disembodied voices, post-club aesthetics, interwoven a-rhythmical patterns into dense sonic feminist sonic technologies.
Audio sculptress performing as AGF, poetess and media artist Antye Greie-Ripatti utilizes language, sound, feminist sonic technologies, politics & explores speech within the audible depths of anti-rhythmic assemblages @poemproducer
AGF received the ars electronica award twice, including a grand prix. She converts poetry into electronic music, calligraphy and digital media, presented on records, live performances and soundinstallations, in museums, auditoriums, theaters, concert halls and clubs around the world. 30+ record releases under her belt.
I’m interested to find out about her sound facilitation and what that means for her, how is she facilitating. As well as her poetry and the audio sculptress that is her. How does she use field recordings? What is a field recording for her?
Phonon-Swarming 11/22 w/ AGF
I listened to the first 15-20 minutes of this audio piece. I found the production really captivating and well-produced. The effects and automation, using voice and field recordings are very vivid and immersive. It had me hooked on the piece. I do wish her website had a bit more description for the piece, even though I enjoyed this I would have loved some context and ideas around what she is presenting. I will keep looking through more of her work.
AYLU & AGF feat Constanza Castagnet
https://rec-on.org/STRIKE!.html (Link for Audio)
I found this link on Antye Greie’s website and found it really engaging. I wish I could understand Spanish and have again the context. I see that the title discusses Listening political Sound Global. But what are the themes? The audio again is well-produced and I love the compositional elements. Perhaps in the lecture, Antye will discuss further her ideas and themes and issues in this work.
Post-Lecture Reflection:
Antye was born and raised in Germany behind the east wall. She’s never been formally trained, gone to school or studied. She lived in Berlin and now she lives on an island in the north of Finland for the last 14 years. She’s made a lot of records and she’s been thinking about CDs and things that you can put into devices. She’s made more than 30 records, and has a constant audio production practice, theatre, dance and composition for film are also huge interests of hers. Mostly she now works outside unless she can’t, doing things like fieldwork. In 2010 she started going outside and doing a residency performing music or compositions. At first, she was alone and then she realised it was more fun to do it with people than alone, she then read into the Manifesto of Rural Futurism. Beatrice ferrara & Leandro Pisano. Living rural has been part of her practice and work, overtime living in rural places and working in rural locations has become part of her practice. She then started doing a lot of sound camps and inviting artists over and organising students and sound camps for a week or 3 – 5 days and doing a lot of sounds works outside. Listening or experimenting with music in public places, in locations such as the forest or the sea and boats.
She works a lot with feminism and feminist sonic technologies. She works with covering forgotten women. Something that is constantly happening so she is constantly working on new editions, she’s worked on a sixth issue. Published, unpublished at the moment.
Sonic Wild Code. This is what she started calling these sound camps. In 2013 they did a sonic boat journey, with Ryoko Akama. They met on the island and decided to make a sound intervention and asked a local fisherman to drive them to a nuclear power plant near Finland and they were making a spell using the Geiger counter. She wants to work with others that have different skill sets.
She speaks about the current importance of her work, with this piece around nuclear power and energy and how important that is currently with the war in Ukraine, and the threat of nuclear war. And gas pipes being cut off.
She speaks about a project she did in Hanoi, Vietnam -in 2019 just before covid and there was lots of pollution and smog. They were protesting against deforestation and they did a silent protest around a tree.
She also did a camp where they built instruments for working outside, deep mycelium Is also a topic she’s interested in.
In 2015 she heard about an artist called Kubra Khademi who walked around in a metal chest plate in Kabul and it shocked her and she googled the artist and found her online and offered her that whenever she wants to work with someone in sound she could write to her and would help, she also described her work as a feminist in Europe. She received a call from Kubra a year later and she had to flee and was lonely due to the outcome of her political art. They met in Barcelona, then they became good friends and worked on a piece called Zansuspension.
In the last three years, she has been doing other work, thinking about composition, position and sound. She speaks about how grateful she is for having grown up in attempted socialism in the east Germany wall. She understands a lot more now and has greater context. Her intellectual work comes from a communist background, raised as a Marxist and being freed from the wall in Berlin
The camps have been each different, every time she was a participant or a curator. Sometimes a university would be called or a festival wanted to do a workshop with them. When she did camps where she lives she had a grant.
All the artists loved it or she seemed that they did, they were really close, you eat together, you talk about sound, You build things, you go somewhere.
She lived in a city all her life and then spent years touring and being in clubs. She got older and had a kid and now she has started to be not satisfied with being in clubs or night spaces. Or playing music at 3am and everyone is drunk and doesn’t care. If I want to keep doing music my whole life I want to learn and I don’t want to just be at a nightclub. After the pandemic, she loves that you can change your practice and listen to music in the morning. She was happy to move out of the city and live in nature more, first, she thought she could do these performances in the forests. It’s not satisfying to perform like that and it’s more of a collective practice with others, that has helped shape its success.
I found Antye’s demeanour and work to be captivating, and I do think this connects with my work well. The idea of sound and sound artwork representing pollution and the possibilities of field recordings somehow helping and bringing awareness to climate issues is presented in this lecture and my own work. I also found her sound camps something I would love to go and experience, similar to murmuration by Jez Riley French and Christ Watson who also run camps every year with an idea of exploring locale and environment though field recordings. I want to maybe try what she said about performing in other spaces that arent the night club, perhaps fight against the noise pollution in Stave Hill with my own sounds? Am I just contributing to the disturbance?