'Oramics: Atlantis Anew' film on display at the Science Museum, London
10 October 2011- 31 December 2014
An excerpt can be seen online on the Wire Magazine website: thewire.co.uk

‘Curiosity: Art and the Pleasures of Knowing’
Group exhibition Hayward Touring exhibition in association with Cabinet Magazine, curated by Brian Dillon
De Appel, Amsterdam
27 June – 14 September 2014

‘Transform: Lis Rhodes and Aura Satz’
Screenings and conversation at Tate Britain
22nd September 2014

‘Mirror City: London artists on fiction and reality’
Group exhibition at Hayward Gallery curated by Stephanie Rosenthal
14 October 2014 -5 January 2015

'Chromatic Aberration’
Solo show at the Gallery, Tyneside Cinema, Newcastle
22nd October- 21st November 2014

'They Used to Call it the Moon'
Baltic, group exhibition curated by Alessandro Vincintelli
31 October 2014 – 11 January 2015

‘Dial Tone Drone’
New sound Commission for Telephone, outside Royal Academy London, featuring Pauline Oliveros and Laurie Spiegel
15 Nov 2014 - 9 January 2015

15th Nov - Launch performance with Elaine Mitchener and Jennifer Walshe at Hayward Gallery

‘Eyelids Leaking Light'
Solo show at George Eastman Museum, Rochester, New York
24th January – 26th April 2015

'Onomatopoeic Alphabet' screening as part of Performance, Architecture, Materials, Sweden curated by Marianne Mulvey
24 September - 14 October 2015

'Chromatic Aberration' Screening as part of FNC Lab Competition at the 44th Festival du nouveau cinéma, Montreal, Canada
7-18 October 2015

'Chromatic Aberration' Screening as part of the 59th BFI London Film Festival BFI Southbank, NFT3, London
16 October 2015

'Chromatic Aberration' Screening as part of the Fascinations Competition at the 19th Jihlava International Documentary Film Festival, Jihlava, Czech Republic
27 October - 1 November 2015

'Chromatic Aberration' Screening as part of the International Competition at the 17th International Film Festival Bratislava, Slovakia
12-17 November 2015

'The Trembling Line'
Solo show at John Hansard Gallery, Southampton
3 December 2015 – 23 January 2016

'Her Marks, a Measure'
Solo Show at Dallas Contemporary, Dallas, Texas
16 January – 20 March 2016

'Between the Bullet and the Hole’, European premiere at the International Film Festival Rotterdam, Rotterdam
27 Jan- 7 Feb

UK premiere of ‘Between the Bullet and the Hole’, alongside other films at Whitechapel Gallery, London
18 Feb 2016
Followed by discussion with Morgan Quaintance and David Alan Grier

'The future is already here - it's just not evenly distributed,' The Sydney Biennale, curated by Stephanie Rosenthal
18 March - 6 June 2016

Premiere of short film about Laurie Spiegel as part of 'Deep Minimalism' festival curated by Oliver Coates, Southbank Centre
26 June 2016

'Her Marks, a Measure' solo show at Fridman Gallery, New York
1st October 2016
Exhibition opening and catalogue launch, with newly commissioned essays by Justine Ludwig, Erika Balsom and Omar Khalif Artist in conversation with Justine Ludwig 1st of Oct 5pm (addition film screenings 26th Oct and 2nd Nov 7pm)

Screening of ‘In and Out of Synch’ Flaherty NYC, curated by Genevieve Yue and Chris Stults
3rd October 2016
Anthology Film Archives, New York

'Eyelids Leaking Light'
5th-28th October 2016
Solo show at Clifford Gallery and artist's talk at Hamilton NY

'Between the Bullet and the Hole' shortlisted for the EUROPEAN SHORTS Competition, New Horizons International Film Festival, Wroclaw, Poland
21-31st July 2016

'Little Doorways to Paths Not Yet Taken' shortlisted for Nouvaux Alchemistes, 45th Festival du Nouveau Cinema, Montreal
5-16 October 2016

'Between the Bullet and the Hole' screening as part of Experimenta, London Film Festival, BFI
9th October 2016

'Kepler's Trial' An Opera by Tim Watts based on Ulinka Rublack's book 'The Astronomer & the Witch', with film elements by Aura Satz Premieres at St John's College, Cambridge
28-29th October

'Little Doorways to Paths Not Yet Taken screening at the Showroom, London
2nd November 2016

'Where there is Sea, there are Pirates / The Imagination is a Political Act', group exhibition at 3137 gallery, Athens
10-20 November 2016

'As Above, So below: Portals, Visions, Spirits & Mystics', group exhibition at IMMA (Irish Museum of Modern Art), Dublin
13 April - 27 August 2017

'Open Space 2017: Re-envisioning the Future', group exhibition at NTT InterCommunication Center (ICC), Tokyo
29 May 2017 - 11 March 2018


29 September 2017 - 14 January 2018
'STARS', Group exhibition at Lentos Museum, Linz
Including Angela Bulloch, Hans Op de Beek, Maurizio Cattelan, Joseph Cornell, Alex Katz, Anselm Kiefer, Robert Longo, Meret Oppenheim, Trevor Paglen, Gerhard Richter, Thomas Ruff, Kiki Smith, Wolfgang Tillmans, and more.

12–15 Oct 2017
'Field Studies 2017: Listening after Pauline Oliveros’, Leeds, various venues

9 Nov 2017, 18.30 – 22.00
'Kepler's Trial’ at V&A, London
An Opera by Tim Watts based on Ulinka Rublack's book 'The Astronomer & the Witch’, with film elements by Aura Satz
’s unique process of development.

30 Nov 2017, 7pm
'The Wail that was Warning and the Institute of Signal and Noise', Aura Satz and David Toop, London Review Bookshop, London

24th Jan - 4th Feb 2018
'Entangled Nightvisions' world premiere at the International Film Festival Rotterdam,

28-29th April 2018
Binaural version of 'The Trembling Line' installed as part of F(T) festival, hosted at Radialsystem V, Berlin

3-7 May 2018
'Entangled Nightvisions' screening at Alchemy Film and Moving Image Festival, Hawick, Scotland

7-10 June 2018
'Entangled Nightvisions' screening at CROSSROADS, San Francisco Cinematheque and SFMOMA, San Francisco

Artist page on the website of The Wire: Adventures in Modern Music: thewire.co.uk to accompany the cross-platform feature on my work in the September 2010 issue.

This includes:
An excerpt of the filmic installation 'Sound Seam' thewire.co.uk
An excerpt of 'Automamusic' thewire.co.uk
An excerpt of 'Oramics: Atlantis Anew', thewire.co.uk
An excerpt of 'Vocal Flame', thewire.co.uk
My short film on the Theremin virtuosa Lydia Kavina, thewire.co.uk
Listen to an excerpt of 'Dial Tone Drone' on thewire.co.uk
Excerpt of 'The Trembling Line' on thewire.co.uk

Huffington Post commissioned blog huffingtonpost.co.uk
Interview on the Creators Project website thecreatorsproject.com
Artist's profile in Diva Magazine divamag.co.uk
Frieze magazine focus article frieze.com
Interview on the Ear Room website: earroom.com
Animate projects interview: apengine.org
'Colour Opponent Process’ review in This Is Tomorrow
‘Colour Opponent Process’ review in Art Agenda
‘Colour Opponent Process’ review in Photomonitor
'Inside the Dial Tone-Inspired Sound Art Exhibits of Aura Satz', The Creator's Project
'1000 words: Aura Satz' in Artforum
'The Playlist', The Guardian
'500 words' in Artforum
Interview in Studio International
Cover Image for 'Parallax (Sounding/Thinking)', Vol 23, No 3




Film and multi-channel sound installation


Aura Satz, 'The Absorbing Wall', 2015

The film and sound installation The Trembling Line explores visual and acoustic echoes between decipherable musical gestures and abstract patterning, orchestral swells and extreme high-speed slow-motion close-ups of strings and percussion. It features a score by Leo Grant and a multichannel audio system by the Institute of Sound and Vibration Research, University of Southampton.

Violin bows appear as angular lines cutting across the screen in rhythmic sequences, like a swarm of insects or windmills. Strings vibrate, unsettled in a state of continuous oscillation. Formal continuities are drawn out between throbbing slowed-down vibrations and real-time musical sequences, as the trembling pace of a tremolo becomes a relentless pulse. The multi-channel speaker array is devised as an intimate sound spatialisation system in which each element of sound can be pried apart and reconfigured, to create a dynamically disorienting sonic experience. It features small swarms of sounds, amplified as they gush though the sphere, intricate musical gestures travelling in circular and counterpoint patterns, and dense surges of tremolo rolling across the acoustic range. The sound sphere recalls an inverted fly's compound eye, which turns inwards onto the listener. It becomes the inside of a musical instrument, an acoustic envelope or cage of sorts, through which viewers are invited to experience the film and generate cross-sensory connections and counterpoints between the sound and the visuals.


3 Dec 2015 - 23rd Jan 2016
'The Trembling Line'
Solo exhibition at John Hansard Gallery, Southampton

The Trembling Line is an exhibition of works by Aura Satz exploring acoustics, vibration, sound visualisation and musical gesture with an aim to wrest the space between sound and image, to see how far these can be stretched apart before they fold back into one another. The title, The Trembling Line, refers in part to the basic principle of vibration, a disturbance of equilibrium, such as the stimulated of motion and sound through friction, but also to the possibility of challenging static notation systems and destabilizing the experience of seeing and hearing.

The centrepiece of the show is the film and sound installation The Trembling Line, which explores visual and acoustic echoes between decipherable musical gestures and abstract patterning, orchestral swells and extreme slow-motion close-ups of strings and percussion. It features a score by Leo Grant and a multichannel audio system by the Institute of Sound and Vibration Research, University of Southampton.

The exhibition includes a series of photographs, The Absorbing Wall (2015), based on an anechoic chamber, and five closely inter-connected films: Vocal Flame (2012); Oramics: Atlantis Anew (2011); Onomatopoeic Alphabet (2010); Theremin (2009); Automamusic (2008). Some of the works address the visualisation of sound as a morphing language in which patterns of sand, salt or fire correspond to sounds in unexpected ways. Others address gesture-less mechanical music or the compelling gesturality of a theremin, a sensitive instrument that is played without physical contact, merely by waving hands in its proximity, affecting the sounds produced by the electromagnetic field.

Satz is also interested in female figures that are largely excluded from mainstream historical discourse, in an ongoing engagement with the question of women's contributions to labour, technological invention and scientific knowledge. Oramics: Atlantis Anew centres on the invention of a new sound-generating machine and correlated notation system invented by British electronic music pioneer Daphne Oram in 1957. Using principles of drawn-sound (the inverse of the other works which look at sound visualisation), Oram invented a system for sonifying graphic shapes and creating a new language of unheard electronic sounds. Similarly, Vocal Flame addresses popular manifestations of the female disembodied voice, visualised as a wave of flames using an acoustic device known as a 'Rubens' Tube'.

The Absorbing Wall provides an acoustic vacuum, a silent nexus separating the various films. Five photographic stills of the ISVR's large anechoic chamber convey a visual patterning of sound-absorbing elements, positioned in off-kilter angles that break away from the geometric regularity typically associated with the space.

The Absorbing Wall is dedicated to the memory of Stuart Croft.


Installation view at John Hansard gallery, 2015-2016


28-29th April 2018

Binaural version installed as part of F(T) festival, hosted at Radialsystem V, Berlin

f(t) stands for 'function of time' (Zeitfunktion). The two day festival will highlight alternative concepts of time in music: irregular
metres, miniatures, works of gargantuan duration, idiosyncratic patterns, new practices for historic instruments and obsolete media, humanised machine time, mechanised improvisation, space-time relations in close proximity and at vast distance... and much more.

The festival will feature a densely programmed concert schedule in Radialsystem V's main halls, as well as special formats and installations in its more intimate upstairs studios. A mechanical player piano will be set up in the foyer, thus providing five distinct spaces for concerts, DJ sets, music performances and audiovisual installations for the audience to explore.

The programme features artists from eleven nations and of diverse artistic backgrounds, including electronic musicians, bands, baroque and new music instrumentalists, improvisors, DJs and visual artists. Highlights include performances by Shackleton, members of Ensemble Modern, Rrose and SOS Gunver Ryberg. Several premieres will be performed, including commissioned
works by Stefan Goldmann and KiNK. Further world and German premieres include works by Cory Arcangel, Elektro Guzzi & Margret Koll and Aura Satz.

Radialsystem V
Holzmarktstr. 33, 10243 Berlin, Germany
+49 30 28878850


Directed, edited, and filmed by Aura Satz
Soundtrack composed by Leo Grant
Shot with support-in-kind from ILIad, University of Southampton. Thanks to Stephen Caspar and Joe Brett. High-speed sequences shot with Quench Studios.
Funded by a Leverhulme Award and John Hansard Gallery, with support from ISVR and the Music Department, University of Southampton.
ISVR collaboration and sphere construction coordinated by Dr Filippo Maria Fazi
ISVR team: Dr Filippo Maria Fazi, Dr Dylan Menzies, Dr Andreas Franck, Dr Marcos Simon Galvez, Mr Michael Cousins, Mr Diego Murillo Gomez, Miss Alicia Alonso-Carrillo and Dr Matthew Wright as acoustic research consultant.
Speaker array construction: Ian Watson
Music Department collaboration coordinated by Jeanice Brooks
String Players: Kanon Miyashita, Kath Roberts, Hannah Preston, Jessica Lawless
Viola: Dr Thomas Irvine
Cello: Cerys Beesley, Manikka Marchant
Double Bass: Paul Cox

The Trembling Line is the result of Aura Satz's year as Artist-in-Residence at the University of Southampton, funded by The Leverhulme Trust and the university. The residency represents an innovative collaboration between the artist, the Department of Music and the Institute of Sound and Vibration Research (ISVR) that explores the conceptual translations between different art-forms, acoustics and technologies, and reflects ongoing exchanges between the composers, performers and acoustic engineering staff and students.


John Hansard Gallery
University of Southampton
Southampton SO17 1BJ
T +44 (0)23 8059 2158
F +44 (023) 8059 4192
E info@hansardgallery.org.uk