CONVERGENCE 11
KROSS COLLECTIVE presents: CONVERGENCE XI, unfolding an evening where sound, language, and perception drift into shared terrain.
Opening the night, Mathias Traxler bends language toward music. Poetry is spoken, generated, fractured,and reassembled through interpretative and improvisational processes,where voice becomes both instrument and translation.
MIRE follows with an audio-visual performance of long-form sound. Slow-moving drones and improvised structures unfold into fluid architectures, where image and sound coalesce into immersive spaces, intimate yet immense, suspended between industrial residue and subaquatic stillness.
Closing the evening, burgundt brandt x Frank enter a finely tuned exchange between listening and interference. Microtonal frictions, psychoacoustic shimmer, and gentle noise collide with unstable electronics and perpetually vibrating strings, forming a living system poised between precision and rupture.
CONVERGENCE XI invites attentive listening, porous boundaries, and the quiet thrill of disorientation.
Mathias Traxler
Mathias Traxler lives in Berlin as a writer and translator. His literary work moves at the intersection of poetry and music, poetry recitation and translation. Of particular importance in his work are readings that incorporate text-generating, interpretative, and improvisational elements.
MIRE
MIRE is the sound project of Berlin-based multidisciplinary artist Andreea Hriscu, co-founder of Kross Collective. Working across dark ambient, drone, and noise, MIRE sculpts long-form, improvised compositions using synthesizers and occasionally field recordings. The result is immersive soundscapes shaped like fluid architecture — both intimate and immense, suspended between industrial decay and subaquatic stillness.
burgund t brandt
burgund t brandt is a sound thinker, composer and artist based in Berlin. She creates installations, performances and compositions in the field of tension within visual and auditory perception. In her research-oriented practice, she investigates environmental histories, acoustic ecologies and intersubjective relationships with humans and more-than-humans. Particular attention is paid to phenomena of minimal, microtonal, psychoacoustic sounds and gentle noise.
Frank
Frank creates a unique soundscape in the transition from noise to music. He has arranged his improv set with hints of melodies, sporadic rhythms, and sound structures formed from a variety of analog sound samples. These are integrated into the digital signals of a no-input mixer and other electronic devices. An additional element is a modified resonator guitar. Driven by a motor, a coil, and a closed circuit, its strings are set into permanent vibration, generating endless sustain. This results in a radical transformation of both the sound and the handling of the instrument.
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