No Way Out (2026)
No Way Out develops the experience of enclosure
as a sonic and spatial condition. Rather than
representing an external escape route, the work
turns attention towards the changing
possibilities within a confined field. Layers of
sound accumulate, overlap and transform, creating
a space in which repetition can feel both
circular and forward-moving. The work explores
the tension between restriction and the impulse
to move, suggesting that an apparent dead end can
itself become a site for transformation.
No Here (2026)
This work comprises three movements: The Angle of Self-Realisation, HandsMade of Stone, and No Here, developed through film as a mode of perceiving thecity’s sonorous qualities. In The Angle of Self-Realisation, shifting points oforientation destabilise fixed spatial reference and reframe listening as relational andcontingent. Hands Made of Stone positions the body as a vibratory archive, wheregesture and repetition accumulate as temporal and sonic inscription. NoHere foregrounds iteration and drift, disrupting the stability of place and openingspace as emergent and indeterminate.
No Way Out (2026)
Lose Myself (2026)
This work is developed through film as a mode of
perceiving the city’s sonorous qualities.
Shifting points of orientation destabilise fixed
spatial reference and reframe listening as
relational and contingent. The work approaches
the city not simply as a location, but as a field
of changing sonic and visual relationships.
Movement, perspective and sound interact to
create a sense of instability in which the
familiar can become unfamiliar.
Angles of Displacement 2025
Angles of Displacement continues dieOuderdom’s
investigation of movement, place and the
instability of belonging. Displacement is
approached not only as a geographical condition
but as a way of listening. Sonic materials,
instruments and environments are placed into
relation so that familiar references can become
unstable. The work considers what happens when a
familiar point of orientation is shifted, and how
sound can create new relationships between body,
memory and place.
Aphasia & Apophenia, Drone Day, ZA
2025
from nowhere to now-here 2024
Aphasia & Apophenia was presented at Drone Day in
South Africa in 2025. The work brings together
two conditions of perception: the difficulty of
articulating experience and the tendency to
perceive meaningful patterns within ambiguous
material. Sustained sound, repetition and gradual
transformation create a space in which meaning is
never completely fixed. The work invites
attention to the threshold between recognition
and uncertainty, where listening becomes an
active process of interpretation.
"From Nowhere to Now-Here" - An Interactive Sound Installation*
Chiesa die Pazzo Lupi, Johannesburg, South Africa, Sat Feb 24, 15:00 - Sun Feb 25, 21:00
The quest of longing and belonging to our/any culture will be broken down by the search of a sound
that is not supposed to belong to any culture, or at least not to have any cultural appropriation, or any
connotation linked to one's cultural environment. The sound installation evolves by itself, on the base
of perfomances (by me and local musicians of South Africa) that take place during the time it is
running.
Featuring Miron Andres, Jill Richards, Cara Stacey, Barend Engelbrecht, and Jurgen Meekel
Supported by Pro Helvetia Johannesburg