Christina Koehler, mainly working as Tintin Patrone, is a German-Filipino Sound and Performance artist. She is captivated by exploring interconnections among music, art, sound, and experimental forms of expression. Her creative works revolve around the visual aspects of music and how personal and societal connections are established with it.
By involving herself with robots and artificial intelligence in her artistic practice, Tintin Patrone challenges established notions of human subjectivity and physical presence. By integrating these technological elements, her objective is to go beyond outdated concepts of “human nature” and nurture fresh perspectives that continuously evolve alongside contemporary advancements in science and technology.
Incorporating non-human entities as participants becomes a purposeful endeavor for Tintin Patrone, who aims to disrupt conventional understandings of human subjectivity and embodiment. Her performances, installations, and plays are inspired by genres such as musical Concept Art, Fluxus, and experimental music.
Another profound source of inspiration that shapes Tintin Patrone’s artistic approach is the culture of associations and collectives. She frequently collaborates and engages with fellow artists and groups, creating an environment of mutual exploration.
Commissioned work: “Pure Minor”, an installation
“PURE MINOR” is a sound installation project inspired by the traditional Swiss “Alpsegen,” reinterpreted with electronic sounds and processed vocals. The particular installation is conceived within the sound art project tekhnē, supported by the EU program Creative Europe. The project explores the intersections of sound, ritual, and technology, focusing on how protective rituals using sound can be adapted for contemporary urban settings.
The “Alpsegen” is a kind of request to God, Christ, the Mother of God, the Trinity, and individual saints, which varies depending on the version of the text, in which the protection of the Alp and everything that belongs to it is implored from the possible dangers of the coming night; musically, the “Alpsegen” is a recitation made up of lines and sections of lines. As a rule, it is the head dairyman of an Alpine community who calls the “Alpsegen” loudly over his Alp every evening at or after nightfall; he likes to stand on a nearby hill and, to increase the volume, uses his hands held in front of his mouth or, even more frequently, the so-called “Folle”, i.e. the milk funnel, which, when held upside down in front of the mouth, is used as a kind of megaphone. This creates an imaginary protective space around the Alpine farm that lasts all night. The protection extends as far as the sound of the prayer call or “Alpsegen” reaches.
Using wooden megaphones as central acoustic devices for the installation, the project aims to combine tradition and new technologies, deconstruct pastoral ideals, and investigate the friction between rural voice-based rituals and contemporary urban soundscapes.
Using a trombone as her main instrument and modulation devices, she meticulously crafts soundscapes with sustained tones, inviting listeners into contemplative atmospheres. After her performances, the work will be exhibited throughout both concert evenings of the festival.
Tintin Patrone’s installation will be exhibited on 4 and 5 October at “Hanzas Perons”. Additionally, from 10 to 20 October, the gallery “Smilga” (E. Smiļģa street 34A) will host this installation from Wednesday to Sunday (from 4 p.m. to 8 p.m.).
