Prior to performing still und dunkel we venture out to abandoned spaces and try to keep hold of their aura by means of audiovisual documentation. We shoot film sequences and record the sound and silence of the buildings. Using the video and audio fragments we capture on-site, we build a distinctive and evolving archive of lost places. These places include a dilapidated psychiatric hospital in Berlin, a condemned Geological Institute in Belgrade, a former waste incineration plant in Rotterdam, a deserted Swiss water reservoir and old desolate factories in rural territories.

After documenting on site, we combine the field recordings with our evolving compositions of  electronic music. Inspired by the location and the selection of the filmed sequences, different musical compositions are created for the performance. In the musical process of transformation, patterns within and contrasts to the images can be found.

Immediately after a shoot we develop the visuals for the live performance by selecting and outlining a specific set. This footage from our archive offers an infinite possibility of combinations. There are no pre-assembled sequences; rather, we choose and combine freely. On two screens we improvise by choosing clips live, reacting to each other’s output, and building the sequences for our montage on the run. Therefore, every performance is unpredictable, unrepeatable and unique. 

The visuals are characterized by the juxtaposition of analogous and contrasting places, and their specific silence and darkness. During our live performance, these places melt into one utopian space; united in decay, the similarities between the original places outgrow their differences.

Silence is investigated through musical exploration; darkness examined by the black and white footage. We place emphasis on the parallel between the acoustic limitations of the sound – whether electronic sounds or in situ field recordings – and the chosen limitation of black and white. The darkness and silence of places are the root, but not the result of our process.

The material of our dark microcosms is shown repeatedly in a new spatial context. Over time, utopias are constructed, and decompose. These seemingly negative utopias, or non-places, make us realize that we are ultimately and always thrown back to two constants – time and space. And only one can be influenced.