scarecrow-2020-korhan-erel-cropKorhan Erel presents Scarecrow and We’re All Alike for broadcast on and the network of cultural radios. The two works were originally produced as sound installations.

Scarecrow is from a 2020 sound Installation with
plastic water pipes, garden umbrella base, rake, one horn speaker, and two active speakers. A scarecrow is a humanoid object that is placed in open fields to scare off birds or other animals to protect seeds and crops. It is a mute object, which stands alone in the middle of a field, to protect the land and crops. Korhan Erel’s Scarecrow appropriates and reverses the mute scarecrow object into a sound sculpture that speculates their presence in the borders of
countries or private lands to question two main themes: neglecting of nature and non-human beings as well as centralizing human presence over nature; and migration politics and their
unwelcoming strategies. It explores ‘the fear from the other’, both human and non-human, using sound emanating from an amorphic sound-sculpture built using ready-made objects that one
can easily procure. This speculative approach is a critique of both conventional methods of scaring animals, positioning humankind over nature and hate speech toward migrants and the other. The three-channel sound composition was based on field recordings, designed sounds and an unknown language consisting of made-up words and remixed languages, the latter primarily to amplify the sense of being un/welcome and to put the visitor in a position of unwantedness
and otherness. Scarecrow was kindly supported by the Berlin Senate Department for Culture and Europe.

We’re all alike was created for the group exhibition “Hacktivate Yourself!” curated by Tuçe Erel at 1a Space in Hong Kong in March 2019 revisits and reinterprets “The Hacker Manifesto”, an essay written by The Mentor (born Loyd Blankenship) on January 8,
1986. Korhan Erel made three computer voices spread over two speakers read this essay in parts. In between these parts, they inserted short sound compositions reminiscent of the computer
sounds of the era, found-sound collages, snippets from Michel Foucault’s “The Culture of the Self” lectures at Berkeley (1983), and glitched versions of the manifesto in an effort to dig up and shine a new light on one of the first computer-era manifestos.
Korhan Erel is an electronic musician, improviser, composer and sound artist based in Berlin. They treat the computer and electronics as instruments that can co-exist along with conventional instruments in free improvisation and other musical genres. They make frequent use of field recordings or found sounds in their instrument designs. Their music covers free improvisation, conceptual sound performances as well as structured and composed pieces, the latter mainly performed at art events and museums. They perform solo, duo and group performances with improvisers, jazz musicians, dancers and in orchestras. Korhan also does sound design and music for theater, video and dance, and sound installations, which they have shown in Turkey, Germany and Hong Kong. Their collaboration ‘The Threshold’ with Sydney-based video artist Fabian Astore won the Blake Prize in Australia in 2012. Korhan has done three residencies at STEIM in Amsterdam on sensors and instrument design. They were a guest composer at the Electronic Music
Studios in Stockholm in 2011. They have ten CD releases in Turkey, Germany, Netherlands, Portugal and Greece as well as several digital releases. They have played in festivals, venues, museums and art spaces across Europe, Middle- East, Southeast Asia and North America.