28/02/2025, 7:00 pm,

Satch Hoyt + Annika Larsson + E.I. The Blob (Performance)

, Kunsthalle Münster

Satch Hoyt (born 1957) is a spiritualist, a believer in ritual and retention. A visual artist and a musician, his diverse and multifaceted body of work—whether sculpture, sound installation, painting, musical performance, or musical recording—is united in its investigation of the “Eternal Afro-Sonic Signifier”, a term coined by Hoyt and that refers to the “mnemonic network of sound” of enslaved Africans‘ during the Middle Passage. lt was, and is, a hardwon somatic tool kit for remembering where you come from and who you are—and maybe, where you’re going—against all the many odds. Of Jamaican-British descent, Hoyt was born in London and currently lives in Berlin. Having also spent time in New York, Paris, Mombasa, and Australia’s Northern Territory—all points on the many-sided and ever-expanding star that is the African Diaspora—he is an intimate observer of the sites of convergence where the Diaspora comes together to sing, shout, and be, reflecting itself to itself. Employing the shared tool kit to connect, express, and commiserate across centuries and oceans, Hoyt taps into aural and oral echoes as well as into those retained in the historical and material record. Hoyt has participated in Ten Thousand Suns, 24th Sydney Biennale (2024); Always, Already, There, HKW Berlin 2024, Un-Muting Sonic Restitutions, MARKK Mu-seum Hamburg (2024); Afro-Sonic Mapping, HKW Berlin (2019); Dakart, the Dakar Biennale Senegal (2018); The Lotus in Spite of the Swamp, Prospect 4, (the USA Trien-nial) (2017); The Beautiful Game, Los Angeles County Museum of Art (2014); Radical Presence, Black Performance in Contemporary Art, Grey Art Gallery, New York Univer-sity (2013); Newtopia: The State of Human Rights, Museum for the Holocaust and Hu-man Rights, Mechelen (2012) and The Record: Contemporary Art and Vinyl, Nasher Museum of Art at Duke University (2011).

Annika Larsson’s (born 1972) work examines the intertwined relationships between knowledge, embodiment, affect and visuality in our digital and physical world. Her work E. I. the Blob (2018), combining visuality and sound, was created to explore new ways of thinking, being and acting using moving images. The sensitive “image organism” responds interactively to sounds, with every communication leaving traces—traces that disappear slowly but never completely. The blob’s body virtually incorporates external stimuli, and it is precisely this physical characteristic that allows anthro-pomorphization to occur, even almost provokes it. In this regard, the question is also raised about the extent to which digital and organic systems are entangled in a continuous state of mutual influence and change. Together with E.I. the Blob, Larsson explores how organisms, bodies, technologies and environments communicate beyond instrumental language, subjectivity and reason, to experience what moving images and bodies can do and how both can help us understand the limits of our thinking.