Samuel Hertz (b. Washington, DC, USA 1987) is a Berlin-based sound artist and researcher working at intersections of Earth-based sound, sonic sensualities, and climate change. Having studied composition with experimental music pioneers Pauline Oliveros, Fred Frith, Maggi Payne, and Zeena Parkins at the Center for Contemporary Music at Mills College, Hertz works fluidly between the worlds of composed music for ensembles, electronic music and installation, performance, and film. Alongside his performances exists a strong research component based in Anthropocene studies and encompassing relationships between sound, geography, climate, and social ecologies. A prime motivation is investigations of hearing practices as practical engagements with environments and non-human scales. As the first winner of the DARE Prize for Radical Interdisciplinarity (UK), he researches environmental and artificial infrasound alongside climate scientists, music psychologists, and paranormal investigators. Recent work includes: performances at venues across northern Europe, lectures and teaching at the University of Leeds, Royal College of Art, American Association of Geographers, Lancaster University, Westminster University, Drexel University, and Ohio University, three features on the BBC, and residencies at Visby International Centre for Composers (SE), Elektronmusikstudion (SE), and The Tetley (UK). His IMAX film and sound installation A Shadow Feeling was recently added to the permanent Media Arts collection of the National Science + Media Museum (UK). Most recently he premiered a cycle of nine songs at the prestigious Macerata Opera Festival (IT) in collaboration with CASA*MARZIANO and the Balleto Teatro di Torino, as well as taught workshops on sonic geographies at Palais de Tokyo as a part of Tomás Saraceno’s ON AIR carte blanche exhibition (Paris, FR).
As a researcher he has worked closely with the Berlin-based institution Haus der Kulturen der Welt’s Anthropocene Curriculum and published material for Studio Tomás Saraceno (DE) as well as Sonic Field (“THE BIG BANG and what we left behind”, 2019) and Critical Path/Critical Dialogues (“Condensations”, 2019). Hertz was previously a guest editor and essayist at Temporary Art Review, curating a month of interviews, performances and essays.
Samuel is a frequent collaborator of a number of American and European performance and dance companies/choreographers, creating immersive sound design, installations, and live performance situations in such places as ImPulsTanz (Vienna, AT), ICI/CCN (Montpellier, FR), DOCK11 (Berlin, DE), Charleroi Danse/La Raffinerie (Brussels, BE), CounterPulse (San Franscisco, USA), Rencontres Chorégraphiques de Seine-Saint-Denis (Paris, FR), NEXT Festival (FR & BE), and UltimaVez Studios (Brussels, BE).
As a performer himself, he has appeared in Mark Jeffery/Judd Morrissey's performance piece The Labors at the Museum of Contemporary Art, The Precession at the Hyde Park Arts Center, Defibrillator Performance Gallery and Arizona State University, and The Operature, premiered in Chicago in March of 2014, after having been performed in various previous iterations at York St. John University (York, UK), Kings College (London, UK), and various locations around Chicago.
11 Dec. - 2 Jan.: Residency @Skálar w/Andrea Steves (Seydisfjördur, IS)
February - June: FOAM with Mirjam Sögner (Berlin, DE/Vienna, AT)
February - July: New Piece with Jess Curtis/Gravity (San Francisco, CA/Berlin, DE)
February - April: Triangle with Daniel Hellman, Anne Welenc, Layton Lachman (Zurich, CH/Berlin, DE)