The media and sound artist Christine Schörkhuber works with the media and tools of electronics, installation, object and composition. She is concerned with the dynamics of relationships and systems of order on a social, physical and technological level. At esc medien kunst labor, the artist presents the installation Circuits.

This is an expansive installation - a kind of "mobile", a kinetic object consisting of rods, strands and copper wires. By means of a rotating copper wire, the different parts of the mobile are set into a connection with each other and at the same time into a movement. By connecting the different elements of the installation, different audio sequences become perceptible again and again for a short time. The result is a "connotative modular audio piece" that interacts with the exhibition space and the visitors, as the artist stated about the installation. Through the ever-changing composition of the auditory trace in the space, new narratives and chains of associations emerge again and again, which can be experienced by the visitors.

In the installation Circuits, Schörkhuber deals with the physical force that underlies almost all aspects of our reality. Electric current is not only a tool, but also as an aesthetic motor a constant in the content of the installation, as the artist stated about the installation: Neither the development of capitalism nor the information society would have been possible without a huge turnover of electricity. Besides direct combustion, electric current is the driving force of the modern world. In order to generate it, enormous ecological damage is put up with, also electricity has so far been obtained largely from the combustion of raw materials."

The different sound levels of the installation consist of a composition of electricity with different generative sounds and soundscapes, interview passages from climate researchers, ecologists, futurologists and literary fragments, song lyrics, technical and historical anecdotes recorded by the artist.

The recycled copper materials, which in their original function were used directly or indirectly to conduct electricity, become objets trouvés in the installation, used as artistic tools. Briefly closing the circuits and thereby enacting the sound constellation enables the experience of a "multi-perspectival narrative," as the artist noted. In the installation, a spatial-situational experiential space is created that reveals both the darker sides and the potentials of electric current as a source of energy. Inspired by Alexander Calder and kinetic art, the installation negotiates electric current not only as a material or tool in an artistic process, but as an inorganic dynamic in a structure.