The latest performance of Wojciech Kosma’s Blow Job, by Dganit Elyakim in Uganda Jerusalem.

The piece explores microphone feedback, modulated by the proximity of the performer’s mouth.

To some, Kosma’s work is cutting edge audiovisual performance art. For others, it’s wankery for intellectuals.

Leave a comment with your thoughts!

Here are the instruction for performing Kosma’s Blow Job:

A microphone is used to simulate a fellatio. It’s connected to a sound system and adjusted to a level, such that an audio feedback will appear if it’s placed inside a person’s mouth (this can be achieved with no modi?cations to the equipment, but ?ltering out of the high frequencies on the mixer helps to obtain a higher level). The effect should be easy to control for the person – feedback should appear/disappear quickly when putting microphone inside/outside of the mouth. Different levels, ?ltering and position of the speakers and microphone should be tested, also taking in the account the in?uence of audience on the acoustics of the room.

This is the position of the person and the microphone (mounted on a stand). Movements and rhythm should mimic the person’s style of performing the blow job. He/she should use different techniques and positions to bring out different tones and volume. Feedback frequency will change depending on which part of the microphone is covered. Usually this position will produce a higher frequency (the volume can be changed by opening and closing lips) and this position will produce a lower frequency. Any accompanying noises like breathing or the teeth or the tongue sounding on the body of microphone should also be audible. Similarly, the use of hands or any other body part should be used as normally in the fellatio.

The duration is not de?ned. A short condenser shotgun or similar microphone type should be used.

The effect will differ with various sizes of speakers and (but to a lesser degree) of ampli?er and mixer.

About Wojciech Kosma

Wojciech Kosma lives between Berlin and London, working between art and composition. His artworks and performances are often spatial, sonic, obliquely interactive and poetic, creating speculative aesthetic interventions in public and gallery space. He has exhibited, undertaken commissions and residencies and performed widely in a variety of institutions and arts organisations, as well as informal networks of cultural producers. Most recently in MOMA Warsaw and Whitney Museum of American Art in New York.