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Subject:

Re: Sound Art: March Theme of the Month

From:

Kathleen Forde <[log in to unmask]>

Reply-To:

Curating digital art - www.newmedia.sunderland.ac.uk/crumb/

Date:

Mon, 18 Mar 2002 14:39:57 -0800

Content-Type:

text/plain

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axel - i just wanted to second your kudos to cardiff's "motet".  i haven't
seen it in berlin, just in new york at ps1. it was brilliant. i am curious
how it was installed there - as the view out of the windows overlooking nyc
at ps1 seemed to me to be a really interesting context for the piece . . .
in that the vista definitely functioned as some sort of cinematic window to
the outside world while listening to her sound.  was it enclosed with four
walls?  another point to be made with regards to the site specificity of
sound work in relation to the environment to i suppose . . .


kathleen.

-----Original Message-----
From: axel lapp [mailto:[log in to unmask]]
Sent: Sunday, March 17, 2002 4:17 PM
To: [log in to unmask]
Subject: Re: Sound Art: March Theme of the Month


dear sarah,

thanks for your review of 'frequenzen' in frankfurt. i am trying to add a
few thoughts:

i too was very impressed with the show, since it was so tightly constructed
- around the theme of visualising audiowaves and audiolising (?) images.-
and so beautifully arranged. the formal  concentration eases this
considerably (as it would in an exhibition of paintings, if you would only
take small scale formats).

frequenzen is a show that concentrates on the medium, presenting the
minimalistic basics. in it i found the works, which are dealing with
visitors' perceptions the most successful. ann lislegaard's piece in the
staircase, for example, where a microphone is built into an added step and
the noises people make by stepping on it, are r-played with a few seconds
delay, so that everybody hears their own steps, in their own individual
speed, resonating from the past. or mika vaino three clocks - that you found
overarchingly conceptual -, the sounds of which are amplified to thunderous
beats. thus, producing an extremely slow yet clear rhythm, that, as if from
a metronome, structures all the surrounding noises and turns them,
theoretically, into a continuous musical piece; though this rhythm is
escaping human perception, as the minute that passes between the beats is
too long to remain assessable as a time interval.  i also found franz
pomassl's e extreme environments (very hight tone and brightly lit / dark
and very deep and loud tone) very exciting, really creating experiences for
the whole body. or the installation by the artist group farmersmanual, that
transforms digital data streams from various sites of the internet into a
two-dimensional sound and image space. colours, forms and arrangement of the
video image that is projected on the ground are constantly re-assembled, and
are also influenced by the movements of the visitors, whose spatial
overlapping with the image is caught by a camera in the ceiling and again
fed into the projection. the accompanying noises follow a recognizable
structure just as little as the pictures do, but our hearing strives to
detect a correlation and creates it in consequence. i spent ages trying to
figure out, how my movements were influencing what i heard and saw.

where the show was only concerned with making something that is, or that
might be there visible or audible, i found it often too simple, too much
concerned with the technical possibilities, in the end banal. angela
bulloch's disco-lights are one example, translating disco music from the
1970s into 9 colour planes (featuring high quality light boxes which can
display over 16 million different colours - wow!).

nevertheless, it shows the basics and is very successful at it. it is
definitely a show to continue! but with the next shows it will not be that
easy. the piece you mentioned by ultra-red, dealing with globalisation
(images from the us-mexican border, and sound from a demonstration in
quebec) is not really part of the exhibition. without a map, visitors will
not usually find it, will perceive it as an installation in the book shop
instead. several of this calibre (with a narrative / with content) could not
have been displayed in the same space, i e it would have been killed by
bulloch's seventies music drifting around the room. then you would have
needed several individual spaces, which would have meant a less coherent
show.


- all of  you who can travel to berlin, and who have not seen janet
cardiff's 'forty part motet' in the hamburger bahnhof yet, go and see it! it
is fantastic (the venice piece is boring in comparison!)!


- axel





--

axel lapp
engeldamm 22
d-10179 berlin

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