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Kupferdraht mit Lautsprechern singuhr-hœrgalerie,Parochialkirche Berlin 1996, von 0 - 24 Uhr. Galerie Forum Kunst, (Dokumentation der Arbeit), Weilheim Teck,1998 |
fine copper
wiring (Ø 0.3 mm), 300 small piezo-speakers, 300 Relay, Computer |
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»One
of the first common works, together with Klaus Lebkücher, was the
Kupferdraht mit Lautsprechern (Copper Wire with Loudspeakers) installation
at the Singuhr sound gallery in the Parochial Church in 1996 in Berlin.
In retrospect, this piece holds a type of key function for both artists.
It was here that the main characteristics of their artistic projects crystallized.
In a way, Kupferdraht mit Lautsprechern pictographically mirrors their
subtly reserved, yet systematically permeating working styles. Step by
step, a dense network of fine copper wiring was spanned across the belfry
of the Parochial Church. Anchors were placed where their paths crossed—300
small piezo loudspeakers in total. “Coincidental” intersections
and relationships result in the prevailing compositional “system”
that does not operate hierarchically but, like the old bricks of the belfry’s
vaults, is built according to a distribution of forces that is stable
but versatile and outwardly autonomous. The listener and observer is met
with a visually and acoustically homogenous image, as spatial and temporal
structures follow an inner logic that corresponds to the architectonic
fabric. Computer-controlled electrical impulses distributed via 300 relays
create a loudspeaker-specific clicking sound based on variable rhythms
and motion sequences. If two “clicks” meet at a junction or
loudspeaker, the respective motion patterns become modified, and their
speed sometimes changes. In this way, new musical movements and patterns
can constantly be heard in the space over the entire installation period.
With a bit of caution, the visitor can step inside the partially physically
accessible net and, in doing so, into the acoustic events. The distance
or closeness of the happenings in the space elucidate the rooms for manoeuvre
opposite the surrounding, static architecture and therefore energetically
transformed “tensions” of the vault’s imprint.«
(positionen,
70, Beiträge zur Neuen Musik, Februar 2007, Melanie Uerlings)
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© dyffort & driesch |