Poeticsofdeadspace

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Poeticsofdeadspace

  1. 1. Kunsthaus GrazProtectionsKuratoren: Adam Budak und Christine PetersElisabeth Penker "Poetics of Dead Space"For PROTECTIONS Elisabeth Penker developed a key-sound, "Poetics of Dead Space" which is to a large extent a homageto Gaston Bachelard’s seminal book, "Poetics of Space" where the connections between the poetry and the spatial emotionsare analysed. Penker’s key-sound will guide the viewer through the exhibition, mapping the overall identity of the show, insome way, controlling the viewer’s (audio-narrative) route in the maze of art objects, events, situations but also spatialvoids and unused corners.Für PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound, "Poetics of Dead Space", der weitgehendeine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt, in dem die Verbindungen zwischenLyrik und räumlichen Emotionen analysiert werden. Penkers Key Sound wird das Publikum durch die Ausstellung geleiten,die Identität der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums imLabyrinth der Kunstgegenstände, Ereignisse und Situationen aber auch räumlicher Leerstellen und ungenutzter Winkelkontrollieren.A non linear composition, 7 mono active speakers are placed through out the Kunsthaus Graz. Speaker placement:1 outdoor (entrance), 2 (travelator), 3 (corner with column), 4 (corner with door), 5 (corner) 6 (travelator) 7 (corner withwindow)"Poetics of Dead Space: Let it grow, again” 28, 51 sec. monoSource material for composition: rain, sound of dried beans dropping down, wood sticks, breathing hardly, existing
  2. 2. recording of extinct languages"Poetics of Dead Space: Let it grow, again” 28, 51 sec. monoSource material for composition: rain, sound of dried beans dropping down, wood sticks, existing recording of extinctlanguages
  3. 3. "Poetics of Dead Space: travelator 1” 1min 04 sec. mono, loopSource material for composition: staff falling down, man falling down stairs, “rattern”, recording: untitled instrumentBackground: existing recording of extinct languages
  4. 4. "Poetics of Dead Space: 4.9.6 ” 1min 4,09 sec mono, loopSource material for composition: recording: untitled instrument Background: existing recording of extinct languages
  5. 5. "Poetics of Dead Space: 12.9.5.2.5” 1min 48,88 sec mono, loopSource material for composition: recording: untitled instrument Background: existing recording of extinct languages"Poetics of Dead Space: 12.9.5.2.5” 1min 48,88 sec mono, loopSource material for composition: keyboard, recording: untitled instrument, Background: existing recording of extinctlanguages
  6. 6. „Poetics of Dead Space: travelator 2 “ 1min 52,09 sec. mono, loopSource material for composition: recording: untitled instrument, violin, Background: existing recording of extinctlanguages
  7. 7. "Poetics of Dead Space:21.5.2.5.18.12.5.2.20” , 1min. 32,00 sec. mono, loopSource material for composition: recording: untitled instrument Background: existing recording of library of extinctlanguages"Poetics of Dead Space: travelator 1” 1min 04 sec. mono, loopviewing down from upstairs; Source material for composition: staff falling down, man falling down stairs, “rattern”,recording: untitled instrument Background: existing recording of extinct languages
  8. 8. "Poetics of Dead Space: Let it grow, again” 0:28, 51 sec. monoSource material for composition: rain, sound of coins, wood sticks, existing recording of extinct languagesElisabeth Penker is a Viennese artist and musician working with sound in a sculptural context. In her (subjective) tour,Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the contextof Sound Art as located on the crossway between visual arts, language and music. Starting from her own "house", turned
  9. 9. into "First Nation Pavillion" which, amongst others, aims at connecting the recent discourse on cultural translation withearly avant-garde phonetic experiments, Penker maps the sonic structure of Kunsthaus Graz and its (live) architecturewhich for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality, from Herwig Weiser’s"Death Before Disco" (a micro-architecture of hyper-technological and electronic pop) through a newly created choir ofsecurity guards for Tim Etchells’ "Wall of Sound" down to a cacophonic layers of anonimous noise generated by thespace itself and the presence of audience.Die Wiener Künstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei. In ihrer(subjektiven) Führung nähert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel, der die Position undBedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst, Sprache und Musik verortet. Von ihrem eigenen"Haus" ausgehend, das sich in den "First Nation Pavilion" verwandelt hat, der u. a. den aktuellen Diskurs über kulturelleÜbersetzung mit frühen phonetischen Experimenten der Avantgarde verbinden soll, entwirft Penker die klanglicheStruktur des Gutshauses und seiner (Live-)Architektur, die für PROTECTIONS eine Reihe von interdisziplinären Projektenmit einer starken Affinität zum Klang beherbergt – von Herwig Weisers "Death Before Disco" (eine Mikroarchitektur aushyper-technoidem und elektronischem Pop) über einen neu formierten Chor bestehend aus Security Guards für TimEtchells "Wall of Sound" bis zu einer Kakophonie aus anonymen Geräuschen, die vom Raum selbst und der Anwesenheitdes Publikums erzeugt werden.

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