To follow pick lists you need to be logged in.
OK
menu

Menu

Back

Sound on the 4th Floor

Press release


Sound on the 4th Floor

Josef Albers, John M Armleder, Jean Arp, Horst Bartnig, Martin Boyce, Philippe Decrauzat, Adolf Fleischmann, Günter Fruhtrunk, Walter Giers, Camille Graeser, Guan Xiao, Gregor Hildebrandt, Markus Huemer, Bernhard Höke, Takehito Koganezawa, Alicja Kwade, Hartmut Landauer, Verena Loewensberg, Robert Longo, Ma Qiusha, Rune Mields, Kirsten Mosher, Brian O’Doherty, Pak Sheung Chuen, Gerwald Rockenschaub, Peter Roehr, Lerato Shadi, Roman Signer, K. R. H. Sonderborg, Anton Stankowski, Vincent Szarek, John Tremblay, Rosemarie Trockel, Andrew Tshabangu, Timm Ulrichs, Xavier Veilhan, Xu Zhen produced by Made In Company, Michael Zahn, Heimo Zobernig


Compiled and arranged by Gerwald Rockenschaub

Sound, music, rhythm are omnipresent in the 20th century and contemporary art. Representatives of Bauhaus and Classical Modernism (Albers, Arp, etc.) conceive picture series according to musical principles of form with theme and variation (“The music behaves like a clock for the form and effect of my pictures”, Josef Albers) or accompany their artistic designs with sound poems and instrumental choreographies. Concrete and constructive art (Fleischmann, Fruhtrunk, Graeser, Loewensberg, etc.) contains formal inspirations that lend a visual translation to the musical variations of the fugue, the concept of counterpoint or the chord combinations of jazz. Comparable musical references can be found in the Neo Geo art of the 1980s (Rockenschaub), while other artists simultaneously integrate excerpts of musical scores directly into their pictures (Mields). Musical material has been present in multimedia art in many ways since around 1990: Collages with record covers (Czech), videos based on everyday sound elements or accompanied by commissioned compositions (Fleury, Signer and Zobernig around 1990 to Chan-Kyong, 2015), further sculptures that vary the forms of musical instruments or places of language (Afif, Boyce, Moorman, Veilhan), finally computer-generated beats, sounds and frequencies that are audibly underlaid or purely abstractly implemented in order to appeal to the imagination of the Viewer.