Künstlerhaus Dortmund
Contact   Sunderweg 1 | 44147 Dortmund | phone +49-231-820304 | fax +49-231-826847 | email buero at kh-do.de
Opening hours   Office  Mon + Fri 10-14 h Tue - Thu 10-16 h  |  Exhibition  Thu - Sun 16-19 h


1 December 2013 - 12 January 2014

(closed 23/12 - 01/01)

A cooperation of Kuenstlerhaus Dortmund e.V. and mex - Gesellschaft für intermediale und experimentelle Musikprojekte e.V.

mex grew up with peculiar multimedia experiments and bizarre sounds: now the association celebrates its coming of age with about 21 artists and musicians, 2 concert nights and 1 exhibition. To be seen and heard at the Künstlerhaus is a mex-typical mixture of newcomers and legends from Germany and abroad. They are keen to open up the visitor’s senses by means of sound art and site-specific installations for phenomena which normally escape our notice: the art of working, overtone and sonic reflection, the vastness of the desert, noise nuances, moving shades, radioactivity, silence.

Opening on 30/11/2013

Participating artists:

Terry Fox
Thomas Köner
Soichiro Mihara
Phill Niblock
Ulla Rauter
Denise Ritter
Kathy Scheuring / Georg Reil
Ralf Schreiber
Anke Schulte-Steinberg
Florian Zeeh

CONCERT at Kuenstlerhaus Dortmund

Saturday, 30 November 2013, 20:00 h

Gert-Jan Prins
Pascal Battus / Alfredo Costa Monteiro
Sam Ashley

Admission: 8,-€ | Festival ticket (Friday and Saturday): 12,-€ | Box office only

CONCERT at domicil

Friday, 29 November 2013, 20:00 Uhr, Hansastr. 7-11

Arnold Dreyblatt Ensemble
hans w. koch
Rie Nakajima

Admission: 8,-€ | Festival ticket (Friday and Saturday): 12,-€ | Box office only

Terry Fox
Berlin Wall Scored for Sound, 1982, pencil and marker on paper

In an act of artistically appropriating his temporary residence in Berlin the artist, who protruded into the border areas of sculpture, analysed in a topographic and geometric way the at that time still locked Wall and transferred it into a notation system. He arranged the formal characteristics of the different zigzag like wall segments in categories like for example curved, straight, chaotic or canal and lake. A version of the musical piece followed the wall score through sound recordings of patrolling helicopters, lightning and extremely long strings which Fox in the studios of his former or current homes touched or stroked.

Denise Ritter
Metamorphosis, 2013, sound installation

Before the new butterfly can flutter about the caterpillar retreats into its cocoon sapping from the old soil. If it had ears it would study the life outside through listening. Humans also adapt to new environments in a kind of protective cover. With a microphone attached to her clothing, Ritter adopted (as an enhancement of her natural absorption capacity) her new existence through field recordings. This transition period she concluded with a new sound composition, a remix of modified sounds, and sets them free out of cocoon shaped speakers into the air.

Florian Zeeh
2013, sound installation

Approaching the space the visitor hears strangely clattering and wobbling sounds. However, once the visitor steps into the room, there are three demonstratively silent machines only displaying inactive, uneven metal balls on glass. Their structure and rhythm was interrupted; the balance of the independent existence eludes our observation. The visitor’s interference is immanent in the piece. If the visitors keep their distance and cede trying to control they are allowed – virtually by common agreement – to again listen to the slow permutation of the charmingly percussive trio.

Ralf Schreiber
2013, kinetic sound installation

Which requirements does a real system need to act autonomously? Schreiber deals with this question through electronics, solar cells, small motors and miniature speakers thereby creating an acoustic and visually poetic installation. Low voltage operated processes transform the light of overhead projectors into soft sounds and strangely touching movements of miniature robots. In simple analogous though complex interconnected circuits, energy is constantly transferred and divided. Neighbours in this system interact and communicate in an elementary way.

Olaf Hochherz
Conversations, 2013, sound installation

Electronically generated sounds can imitate musical instruments or animals and many a native bird already turns the tables by chirping cheap mobile sounds. If the illusion of the trompe-l’oreille were too perfect the artificiality of the imitation would be lost. Hochherz’ sounds which seem organic but are indeed artificial thus consciously indicate their genesis. Created with feedback-based synthesizers and self-regulating circuits, they allow associations based on certain temporary developments and structures of variation – with two boom boxes as well as special drawings an unconventional landing conversation.

Phill Niblock
The Movement of People Working, Triple video projection and sound

The multimedia-legend celebrates his 80th birthday at mex with a big bang. Over decades and all over the world he has been documenting in a filmic way the dynamics of physical labour. The movement sequences, which constantly repeat themselves (with slight alterations), choreographic forms of persistence, he congenially combines with multi-layered expanding drones, microtonal shifts and overtone-potent volume.

Ulla Rauter
TACET – A Silence Detector, 2013, sound installation

A box with the letters tacet, which are occasionally flashing, directs the eye immediately to every silent moment. Initially a score for musicians to allow their instrument to rest for a while, tacet here “he/she/it is silent” reverses the sound surroundings to an unwritten musical score in which the break gives the note. Without silence there is no awareness for silence thus it seems – tacet lets us prick up our ears for the inaudible.

Soichiro Mihara
bell, 2013, sound installation

An innocent, subtle jingling in a wispy glass object, paired with the short flaring up of a small light renders the inconceivable audible: as a reaction to the Fukushima disaster, Mihara seizes the concept of Furin-bells – in Japan traditionally used to repel invisible evil forces. He now uses them in an apparatus, which appears fragile aesthetic as well as reliably sensitive at the same time. Protected by a glass dome they here give warning in real time of currently existing radioactivity.

Thomas Köner
Novaya Zemlya, 2013, video with sound

By activating the senses and with its disturbing, almost metaphysical landscape the Arctic desert offers the challenge of total silence. Köner constructs from photos as well as from field recordings from Novaya Zemlya an intermedial artistic amplitude, which only partly deals with the really existing nuclear polluted “New Land”. Disturbing undertones of the gradually shifting soundscapes as well as light and shadow formations transform the sense of time for utopic realms in which the poetics of the void rule.

Anke Schulte-Steinberg
shadow machine, 2013, kinetic installation

The artist deconstructs the space through something, which might co-define it in an ephemeral but essential way: light. She installs a light bulb animated by a machine rod to produce exactly arranged dramatic fluctuations in brightness and rapid ambulation of shadows. With its optic irritation the brilliantly simple kinetics truly throw the recipient’s confidence of the space’s stability off balance.

Georg Reil & Kathy Scheuring
Curious Sound Objects, 2010, Video

Behind the colour black, which is predominant in the work, one discovers curious anti-uniform transformations of the object world, undercover gramophones and kitchen clocks which consider themselves and can be conceived as musical instruments. The question of identity in the right or wrong body or, depending on how one looks at it, an anarchistic game with surreal sound-context-shifts.

Rolf Julius
potato music, inkjet printing on Japan paper

Julius, sound art pioneer in Germany, has worked in breadth and depth through the transitory field of watching and listening and developed a subtle oeuvre and a humour full of nuances. Many of his works on paper convey auditory suggestions. Typical for those more or less unplayable scores are richly nuanced surface contours. How does a potato sound, how different ones or even many together? If now a potato concert had to be performed by or for potatoes should be concerning an artist who wrote history with his “Concert for a Frozen Lake” left to our imagination.

Concept and Organisation: Maija Julius, Gaby Peters
Concept and Organisation Konzerte: Maija Julius

images works ©: the artists
photos opening ©: Jens Sundheim

kindly supported by:
Cultural Department of the City of Dortmund, Sparkasse Dortmund, DEW 21