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CHRISTINA KUBISCH: Cloud

19. September, 20:00 - 30. September, 20:00

Christina Kubisch: Cloud; Photo: Michel Rousseau

CHRISTINA KUBISCH: Oblak [otvoritev razstave]

Delo Oblak (2011/2017) je zvočna skulptura, izdelana na kraju samem z več sto metrov rdeče električne žice. Gre za večkanalno kompozicijo, ki jo obiskovalci poslušajo z uporabo prilagojenih slušalk, s katerimi raziskujejo skriti akustični svet zvočnih kabelskih struktur. V vsakem kanalu je različna kompozicija elektromagnetnih valov, poslušalci pa jih lahko zmiksajo po svoje: te naprave, ki jih je razvila umetnica, vsebujejo magnetne tuljave, ki sprejemajo magnetna polja, ki krožijo v kabelskih zankah in jih naredijo slišne. Ko se obiskovalci gibljejo po instalaciji, kaotični električni napeljavi, oblaku, ki visi v galeriji, sprožijo zvoke kablov in jih spajajo v neomejeno število novih kombinacij.

Oblak ni zgolj didaktična vizualizacija fizikalnega principa indukcije. Nasprotno, ta proces jemlje za izhodišče. Delo stimulira glasbene kompozicije v živo. Avtorica pravi: “Osnovna ideja teh zvočnih prostorov je omogočiti gledalcu/poslušalcu dostop do njegovih individualnih prostorov časa in gibanja. Glasbeno sekvenco lahko skozi poslušalčevo gibanje doživimo v vedno novih različicah. Obiskovalec postane ‘mešalec’, ki lahko individualno sestavi svojo skladbo in sam določi časovni okvir. Vsako gibanje, še tako rahel obrat glave, ima za posledico različne sekvence tonov.”

Kubisch je serijo Oblak začela leta 2011, še preden je izraz postal modna beseda za način shranjevanja podatkov. Tudi njene participativne zvočne skulpture se navezujejo na teme shranjevanja in dostopa, a to počnejo na teatralen način, obiskovalce spreminjajo v aktivne poslušalce, ki si nenehno prizadevajo, da bi z gibanjem, ležanjem na tleh ali zgolj s preprostim obračanjem glave priklicali in ustvarili nove zvočne impresije.

Christina Kubisch (1948) je nemška skladateljica, pionirka zvočnih umetnosti, performativna umetnica, profesorica in flavtistka. Njeno delo izkazuje umetniško širino, ki jo lahko označimo kot ‘sinteza umetnosti’: odkrivanje akustičnega prostora in dimenzije časa v vizualni umetnosti na eni strani ter redefiniranje odnosov med materialom in obliko na drugi. Njene skladbe so večinoma elektroakustične, pisala pa je tudi za orkestre.

Študirala je slikarstvo, glasbo in elektroniko. Kot umetnica je opozorila nase v sredini sedemdesetih let prejšnjega stoletja s svojimi zgodnjimi deli, koncerti, performansi in multimedijskimi instalacijami; njeni deli iz tega časa sta, denimo, multimedijski performans Two and Two (1977) in minimalistična kompozicija Tempo Liquido (1979). Ob prelomu v osemdeseta je začela v svojih zvočnih instalacijah uporabljati elektromagnetno indukcijo: njeno delo Il Respiro del Mare (1981) predstavlja začetek njene kariere zvočnega inženiringa, saj je prav z njim razvila sistem elektromagnetne indukcije zvoka. Vse odtlej nenehno izpopolnjuje svojo prakso uprizarjanja učinkov brezžičnih elektromagnetnih prenosov. Od leta 1986 dodaja v svoja zvočna dela tudi svetlobo kot umetniški element. V tem času je ustvarila kompozicije On Air (1984), Iter Magneticum (1986) in Night Flight (1987). Leta 1990 je začela ustvarjati svoja prva dela s sončno energijo. Leta 1994 je ustvarila instalacijo Sechs Spiegel, ki sodi med njena najbolj znana dela: v njem uporablja arhitekturne proporce znamenite nemške Ludvikove cerkve, da bi določila ritem ponovitev in pavz pri vibriranju pivskih kozarcev. Leta 1996 je začela s Projektom Clocktower, v katerem je aktivirala uro na zvoniku, ki že dolgo ni bila v uporabi: zvoke je ustvarjala tako, da je z različnimi predmeti zvonila in udarjala po zvonovih ure. Leta 2003 je začela z Električnimi sprehodi, ki so nekakšen voden ogled skozi mesto, v tiste predele, ki predstavljajo zanimive zvočne krajine; udeleženci ob tem dobijo posebne slušalke. Ves čas svojega ustvarjanja sodeluje z različnimi glasbeniki – med drugim je leta 2018 posnela skupno ploščo z Anneo Lockwood, The Secret Life of the Inaudible.

 

CHRISTINA KUBISCH: Cloud [exhibition opening]

Cloud (2011/2017) is a sound sculpture made on site using a several hundred meters of red electrical cable. It is a multi-channel composition that visitors listen to by wearing customized magnetic headphones to explore the hidden acoustic world of sonic cable structures. Each channel has a different composition of electromagnetic waves, and listeners can mix them in their own way: these devices, developed by the artist, contain magnetic coils that receive magnetic fields circulating in cable loops and make them audible. As visitors move around the installation, around this chaotic electrical wiring, which is literally a cloud hanging in the gallery, they trigger the sounds of cables and mix them into an unlimited number of new combinations.

Cloud is not simply a didactic visualization of the physical principle of induction. On the contrary, it takes this process as a point of departure. The work stimulates live musical compositions, as the artist’s description of the work explains: “The basic idea of these sound spaces is to provide the viewer/listener access to his own individual spaces of time and motion. The musical sequences can be experienced in ever-new variations through the listener’s motion. The visitor becomes a ‘mixer’ who can put his piece together individually and determine the time frame for himself. Every movement, even a slight turn of the head, results in different sequences of tones”.

Kubisch started her series Clouds in 2011, before the term became a buzzword for a type of data storage. Uncannily, however, her participatory audio sculptures also relate to these topics of storage and access, yet they do so in a theatrical way, turning visitors into active listeners who are constantly seeking to retrieve and mix new sonic impressions by bending down, lying on the floor, or simply turning their heads.

Christina Kubisch (1948) is a German composer, pioneer of sound art, performative artist, professor and flutist. Her work displays an artistic development which is often described as the “synthesis of arts”: the discovery of acoustic space and the dimension of time in the visual arts on the one hand, and a redefinition of relationships between material and form on the other. Her compositions are mostly electroacoustic, but she has written for ensembles as well.

Christina Kubisch studied painting, music and electronics. As an artist she gained recognition in the mid-1970s with her early works including concerts, performances and multimedia installations; her works during that time are, for example, a live multimedia performance Two and Two (1977) and a minimalist composition Tempo Liquido (1979). At the turn of the 1980s she began to use electromagnetic induction in her sound installations: her work Il Respiro del Mare (1981) began her sound engineering career, as with it she developed a system for an electromagnetic sound induction. Since then she has been constantly refining her practice of staging the effects of wireless electromagnetic transmissions. Since 1986 she has been adding light as an artistic element to her work with sound. During that time, she created the pieces On Air (1984), Iter Magneticum (1986) and Night Flight (1987). In 1990, she began creating her first works with solar energy. In 1994, she created an installation Sechs Spiegel which is one of her most famous pieces: the piece uses the architectural proportions of the German building Ludgwigskirche to determine the rates of repetitions and pauses in vibrating drinking glasses. In 1996, she began The Clocktower Project in which she reactivated a clocktower that had long been out of commission: she created and recorded sounds for the project by ringing, striking, hammering and brushing the bells of the clock with different objects. In 2003, she began with her Electrical Walks projects: the walks are a sort of guided tour through a city, where participants are given special headphones, designed by Kubisch, and directed to parts of the city that have interesting soundscapes. Throughout her career, she has collaborated with various musicians – including Annea Lockwood, resulting in the CD The Secret Life of the Inaudible in 2018.

 

 

Photo ©Delphine Migueres

Details

Start:
19. September, 20:00
End:
30. September, 20:00

Venue

Galerija ŠKUC
Stari trg 21
Ljubljana, Slovenia

Organizer

ŠKUC