Curated by zwek
Verfluchte Ungmenge: Chemische Prozesse, biologische Organismen, Wirtschaftsysteme und Gesellschaften von Menschen die zusammen arbeiten, verbrauchen Energie und haben die Tendenz zu wachsen und sich zu entfalten, wodurch konsequenter Weise ein Überschuss entsteht. Teile dieses Überschusses fallen aus ihrem System und transformieren. Sie verlangen danach konsumiert zu werden ohne einen direkten Nutzen und ohne ihre ursprüngliche Funktion. Dieser Energiewechsel hat keine direkte Gegenseite und ist daher schwer nachzuvollziehen oder zu kontrollieren.
Verfluchte Ungmenge: Chemical processes; biological organisms; systems of general economy; societies of people working together- these all have a tendency while expending energy to grow and thrive and create a surplus which must by necessity be used up in a non-functional way. Parts of this excess are transformed while not being returned to an original or even recognizable state.
r136a1 is an installation piece presented in a Berliner gallery in February 2014 under the exhibition Verfluchte Ungmenge. The piece is composed of two main parts. The first one is a totally white space in the middle of which stands a Technics SL-1200 turntable. This first room is exaggeratedly bright. Many daylight neons are hanged from the ceiling and behind a window. Visitors have the impression to enter a shadowless clinical space where every artifact from the walls are strongly underlined. The second room shows a pallet Deutsche Bahn for goods transport. This wooden object has a huge history of movement although it incredibly clean. It has been filed and has been precisely placed in a corner as if it were abandoned.
The music heard from speakers gives the impression to hear music coming from the turning vinyl. It can soon be discovered it is not the case when one hears the actual quiet sound from the vinyl. The sound coming from speakers are two looped pieces composed especially for that installation. One of them uses voice chops and the other distorted sine tones. Both pieces play with phasing between monophonic and simple phrases. Auditors are invited to concentrate on the counterpoint combinations rather the sound themselves. Theses pieces are therefore minimalistic. The voice piece is bringing an almost religious dimension. The piece with tones rather brings the impression of a computer music piece from the seventies.