installation

carcarphony

carcarphony

jedes auto klingt anders als der eingebaute motor, da sound- design vom satten klang der tueren, ueber die elektrik bis hin zum anlasser, nicht dem zufall ueberlassen wird. der klang jedes motors wird gesteuert, transformiert, um dem ohr des fahrers genehm zu sein.
diese klaenge werden nun mittels eeprom im motor angesteuert, da hier zb. die verbrennung (explosion) aussteuerbar ist, um von der “bassdrum” bis zur “snare” ein orchester mit (bis zu) 12 ventilen zu simulieren. ansteuerbar sind sowohl die “beats” mittels der zuendungen, die “bpm” ueber die umdrehungs- geschwindigkeit als auch die “synthline” uebers gaspedal etc. was wiederrum die novitaet an der ampel darstellt, da hier die getunten subwoofer auch an grenzen stossen, die jeder motor ohne weiters uebertoent, als explosionsorgel der technoiden symphonie, der carcarphony.

go++

installation consists of 3 different corresponding feedbacks

1st communication, 2nd light, 3rd sound.

homer j. suicide

homer j. suicide –  was it the work at the springfield nuclear plant, was it matt groening, has he done it himself, or was he killed by someone close to rupert murdoch?
anyway – rest in peace homer…

brothesen…

brothesen

The work of Renfah, one of the last works to be encountered in this vertical warren of installations. On the roof, where 8.8 calibre AA guns used to violently discharge, Renfah has laid out a simple five metre wide swastika with Vienna’s finest bread loaves: an innocent offering to the birds who know no better. In a parody of the strictly enforced Austrian law, Wiederbetätigung, which forbids the re-enactment or promotion of any remote association with the National Socialist party, this work epitomises the unflinching position of this communal exhibition, which essentially strives to challenge visual historical stereotypes. Viewing the baroque Viennese urbanscape from Renfah’s swastika on the roof, it is easy to see how the Nazi dictatorship had envisaged a proud legacy for their Flakturms, with triumphant plans to convert the coarse concrete facades into marble-clad public monuments, presenting golden portraits of Hitler. It is however, in recalling his 1937 speech at the opening of the ‘Degenerate Art’ exhibition in Munich, where the National Socialist Party exhibited representative works of avant-garde art as evidence of corruption, madness and cultural bolshevism, that such a progressive exhibition of contemporary visual art in these now defunct structures, effectively serves as an inspiring neutraliser of a dark history.

brothesen flakturm 2009

view from google earth

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