The Sound of Eierschneider

Licht-/Klangobjekt 1992

Größe: 88 x 76 cm. Material: Ölkreide auf Multiplex, Plakatfarbe auf Serrholz, Eisen, Gebläse, Lametta, Lichterkette, Eierschneider.

Hamburg Stipendiaten K3, Hamburg 1992, Galeria Arsenal Bialystock (Pl.) 1992, International Art Center Posnan (Pl) 1993.

At first glance they seem to be ‘abstract’ and free of concrete function, even if one can find familiar everyday objects, such as three ping-pong balls in Pulsars and an egg-cutter that is integrated in the central opening of the second object. From the back threads of lametta flutter against the cutting wires and produce a metallic sound; amplified through spatial resonance and loudspeakers ‘material sound’ is ‘transmitted': the tightened metal wires of the kitchen utensil have become strings of a strange musical instrument. One of the sound openings of the cosmic-blue object is formed as an early-Byzantine note symbol.
The sounds as such arouse associations of mechanical chimes or tubular bells touched by the stream of air. Every ‘body’ is loaded with energy, has its vibration and can be set swinging. The German avant-garde film-maker Oskar Fischinger in a conversation with John Cage once said: Every object has a soul; and this soul can be released by setting the object swinging.

Galeria Arsenal Bialystock (Pl.) 1992 1/4 Galeria Arsenal Bialystock (Pl.) 1992