This article was more an interview between two curators and the history of sound arts in Germany. It starts by speaking about the differences between sound arts and what sound arts is considered in Germany. For example, they don’t call it sound arts but Klangkunst. Klgankunst is seen more about space and as visual art whereas sound arts is more typical to experimental music. This really shows the differences between culture and how our idea of sound arts can at times be broad and unspecific. For Klgankunst space is important in this German sound art installation form. Not just experimental music but the idea of space and sound. It seems that space and sound really are important in an installation and the idea of how they can combine to enhance an area. I really want to consider and plan the space I’m given for the gallery.
Ever since 2010, when the Turner Prize went to a sound installation for the first time, the visual-art world’s interest in the so-called “loudspeaker art” has been growing. All at once the market started paying attention; it was suddenly clear – like when the flat screen arrived in video art – that there was something to buy and sell there. It’s happening more and more now, whether you have four, twenty-four, or a hundred speakers in a room. The visual-art scene finds it exciting if every now and then, in the middle of the exhibition gauntlet, you have a kind of movie for your ears, to activate the mind’s eye’
This curator speaks on the importance of sound sculptures amongst sound art and the bridge it gives to the more historical context an art gallery has, coming from a more visual arts background. Combining sound and objects and having them for sale can bring more attention to the art world. It seems in modern-day times there is always news about how much a specific art piece has sold for and this is an aspect that sound arts sometimes cant partake in. Although the sound has a physical experience when consumed it’s something you can sell physically, the sound waves cant be owned. Now, this is more a capitalistic issue in art, where it needs to be valuable in order to be seen as important or useful in our society. I do have ideas for a sound sculpture for the space but I’m unsure if my decision making will be affected by the value in what I’m making but rather to create the idea of taking back space I’m not usually allowed to be in.
When you’re working with sound in space, you really need time and quiet on-site.
I’ll take this into consideration when attending Gallery 46 to look at the space, I will hear the acoustics as well as what I can do in this space. Half the decision is choosing the room for the proposal.