Darsha Hewitt, Andreas Maier, Superposition, Dietmar Wiesner and others at Goldstein Gallery
Listening as a time-based experience has long been an integral part of contemporary art and in this respect can also be read as a link between visual art and music. The artist Jean Tinguely uses dissonant sounds as sculptural material in his works. While Oswaldo Macia arranges over two thousand bird voices in an impressive symphony in his work “Something Going On Above My Head”, John Cage uses silence as the basis of his “sound work” in his famous work “4′33”.
In the field of art in particular, we encounter the sonic or audible in many forms: in the form of sound art, noise, sounds, vibrations, free improvisation, strict composition, experimental and interactive formats, language via art to technically complex sound installations and unambiguous music.
Listening offers a broadening sensual and thus possibly completely different experience than the purely visual. For example, audio guides in some museums offer people with visual impairments the opportunity to become acquainted with works of visual art in the first place. Language as a means of visual art enables complex narratives and thus another level of content. However, sound (and thus also the absence of sound) is above all capable of opening up its own associative spaces, creating physically perceptible volumes or making time tangible.
In the context of the event series “Über das Hören / About Sound”, the aspects of listening become the subject of artistic exploration in different ways.
1 June to 29. July, 2023
Darsha Hewitt, Andreas Maier, Superposition, Dietmar Wiesner and others at Goldstein Gallery
Listening as a time-based experience has long been an integral part of contemporary art and in this respect can also be read as a link between visual art and music. The artist Jean Tinguely uses dissonant sounds as sculptural material in his works. While Oswaldo Macia arranges over two thousand bird voices in an impressive symphony in his work “Something Going On Above My Head”, John Cage uses silence as the basis of his “sound work” in his famous work “4′33”.
In the field of art in particular, we encounter the sonic or audible in many forms: in the form of sound art, noise, sounds, vibrations, free improvisation, strict composition, experimental and interactive formats, language via art to technically complex sound installations and unambiguous music.
Listening offers a broadening sensual and thus possibly completely different experience than the purely visual. For example, audio guides in some museums offer people with visual impairments the opportunity to become acquainted with works of visual art in the first place. Language as a means of visual art enables complex narratives and thus another level of content. However, sound (and thus also the absence of sound) is above all capable of opening up its own associative spaces, creating physically perceptible volumes or making time tangible.
In the context of the event series “Über das Hören / About Sound”, the aspects of listening become the subject of artistic exploration in different ways.
For further information visit: Über das Hören – Atelier Goldstein (atelier-goldstein.de)