奥地利维也纳展览 - Ear Appeal (耳朵呼吁)
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最后更新：2006/10/15 17:00:42 by
Annette Weisser: Kanon, 2006, Video DVD, 1:40 min. ©the artist
Co-produced by Ö1 Kunstradio / Austrian Radio (ORF)
(information below comes from Kunsthalle Exnergasse's website)
EAR APPEAL
耳朵呼吁
2006年10月19日至11月18日
参加艺术家: Artists: Rashad Becker (DE), Justin Bennett (GB/NL), Benjamin Bergmann (DE), Elisabeth Grübl (A), Arthur K?pcke (DE/DK), Genesis P-Orridge (USA), Ultra-red (USA), Ruszka Roskalnikowa (PL), Paula Roush/msdm (PT/GB), Mika Taanila (FIN), Annette Weisser (D)
策划人: Doreen Mende
地点:
Kunsthalle Exnergasse
Wahringerstrasse 59
2nd staircase, 1st floor
A 1090 Vienna
奥地利维也纳
网站：[url]http://www.kunsthalle.wuk.at
跟艺术广播合作（Kunstradio）：[url]http://www.kunstradio.at
--------------------------------------------------------------------------------
Jacques Attali 说：“听音乐相当于听声音，但知道这个声音的专用和控制反映一种权力，并说是一个政治化的权力。”我们的声音环境比图像更影响我们的日常生活。声音风景限定经济、社会和文化的领域。11个艺术家通过因地制宜（site specific） 作品回答“声音如何影响我们的社会？”。这些作品关注两个方面：空间的控制和制作。
Ear Appeal（耳朵呼吁），由Doreen Mende策划，不是一个声音艺术展览，而把声音当一个概念和分析的材料，考察声音如何限定空间和发挥控制。天天我们被声音围着：城市的声音波浪，百货大楼的音乐，电梯音乐，电话里“请稍候”的音乐，大酒店里的休闲音乐，饭馆和医生候诊室的音乐。我们不仅仅面对广播和电视的广告,还面对车门碰的一声或一个饼干的嘎吱作响的声音.我们不光通过耳朵感觉声音,而通过皮肤,嘴巴,鼻子和骨头.60年代的时候,Muzak Inc.的口号是：“听无聊的音乐的时候无聊的工作就不这么无聊了”。Muzak有意的声音是一个20年代的概念。是一个很好的例子描述声音如何被用为了控制和监视超市里消费者的态度，不光超市里，还有工厂，公园，医院和游泳池。在这儿，Foucauld国际化的权力和惩罚在声音方面被用的。
像John Cage说，没有无声。声音限定空间而空间让我们感觉到声音。展览里的几个作品关注维也纳的社会和政治声音现象。
从10月29日至11月5日，每个星期天晚上，晚上23:05， “耳朵呼吁”在[url]http://www.kunstradio.at （艺术广播）
EAR APPEAL
“Listening to music is listening to noise, realizing that its appropriation and control is a reflection of power, that is essentially political.” – Jacques Attali
Our sonic environment has a far more direct impact on daily actions than just suggestive image production. Soundscapes define economic, social, and cultural territories. In response to the question “How does sound influence our society?”, eleven artists deal in site-specific works with two issues: control and the production of space.
Ear Appeal, curated by Doreen Mende, is not a sound-art exhibition: instead, it approaches sound as conceptual and analytic material, examining the ways sound defines space and exerts control.
Every day, we are surrounded by sound waves in the city, functional music in shopping malls, elevator music, telephone please-hold-the-line loops, and the comforting tinkles in hotel lobbies, restaurants, and doctors’ waiting rooms. Audio-branding confronts us through radio and television, but also in the slam of a car door or the crunch of a cookie. We perceive noises not only with our ears: sound waves are also absorbed by the skin, nose, mouth, and bones. In the sixties, a standard slogan of Muzak Inc. was “Boring work is made less boring by boring music.” The intentional sound of muzak, a concept developed in the 1920s to describe functional tape music designed for specific target groups, is one of the best examples of how music and silence are used in the control and surveillance of consumer behavior in supermarkets, but also in factories, parks, clinics, and swimming pools. Here, the Foucauldian internalization of discipline and power is perfected on the level of hearing.
As John Cage stated, there is no absolute silence. Sound defines space and space allows sound to be perceived. A key approach of several works in the show, some of them new, is the mapping and unraveling of sound phenomena in the political and social fabric of urban Vienna. These methods develop a direct relationship with the city, functioning as an inventory and acoustic field guide. An exhibition on the theme of sound in public and social space cannot take place solely indoors. Research, radio transmissions and on-site institutional cooperations will expand the exhibition space of the Kunsthalle Exnergasse out over the city, the source of the material being explored.
In her new work, produced in the venerable broadcast hall at Austrian Radio (ORF), Annette Weisser questions definitions of cultural identity. Based on a series of interviews in Berlin, Paris, and Vienna, Rashad Becker’s installation creates an audio feature on people’s understandings of work. The contribution of Fluxus artist Arthur Köpcke takes a BBC radio program to absurd lengths. In a text piece, Genesis P-Orridge focuses on how we can use information and strategies to fight a guerilla war against muzak. Artist and filmmaker Mika Taanila documents the phenomena of functional music. Ruszka Roskalnikowa translates familiar strategies of video surveillance to sound. Sound cannot always be escaped in the same way images can, as visitors experience in sculptural installations by Benjamin Bergmann and Elisabeth Grübl which push the relationship between sound waves, the body, and the space to extremes. As part of his ongoing cities project, Justin Bennett contributes a cartographic audio recording of Vienna. Urban space is analyzed by Paula Roush/msdm in terms of protest culture: including a workshop, her piece is the latest installment in her Protest Academy project. The installation by Ultra-red is the setting for a gathering where political activism and artistic praxis are discussed via the concrete question of how the concept of ‘poverty’ in Vienna can be differentiated and defined in acoustic terms.
Wednesday, October 18, 19:00 - Exhibition opening
Saturday, October 21, 12:30 - Encuentro fascilitated by Ultra-red/Manuela Bojadzijev (Berlin) and Dont Rhine (Los Angeles)
Saturday, November 11, 14:00 - Protest Academy Workshop with Paula Roush/msdm
Sunday evenings (October 29, November 5 12, all starting 23:05): “Ear Appeal” on Ö1 Kunstradio [url]http://www.kunstradio.at
A cooperation with Ö1 Kunstradio. [url]http://www.kunstradio.at
Kunsthalle Exnergasse
Tuesday – Friday: 14:00 – 19:00
Saturday: 10:00 – 13:00
Contact: Christina Nägele
[email]christina.naegele@wuk.at
Tel 43.1.40121-41
Währingerstraße 59
2nd staircase, 1st floor
A 1090 Vienna
[url]http://www.kunsthalle.wuk.at
Co-produced by Ö1 Kunstradio / Austrian Radio (ORF)
(information below comes from Kunsthalle Exnergasse's website)
EAR APPEAL
耳朵呼吁
2006年10月19日至11月18日
参加艺术家: Artists: Rashad Becker (DE), Justin Bennett (GB/NL), Benjamin Bergmann (DE), Elisabeth Grübl (A), Arthur K?pcke (DE/DK), Genesis P-Orridge (USA), Ultra-red (USA), Ruszka Roskalnikowa (PL), Paula Roush/msdm (PT/GB), Mika Taanila (FIN), Annette Weisser (D)
策划人: Doreen Mende
地点:
Kunsthalle Exnergasse
Wahringerstrasse 59
2nd staircase, 1st floor
A 1090 Vienna
奥地利维也纳
网站：[url]http://www.kunsthalle.wuk.at
跟艺术广播合作（Kunstradio）：[url]http://www.kunstradio.at
--------------------------------------------------------------------------------
Jacques Attali 说：“听音乐相当于听声音，但知道这个声音的专用和控制反映一种权力，并说是一个政治化的权力。”我们的声音环境比图像更影响我们的日常生活。声音风景限定经济、社会和文化的领域。11个艺术家通过因地制宜（site specific） 作品回答“声音如何影响我们的社会？”。这些作品关注两个方面：空间的控制和制作。
Ear Appeal（耳朵呼吁），由Doreen Mende策划，不是一个声音艺术展览，而把声音当一个概念和分析的材料，考察声音如何限定空间和发挥控制。天天我们被声音围着：城市的声音波浪，百货大楼的音乐，电梯音乐，电话里“请稍候”的音乐，大酒店里的休闲音乐，饭馆和医生候诊室的音乐。我们不仅仅面对广播和电视的广告,还面对车门碰的一声或一个饼干的嘎吱作响的声音.我们不光通过耳朵感觉声音,而通过皮肤,嘴巴,鼻子和骨头.60年代的时候,Muzak Inc.的口号是：“听无聊的音乐的时候无聊的工作就不这么无聊了”。Muzak有意的声音是一个20年代的概念。是一个很好的例子描述声音如何被用为了控制和监视超市里消费者的态度，不光超市里，还有工厂，公园，医院和游泳池。在这儿，Foucauld国际化的权力和惩罚在声音方面被用的。
像John Cage说，没有无声。声音限定空间而空间让我们感觉到声音。展览里的几个作品关注维也纳的社会和政治声音现象。
从10月29日至11月5日，每个星期天晚上，晚上23:05， “耳朵呼吁”在[url]http://www.kunstradio.at （艺术广播）
EAR APPEAL
“Listening to music is listening to noise, realizing that its appropriation and control is a reflection of power, that is essentially political.” – Jacques Attali
Our sonic environment has a far more direct impact on daily actions than just suggestive image production. Soundscapes define economic, social, and cultural territories. In response to the question “How does sound influence our society?”, eleven artists deal in site-specific works with two issues: control and the production of space.
Ear Appeal, curated by Doreen Mende, is not a sound-art exhibition: instead, it approaches sound as conceptual and analytic material, examining the ways sound defines space and exerts control.
Every day, we are surrounded by sound waves in the city, functional music in shopping malls, elevator music, telephone please-hold-the-line loops, and the comforting tinkles in hotel lobbies, restaurants, and doctors’ waiting rooms. Audio-branding confronts us through radio and television, but also in the slam of a car door or the crunch of a cookie. We perceive noises not only with our ears: sound waves are also absorbed by the skin, nose, mouth, and bones. In the sixties, a standard slogan of Muzak Inc. was “Boring work is made less boring by boring music.” The intentional sound of muzak, a concept developed in the 1920s to describe functional tape music designed for specific target groups, is one of the best examples of how music and silence are used in the control and surveillance of consumer behavior in supermarkets, but also in factories, parks, clinics, and swimming pools. Here, the Foucauldian internalization of discipline and power is perfected on the level of hearing.
As John Cage stated, there is no absolute silence. Sound defines space and space allows sound to be perceived. A key approach of several works in the show, some of them new, is the mapping and unraveling of sound phenomena in the political and social fabric of urban Vienna. These methods develop a direct relationship with the city, functioning as an inventory and acoustic field guide. An exhibition on the theme of sound in public and social space cannot take place solely indoors. Research, radio transmissions and on-site institutional cooperations will expand the exhibition space of the Kunsthalle Exnergasse out over the city, the source of the material being explored.
In her new work, produced in the venerable broadcast hall at Austrian Radio (ORF), Annette Weisser questions definitions of cultural identity. Based on a series of interviews in Berlin, Paris, and Vienna, Rashad Becker’s installation creates an audio feature on people’s understandings of work. The contribution of Fluxus artist Arthur Köpcke takes a BBC radio program to absurd lengths. In a text piece, Genesis P-Orridge focuses on how we can use information and strategies to fight a guerilla war against muzak. Artist and filmmaker Mika Taanila documents the phenomena of functional music. Ruszka Roskalnikowa translates familiar strategies of video surveillance to sound. Sound cannot always be escaped in the same way images can, as visitors experience in sculptural installations by Benjamin Bergmann and Elisabeth Grübl which push the relationship between sound waves, the body, and the space to extremes. As part of his ongoing cities project, Justin Bennett contributes a cartographic audio recording of Vienna. Urban space is analyzed by Paula Roush/msdm in terms of protest culture: including a workshop, her piece is the latest installment in her Protest Academy project. The installation by Ultra-red is the setting for a gathering where political activism and artistic praxis are discussed via the concrete question of how the concept of ‘poverty’ in Vienna can be differentiated and defined in acoustic terms.
Wednesday, October 18, 19:00 - Exhibition opening
Saturday, October 21, 12:30 - Encuentro fascilitated by Ultra-red/Manuela Bojadzijev (Berlin) and Dont Rhine (Los Angeles)
Saturday, November 11, 14:00 - Protest Academy Workshop with Paula Roush/msdm
Sunday evenings (October 29, November 5 12, all starting 23:05): “Ear Appeal” on Ö1 Kunstradio [url]http://www.kunstradio.at
A cooperation with Ö1 Kunstradio. [url]http://www.kunstradio.at
Kunsthalle Exnergasse
Tuesday – Friday: 14:00 – 19:00
Saturday: 10:00 – 13:00
Contact: Christina Nägele
[email]christina.naegele@wuk.at
Tel 43.1.40121-41
Währingerstraße 59
2nd staircase, 1st floor
A 1090 Vienna
[url]http://www.kunsthalle.wuk.at
老公你放心，我不会跟顶贴超人跑的.*>_<*
