Sound art in public spaces constitutes the centre of Bonn Hoeren’s artistic work and research area. Initiated in 2010 by the Beethoven Foundation for Art and Culture of the City of Bonn, the curated project by Carsten Seiffarth (Berlin) has been studying continuously the acoustic conditions and sonic contexts which define modern urban spaces. For that Bonn Hoeren appoints yearly one artist to be that year’s city sound artist of Bonn. And with a residency the artist realizes a new sound installation for the city. In addition, the residences include acoustic research and onsite investigations as well as scientific side events and education projects.
The exhibition »Urban Sound Art« documents the large sound installation projects created by Bonn city sound artists since 2010. Works by Sam Auinger (2010), Erwin Stache (2011), Andreas Oldörp (2012), Christina Kubisch (2013), Max Eastley (2014), Stefan Rummel (2014), Edwin van der Heide (2015) and Gordon Monahan (2016) give an overview of how diverse the sound artists’ engagement with urban situations and spaces under Bonn Hoeren is.
»Urban Sound Art« is an exhibition of Bonn Hoeren, a project from the Beethoven Foundation for Art and Culture of the City of Bonn.
In Collaboration with the Goethe-Institut Santiago.
Artistic and Project Leader: Carsten Seiffarth
Co-curator, exhibition texts: Markus Steffens
Translations: Philip Jacobs
Set-up in Santiago: Carsten Stabenow
Design: graphic office cyan
If from time to time I ascribe independent agency to noise, I hope to catch myself at paragraph’s end and return us to the people, hard-pressed, middling or wealthy, young or middling or centenarian, urban or rural or suburban, military or civilian, who give meaning to noise.
quote source: Hillel Schwartz - Making Noise - From Babel to the Big Bang and Beyond, MIT University Press, 2011
The rhythmanalyst calls on all his senses. He draws on his breathing, the circulation of his blood, the beatings of his heart and the delivery of his speech as landmarks. Without privileging any one of these sensations, raised by him in the perception of rhythms, to the detriment of any other. He thinks with his body, not in the abstract, but in lived temporality.quote source: Henri Lefebvre, Rhythmanalysis – Space Time and Everyday Life, Continuum, 1992
Think of pavement as a rough sound ribbon whose recording and playback mechanisms are shoes, hooves, wheels, canes, pelting rain, hail, and other falling objects. For each groove, rut, or pothole worn into the surface, the pavement returns a vibration peculiar to the shape and depth of the fissure and to the weight, pressure, pace, and contact-Contour of each footfall, hoof-beat, or Wheel-spin. In this sense, pavement is more sonically dynamic and temporally responsive than any gramophone or (as first conceived by Valdemar Poulsen during the 1895) magnetic recording Wire.
Hillel Schwartz - Making Noise - From Babel to the Big Bang and Beyond, MIT University Press, 2011
As you walk through the city you weave spaces together in a subjective way: this can never be captured objectively, say by drawing maps to trace journeys, since it is the experience of walking or ‘passing by’ that counts. Maps are typical forms of fixation of the flux of everyday life, which try to pin it down by abstracting heavily from it.
source quote: Michel De Certeau, The Practice of Everyday Life, University of California Press, 1984