160209: Georg Kargl Fine Arts: Feedbackstage

Georg Kargl Fine Arts: Feedbackstage In the Domino field of sound-art “Feedbackstage”, the title of the project presented at Georg Kargl Fine Arts, includes all connotations of amplified and recorded music. The range of works spans from the revolutionary plug-in mode on rock stages and sound-art to new compositions. The dynamics of the show, curated by Fiona Liewehr, stretch from calm, intimate, chamber music to loud, noisy explosions; from largo, larghetto to adagio, allegretto, and a distinct presto. A series of compositional drawings by Willem Engelen “Verstrijken für Viola”, 2007, is very intimate, and was based on recorded emotions of musicians and the sound transformation is mediated through a small audio station – which is in sharp contrast to what’s going on at the far end of the gallery, where you will find Jimi Hendrix’ scandalous performance of “The Star Spangled Banner”, at the legendary Woodstock Festival in 1969. In this work, created by the artists Janet Cardiff /George Bures Miller and Cory Arcangel, the music is played via Apple GarageBand Program. Undoubtedly, the central theme is the reciprocal influence of sound and picture. All in all, the exhibit is a mix of sound-art mingled with positions of conceptual art. Among the works shown are Erwin Thorn’s drawings “Random Tunes”, Christian Marclay’s “Echo” (1992), as well as Gerwald Rockenschaub’s pictograms based on sound. The “Black Market” logo, representing the no longer existent record shop in Vienna, is mounted on the gallery’s outside wall. Other works include Peter Weibel’s “Erfindung des Zündschalls” (1996), a matchbox-size turntable set in contrast to the dimensions of a stand, created by Michael Gumhold, (2009), and Albert Mayr’s “Rock n’ Roll Interface” (2009), an equipment-collage aimed at starting all kinds of wah-wah, fuzz and feedback effects of Rock-n’-Roll history. Works by Bernhard Leitner, Steven Prina, or Idris Khan, are also presented. Walking through the exhibit it becomes increasingly difficult to find a central theme. But that seems to be immanent to this kind of a project, since the conceptual transgressions in the direction of sound cannot easily be summarized in one stream of art history. It is more about highly differentiated positions in very divergent contexts. And it is exactly these kinds of moments that create the excitement. The interpretations can be extended by a change of perspective as well as re-contextualisation; and the system itself could be expanded similar to a game of Domino. Roland Schöny Georg Kargl Fine Arts 1040 Vienna, Schleifmühlgasse 5, until 07.03.09 www.georgkargl.co

Galerie Georg Kargl
1040 Wien, Schleifmühlgasse 5
Tel: +43 1 585 41 99, Fax: +43 1 /585 41 99-9
Email: office@georgkargl.com
Öffnungszeiten: Mi-Fr 13-19
Sa 11-16h sowie nach Vereinbarung

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