| Ulrich Eller |
Resonanzbehälter 2006 Exhibition
Allianzgebäude am Ostbahnhof
Permanente Installation Technical components: player unit, amplifiers, transducers, loudspeakers, floor lighting; Size: [W:540cmH:185cmD:50cm]
Permanente Installation Technical components: player unit, amplifiers, transducers, loudspeakers, floor lighting; Size: [W:540cmH:185cmD:50cm]
A formation of identical metal cabinets is the
starting material for the sound sculpture Resonanzbehälter (resonance
container). Placing the cabinets exactly next to each other in a row creates
the visual impression of one large structure. In contrast to the way cabinets
usually are positioned, this structure can be approached from all sides. While
the fronts of the closed doors remain the focal aspect, the whole thing vibrates
and is the starting point for an acoustic manipulation that makes the material
itself — the sheet metal of the sides, bottoms and shelves — audible.
Sound moves the material as independently-acting resonance in an otherwise completely hermetic object — even as the visual unity of the row of cabinets as a whole contradicts that independent acoustic life. Nothing exists that is serial or linear, but there is a vibration that encompasses the entire entity, and which allows concrete occurrences within to be intermittently perceived from outside. The intensity of the frequency impulses is drowned out both by the volume of the oscillations that have been generated in the material and by vibrations that can be felt. An indirect line of light running along the floor underlines the strangeness of the sounding object.
Sound moves the material as independently-acting resonance in an otherwise completely hermetic object — even as the visual unity of the row of cabinets as a whole contradicts that independent acoustic life. Nothing exists that is serial or linear, but there is a vibration that encompasses the entire entity, and which allows concrete occurrences within to be intermittently perceived from outside. The intensity of the frequency impulses is drowned out both by the volume of the oscillations that have been generated in the material and by vibrations that can be felt. An indirect line of light running along the floor underlines the strangeness of the sounding object.
Ulrich Eller,
born 1953 in Leverkusen; lives and works in Norderheistedt/ Ditmarschen.
Eller works in the fields of sound sculpture and sound installation. He
studied at the Hochschule der Künste Berlin in the master class of
Professor Herbert Kaufmann (1977-1983) and was appointed professor at the
Fachhochschule Hannover in the faculty of visual arts /department of sculpture
and space, interdisciplinary artistic productions (1994). Since 2004, he
has been Professor of Sound Sculpture/Sound Installation at the Hochschule
für Bildende Künste Braunschweig. Among his most important exhibitions:
dokumenta 8 in Kassel (1987); sonambiente. festival für hören
und sehen in Berlin (1996); and Das XX. Jahrhundert. Ein Jahrhundert Kunst
in Deutschland in the Neue Nationalgalerie in Berlin (1999/2000). He has
received numerous prizes and grants, among them the Karl-Hofer Preis in
1986, the work grant from Kunstfond Bonn in 1991, and a project grant from
the Berlin Senator for Cultural Affairs in 1992 for the Institute for Contemporary
Art P.S.1 Museum in New York. Catalogues of his works include: Ulrich Eller,
Künstlerhaus Bethanien, Berlin 1987; Ulrich Eller, Neue Berliner Kunstverein
(in cooperation with the Stadtgalerie Saarbrücken), Berlin 1992 (Volume
95 in the Contemporary Artists series); Ulrich Eller. Hörstein, Stiftung
Springhornhof, Neuenkirchen/Soltau 1995.
www.hbk-bs.de
