Kalle Laar [djkl & The Temporary Soundmuseum present] | essay |
Stereo Action Club – The sonambiente
public viewing world cup sound art lounge
Haus der Berliner Festspiele Installation, Club, Lounge, Curating; Events from 9 June –9 July 2006
Haus der Berliner Festspiele Installation, Club, Lounge, Curating; Events from 9 June –9 July 2006
The Temporary Soundmuseum:
A collection that manifests itself in different places at different times
/ exhibition / series of presentations of recordings / recorded art: brief
lectures & presentations / installations / dj-ing / portable turntable
/ slides & videos.
With the decline of vinyl, a special part of our culture that is normally hardly considered worthy of attention or even preservation also disappears. Although every moving or unmoving picture (photo, film, video etc.) is self-evidently seen as a part of a broader heritage (or at least the possibility of aesthetic reception is always considered), as a rule no attention is paid to anything connected with sounds. So too, the vinyl record (and all its relatives) is not actually viewed as a cultural asset.
This doesn't mean that we necessarily would want to adopt a nostalgic attitude and try to ›save‹ every record. But our experience shows that a great deal of interesting material that is significant (as a reflection of its time and beyond) and worthy of preservation is in danger of going under.
One of the basic findings of the Temporary Soundmuseum is that hardly any kind of played, spoken, or otherwise acoustically formulated expression exists which did not at some time or other find its way onto a record. Whether it's a matter of music, noises, or talk; of artistic statements (another little known fact: it can be said with only slight exaggeration that almost every significant artist in the second half of the 20th century made recordings) or of charming absurdities such as one of our favourite examples, the record that tells you how to teach your parrot to talk (Train your bird in stereo): no sound has ever hesitated to get into the (mostly) black vinyl grooves.
The Temporary Soundmuseum comes to the Kassenhalle of the Haus der Berliner Festspiele with an exhibition of highlights from its collection of the , all the World Cup games in the original sounds of the participating countries, changing events with musician friends and djs, and absurd commentaries on the subject of football, all embedded in the djkl mix of selected recordings.
With the decline of vinyl, a special part of our culture that is normally hardly considered worthy of attention or even preservation also disappears. Although every moving or unmoving picture (photo, film, video etc.) is self-evidently seen as a part of a broader heritage (or at least the possibility of aesthetic reception is always considered), as a rule no attention is paid to anything connected with sounds. So too, the vinyl record (and all its relatives) is not actually viewed as a cultural asset.
This doesn't mean that we necessarily would want to adopt a nostalgic attitude and try to ›save‹ every record. But our experience shows that a great deal of interesting material that is significant (as a reflection of its time and beyond) and worthy of preservation is in danger of going under.
One of the basic findings of the Temporary Soundmuseum is that hardly any kind of played, spoken, or otherwise acoustically formulated expression exists which did not at some time or other find its way onto a record. Whether it's a matter of music, noises, or talk; of artistic statements (another little known fact: it can be said with only slight exaggeration that almost every significant artist in the second half of the 20th century made recordings) or of charming absurdities such as one of our favourite examples, the record that tells you how to teach your parrot to talk (Train your bird in stereo): no sound has ever hesitated to get into the (mostly) black vinyl grooves.
The Temporary Soundmuseum comes to the Kassenhalle of the Haus der Berliner Festspiele with an exhibition of highlights from its collection of the , all the World Cup games in the original sounds of the participating countries, changing events with musician friends and djs, and absurd commentaries on the subject of football, all embedded in the djkl mix of selected recordings.
Kalle
Laar, lives and works in Krailing near Munich and in Vienna.
www.soundmuseum.dewww.kunstoderunfall.de
www.soundmuseum.dewww.kunstoderunfall.de