IDEA: Sound spreads out in space, and that thus becomes space itself.
WHAT: The exhibition is given the aforementioned English title, but its German name, Raumschall, is perhaps more fitting. However there’s no actual sound in the exhibition, it is sound waves that inspired the three works that comprise the show.
In the fore of the storefront gallery is a geometric installation in black and shades of blue in painted cardboard creeping up the corner of the gallery and onto the windowsill. In the center of the room is a white linear installation, illuminated in pink from a glowing neon light hanging on the back wall. The piece is made of hundreds of square wooden rods cut to different sizes, and has the effect of multiple soundwave visualizations smashed together in different directions. Finally, on another wall is a projection of a slowly-rotating disco ball, halfway covered in black, as if dipped in paint. Together, the works offer three visual interpretations of the immaterial resonation of sound: in one sense, sound can slowly yet bulkily overtake a room; in another sense, irregular sine waves can translate sound into vision; while the disco ball represents, besides the go-to decoration of a nightclub, the way that sound reflects off objects and back into the space around it.
WHY: Each element of the installation refers to monumental architecture and landforms and yet manifests itself into independent and abstract structures in space by relating to one another. Such as the formation recalling somewhat a mountain landscape does, when transforming into a honeycombed architecture consisting out of hundreds of rods; further anchored to the floor, thus shapes connect to the projection of a rotating disco ball. And, in turn, such object functions similar to a visual sound object by sending back sound in multiple directions. By doing so, sensual experience is being linked to crystalline sculpture and virtual image.