FUGA N22 unfolds through fine sounds and lines into immersive worlds whose origin is in actual realities of our environment, in their fleeting moment of appearance and disappearance. Inspired by John Cage’s ideas and his imaginary landscapes, this work further explores the visual, third and fourth dimensions (space and time) of experienced musicality. Jan Arnold Gallery’s showroom in the Passage of Q21 (MuseumsQuartier) features brass and steel assemblages, sound and mixed media, and experimental blueprints. Once describing the roots of sound sources, then becoming a loop, they bring fragments of memory to life through sound. The stained glass window stretches the osmotic boundaries between nature and artificiality, the speed of urban rhythm and the quiet of places that evoke memories of other places with their soundscapes. There are open and closed lines, flat and three-dimensional, multiplicities and dichotomies, testing dialogues with multiplicity and articulating space in time like an open score. Text, sound sequences, and silence as a poetic approach to punctuation to bridge temporal distances are combined in intermittent frequencies. A counterpoint of sounds between natural species is clearly audible. These sound sequences, which form the basic tapestry, are captured recordings of the environment and distant landscapes from personal archives and found material of multimedia origin. Spatially distributed in two loops over several small speakers, the sound collage refers to the here and now, to the very moment when the one who perceives it makes it his own.
Photos © Sebastian Schager
Performance in context of the exhibition FUGA N22
Duba Duba /// Liliana Arreola, Juliana Herrero: on the composition „Equilibrio“ fragment from „Cantos de la Tierra“ by Galia Mirscha (text and music).
Fragments on the piano by Barbara Probst, Sound Tepich Collage Archive Material (JH)