We were invited to the electronic music studio at WORM to prepare material for a radio play to be broadcast on the Dutch national radio channel VPRO
The magnificent ARP
Our piece entitled ‘duration unknown’ was made for the show Cafe Sonore. The finished work involves direct intervention from the radio broadcaster who is required to announce during playback that due to time pressure they must skip through a long ‘boring’ section in the middle. The presenter must then hit the fast forward button on the CD player, until they reach the correct amount of time remaining for their radio show
All the electronics were recorded on the array of analogue synths at WORM, interconnected to some of our instruments and radio or open mic feedback set-ups. We recorded the voiceover in Ürzig. The piece, concerning the uncertainties of modern day car use, unfolds rather more as an unfinished philosophical journey than a physical one. It was conceived as a response to the Kraftwerk song ‘Autobahn’ in relationship to the building of an out-of-time and -place motorway bridge over the Mosel valley near Ürzig in Germany
The Academy of Media Arts and Academy of Music festival Ohrenschmaus was hosted in some unusual venues. We offered to perform a Vinosonic event with biodynamic vintner Rudolf Trossen for the students, to run alongside their explorations of sound and nature in a wild garden in Cologne. Shelter was provided for concerts under the barn roof
Preparing to play alongside the vegetable plot. The atmosphere was informal and conducive to sonic experimentation
Tonic Train set-up in the barn
Rudolf Trossen seducing the students with his magical tales of wine and mythology. In contrast to our last Vinosonic event where we introduced wine lovers to experimental music, here we introduced exquisite wine to sonic explorers. They were bowled over, and many took wine home for their parents and friends to try
Seeing as we live in the outstanding Riesling-producing region of the world we thought it was about time to create a live event combining wine and abstract music. We invited our regular collaborator Gunter Pretzel from the Munich Philharmonic Orchestra to join us for a wine tasting in which we played a short piece for each of the selected first-class wines. The extraordinary surroundings were provided by the painter and glass artist Mana Binz. The event was part of the Mosel WeinKulturZeit festival
The music… a trio without a name. ‘Goldwingert’ was suggested by the audience (the name of a 0.3 hectare top quality vineyard in our home village of Ürzig). Before each short improvisation, we sampled a wine. At the risk of the music becoming kitsch we did not try to translate the wines into sound, but simply to offer our impressions of them
The wine… helped along by the sparkling expressions of Rudolf Trossen, who told a story about each wine after the audience had savoured it during the music. The listeners were extremely knowledgeable, (as you would imagine for a crowd made up partly of vintners), and one person could not only name each vineyard and vintage tasted, but each individual wine estate. Impressive
Art Special: Klingelpütz Parkuhr
Based in and around the Hansa Gymnasium, Art Special is an event held every few years in cooperation with Art Cologne. In 2010 the project was designed to establish new connections between the schools and colleges surrounding the small urban Klingelpütz park near the centre of Cologne. A group of 20 artists were commissioned by directors Uta M. Reindl and Georg Dietzler to work on individual projects within one of the schools. We choose to work with a group of 14 to 16 year old pupils at the Gymnasium on a radio installation for Klingelpütz park which we called Klingelpütz Parkuhr
We were assigned the student mentors Marieke Schneider, Samira Schäfer and Hannah Stelberg at the UNESCO-supported Hansa Gymnasium. Their job was to help us realise the project by managing our student group and offering technical assistance. Spanning several sessions we worked over a few months with the group to produce tiny soundscapes to play as a 72 hour sound installation in Klingelpütz park. The idea was that every hour on the hour the Klingelpütz park clock would strike all over the park – from multiple sound sources hidden in trees and bushes. Each and every hour would offer a new audio surprise to whoever or whatever happened to be passing
We wanted shower radios to diffuse the installation and ensure it remained weatherproof, so along with the students we selected some nice frogs for the job. Once we had tested the transmission set-up, we set off to the park to find suitable locations and test out some camouflage. It was noticeable to us how far removed today’s teenagers already are from the concept and awareness of radio. Yes, if you send a signal, any radio can pick it up!
The installation required a transmission site to host our radio transmitter and antenna. The perfect spot was a medieval tower, part of the former city wall. Now housing a youth club, it was possible to have easy access to the building. Unfortunately the pigeons had not all moved out of the roof space. [Photo of our equipment set-up by Alexander Basile]
We found some more willing volunteers who helped fix some radios in out-of-reach places. Others were simply well concealed by foliage, which, despite having drawn up a decent plan, made it somewhat tricky to perform ongoing daily checks to ensure that all were still broadcasting true to frequency and had not wandered off to a nearby station. The installation was designed to be perfectly quiet in between the short hourly soundscapes, therefore it required a fair bit of maintenance. Our helpers were a godsend
During the planning phase, we had been warned about attempting to work with equipment in the park because it was supposedly home to rival gangs, who would not tolerate an invasion of their territory by artists. After working there intensively over a week, we observed very little to cause concern. On the final day, some local boys discovered the radios and set about removing them from the trees. Watching them playing the dials, it confirmed our perception of a generation removed from the experience of receiving radio signals. Of course they were not happy when they saw me [Sarah] photographing them, and tried to intimidate me a little. I explained that I was documenting the radios as part of our project. It turned out that they knew about Art Special, so when they started up the next tree I asked them to leave the rest in place until the end. They gave up and ran off half exhilarated by their ‘crime’, and half curious about our extraordinary encounter, which had seen them get accidentally involved in an art project
Other public reactions were of equal puzzlement. A sound appeared, and then it was gone. What was it? How? Why? A soundscape suddenly alerted their ears, and just as suddenly all returned to normal. Until an hour later.
One radio hanging high above a corner of the park apparently frequented by junkies was destroyed. Someone had thrown rocks at it, perhaps spooked in the middle of the night by strange noises…
And who can blame them?
Visitors to Art Special heard about the installation in the park and went along to experience it. They did not know however where the radios were placed. This was deliberate, we explained to the parents of our group who were exasperated at not hearing their offspring’s work:
…the installation was designed to take the public by surprise, not to function as an exhibition space. It was fascinating as these visitors then described all the sounds they had actually heard when not sure what to listen out for. So for them the installation had been activated in a different way – by ‘standing in a park listening’
We had to dismantle the installation during the day while the park was still inhabited, but our apprehension soon turned to pleasure when people started asking us if we were the ones responsible for the noises. The old ladies assured us it would take more than a few peculiar sounds to disturb them, others told of how they had been convinced their friends were playing tricks on them for a few days until one of their party had managed to track down one of the radios. The mood was genial, people we met in the park were quizzical about the project, and some liked it so much they wished it would remain permanently active. We left feeling extremely satisfied and realised that we had become sentimentally attached to the special atmosphere defined by the boundaries of Klingelpütz Park. Today it is a fitting living memorial: until 1968 it was not a park, but the largest prison in Cologne. Between 1933 and 1945 more than 1000 opponents of the Nazi regime were executed here