Josef Reiter
:
On the Gradual Deepening of the Building On Hearing V
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In the works of Josef Reiter the connection to the space is the foreground. The precise exploration of a room with a few sounds is at the same moment an inquiry into its reality. This field of perception, exploring and at the same time questioning, calling into consciousness or alienating, is a quality of his precise sound-sculptures and sound-installations1.
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The 36 metre long and 7 metre high as well as wide orangery, designed by Johann Lucas von Hildebrandt with the largest slanting leaded glass façade in Europe, allows the interleaving of indoor space and the outdoor space in the Paradiesgarten and towards the sky to be experienced as the "ecstasy of infinity".
The engagement with different spatial concepts for "symbolic space" (the 'spirit' and the history of the space), the "mathematical-geometric space" (the spatial proportions, represented by the dimensions height, breadth and length) and the "physical-acoustic space" find themselves transformed in Orangerie Sounding, taking the acoustic analysis, "the acoustic fingerprint" of the orangery as a basis and initial point of the sound installation.
Samples of a Viola da Gamba, a theorbo, an harmonica and a contrabass flute recorded in the studio as well as directly on location, were filtered and tuned to the space, using the sound clips and the dynamics structurally and not symbolically, in this process. Sustained frequencies and short pulsating sounds cause the space to emit tones as an instrument. The lengths of the individual tracks are calculated to generate one continuous sound that is perpetually changing and never repeats itself.
The speakers are precisely positioned partly in the former technically revolutionary underground hot air system. Moving on the borders into the threshold of audibility Orangerie Sounding is frequently more perceptible as a presence in the space than as musical manifestation. Visual and audible impressions melt into a complete subtle whole on entering the setting of the installation, abstract (cerebral) spaces are reflected in the existing concrete space.
(Martina Zadrazil)
10th of april 2011 - 1st of november 2011
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