press release

Coma – Centre for Opinions in Music and Art presents the group exhibition “Music and Art”. It will show pieces of contemporary artists that work on music and sound.

Carol Bove: In her works Bove reflects social, political and artistic movements in Amerika of the sixties and seventies, as in her vinyl “The Future of Ecstasy” (2003-2004). The spoken text comes from an essay of the same name, Alan Watts published it in 1971. Watts predicts, that the decline of consumption and materialism will allow more stimulating occupations. In 1990 the doors for a new sexuality will be open.

Pash Buzari: For “Songs for a kind” Buzari drafts a series of text works (2005-2006), that are fixed on different backgrounds like posters or windows. The chosen language and form make them seem like unfinished song texts. Buzari also shows a piece of his portrait series “musicnonstop” (2004).

Jan Hammer: “Deep Version II” (2006) reflects the interplay of visual and auditiv perception. The film shows a wall in a dark space, on its surface the spot of a torch is flickering. The music was sampled by Hammer from different science-fiction-soundtracks. Direct and full of memories the music seems to be the key to understand, what is moving there in space. More films of Jan Hammer in the show are “Oblivious” (2005) and “Frank” (2003).

Christian Jankowski: For “No one better than you” (2004) Jankowski invents a sly roll play. For an exhibition project he was asked to film a music video for the spanish cult band Fangorina. Its singer Alaska is a famous punk diva in Spain since the eighties. Jankowski delegates the production to a professional production company, but gave her the misinformation, she should shoot a video for the popular but more mainstream singer Marta Sanchez. Jankowski managed to convince the two singers of this experiment. Both stars melt together to one meta-icon.

Christian Jendreiko: Sound and picture are for Jendreiko only two different sensory manifestations of the same basic mental model. He tries to follow these structures in the collages of his series “Every morning you wake up you must have a song, 365 Collagen” (2004-2006) and in the drawings of the series “Der Anfang des 21. Jahrhunderts (2006). These works are the visual opponent to the acoustic spaces Jendreiko creates in his sound-installations. Michael Müller: His drawing “ohne Titel. decreation“ (2006) is based on a composition of Tom Willems. This one-hour-piece is composed of modulating soundsurfaces and Müller translates their movements, structures and values step by step into the visual medium. In “Tinitus” (2005) Müller deals with the phenomenon of disturbance: like sound waves spreading out, the drawing accumulates around the blankness.

Ben Russell: “The Red and the Blue Gods” (2005) is documenting one of Russells performances of the same year. The film is an ethnographic field report in which an anthropologist describes the mystic creation of an unnamed structure through the ritualized actions of the “Red and the Blue Gods”. These actions increase by the drunkenness of the chosen music. Also shown: Ben Russells film “Black and White Trypps Number One” (2005).

Katja Strunz: Music seems to be a medium of the memory in the works of Katja Strunz. “Yesterday’s Echoes” (2006) is a peppy filmed, folk music style video that shows a group of small metall figurines, an abstract orchestra that comes to live with the Grafensteiner Marsch of Japanses Composer Hiroshi Nawa. Fragments of memories seem to be the sheets of music, that Strunz avails in her enfolding collages.

Klaus Weber: “triptych” (2003) shows Webers vinyl “exijudile”, that he recorded in the same year and is played in the exhibition. The vinyl was part of a work that Weber prepared for the Frieze Art Fair in London. In the centre of the “Public Fountain LSD Hall” Weber placed a fountain of heavy Victorian crystal filled with potentized LCD. Drops on this material caused high sound waves and a light, bell-like sound. This vinyl contains one of the unique pieces, played by the instrument, that Weber concedived as central piece for a future public space.

Jordan Wolfson: “Dinosaur” (2001) shows a pool roboter at work. With the instruments of film and sound Wolfson creates a special athmosphere: like a creature of another time the dinosaur hovers in his medium. The used sound, a dense chirp of crickets, enforces the impression of an organic being. For “Star Field” (2004) Wolfson filmed a Standard-PC- screen saver on 16mm and shows it in an endless loop.

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Summer Group Show

Carol Bove, Pash Buzari, Jan Hammer, Christian Jankowski, Christian Jendreiko, Michael Müller [Ingelheim], Ben Russell, Katja Strunz, Klaus Weber, Jordan Wolfson