kunsthaus graz

1. Kunsthaus Graz
Protections
Kuratoren: Adam Budak und Christine Peters
Elisabeth Penker "Poetics of Dead Space"
For PROTECTIONS Elisabeth Penker developed a key-sound, "Poetics of Dead Space" which is to a large extent a homage
to Gaston Bachelard’s seminal book, "Poetics of Space" where the connections between the poetry and the spatial emotions
are analysed. Penker’s key-sound will guide the viewer through the exhibition, mapping the overall identity of the show, in
some way, controlling the viewer’s (audio-narrative) route in the maze of art objects, events, situations but also spatial
voids and unused corners.
Für PROTECTIONS entwickelte Elisabeth Penker einen leitmotivischen Key Sound, "Poetics of Dead Space", der weitgehend
eine Hommage an Gaston Bachelards wegweisendes Buch Poetics of Space darstellt, in dem die Verbindungen zwischen
Lyrik und räumlichen Emotionen analysiert werden. Penkers Key Sound wird das Publikum durch die Ausstellung geleiten,
die Identität der Schau in ihrer Gesamtheit erfassen und in gewisser Weise die (audio-narrative) Route des Publikums im
Labyrinth der Kunstgegenstände, Ereignisse und Situationen aber auch räumlicher Leerstellen und ungenutzter Winkel
kontrollieren.
A non linear composition, 7 mono active speakers are placed through out the Kunsthaus Graz. Speaker placement:
1 outdoor (entrance), 2 (travelator), 3 (corner with column), 4 (corner with door), 5 (corner) 6 (travelator) 7 (corner with
window)
"Poetics of Dead Space: Let it grow, again” 28, 51 sec. mono
Source material for composition: rain, sound of dried beans dropping down, wood sticks, breathing hardly, existing

2. recording of extinct languages
"Poetics of Dead Space: Let it grow, again” 28, 51 sec. mono
Source material for composition: rain, sound of dried beans dropping down, wood sticks, existing recording of extinct
languages

3. "Poetics of Dead Space: travelator 1” 1min 04 sec. mono, loop
Source material for composition: staff falling down, man falling down stairs, “rattern”, recording: untitled instrument
Background: existing recording of extinct languages

4. "Poetics of Dead Space: 4.9.6 ” 1min 4,09 sec mono, loop
Source material for composition: recording: untitled instrument Background: existing recording of extinct languages

6. "Poetics of Dead Space: 12.9.5.2.5” 1min 48,88 sec mono, loop
Source material for composition: recording: untitled instrument Background: existing recording of extinct languages
"Poetics of Dead Space: 12.9.5.2.5” 1min 48,88 sec mono, loop
Source material for composition: keyboard, recording: untitled instrument, Background: existing recording of extinct
languages

7. „Poetics of Dead Space: travelator 2 “ 1min 52,09 sec. mono, loop
Source material for composition: recording: untitled instrument, violin, Background: existing recording of extinct
languages

8. "Poetics of Dead Space:21.5.2.5.18.12.5.2.20” , 1min. 32,00 sec. mono, loop
Source material for composition: recording: untitled instrument Background: existing recording of library of extinct
languages
"Poetics of Dead Space: travelator 1” 1min 04 sec. mono, loop
viewing down from upstairs; Source material for composition: staff falling down, man falling down stairs, “rattern”,
recording: untitled instrument Background: existing recording of extinct languages

9. "Poetics of Dead Space: Let it grow, again” 0:28, 51 sec. mono
Source material for composition: rain, sound of coins, wood sticks, existing recording of extinct languages
Elisabeth Penker is a Viennese artist and musician working with sound in a sculptural context. In her (subjective) tour,
Penker approaches the entire anti-exhibition PROTECTIONS from an angle of its position and significance in the context
of Sound Art as located on the crossway between visual arts, language and music. Starting from her own "house", turned

10. into "First Nation Pavillion" which, amongst others, aims at connecting the recent discourse on cultural translation with
early avant-garde phonetic experiments, Penker maps the sonic structure of Kunsthaus Graz and its (live) architecture
which for PROTECTIONS hosts an array of interdisciplinary projects with a strong audio-quality, from Herwig Weiser’s
"Death Before Disco" (a micro-architecture of hyper-technological and electronic pop) through a newly created choir of
security guards for Tim Etchells’ "Wall of Sound" down to a cacophonic layers of anonimous noise generated by the
space itself and the presence of audience.
Die Wiener Künstlerin und Musikerin Elisabeth Penker arbeitet mit Klang im Zusammenhang mit Bildhauerei. In ihrer
(subjektiven) Führung nähert sie sich der Anti-Ausstellung PROTECTIONS aus einem Blickwinkel, der die Position und
Bedeutung der Klangkunst an der Kreuzung zwischen bildender Kunst, Sprache und Musik verortet. Von ihrem eigenen
"Haus" ausgehend, das sich in den "First Nation Pavilion" verwandelt hat, der u. a. den aktuellen Diskurs über kulturelle
Übersetzung mit frühen phonetischen Experimenten der Avantgarde verbinden soll, entwirft Penker die klangliche
Struktur des Gutshauses und seiner (Live-)Architektur, die für PROTECTIONS eine Reihe von interdisziplinären Projekten
mit einer starken Affinität zum Klang beherbergt – von Herwig Weisers "Death Before Disco" (eine Mikroarchitektur aus
hyper-technoidem und elektronischem Pop) über einen neu formierten Chor bestehend aus Security Guards für Tim
Etchells "Wall of Sound" bis zu einer Kakophonie aus anonymen Geräuschen, die vom Raum selbst und der Anwesenheit
des Publikums erzeugt werden.