Elisabeth Penker

Bei der Eröffnung von "Protections" wird Penker auf ihrem "Sonic Structure" genannten Instrument, das in die

Choreographie der Klanginstallation "Die Bildhauerin" eingebettet ist, live spielen. Das Instrument hat eine

vage Ähnlichkeit mit einem Keyboard und ist aus Holz und industriellen Materialien gefertigt. Alle Klänge, die

auf dieser Konstruktion erzeugt werden, werden mithilfe einer Reihe von in unterschiedlicher Höhe montierten

Mikrofonen verstärkt, wodurch es der Künstlerin ermöglicht wird, Musik zu machen. Ihre Würdigung von Luigi

Russolos "The Art of Noise" und Jack Foley�s Aufnahmemethoden für Filmsoundtracks ermöglicht ihr, ein

Vokabular für Rhythmus und sprachliche Transformationen zu finden. Mithilfe eines Orchesters, das, obwohl

es nur aus aus industriellen Materialien gefertigten Instrumenten besteht, in der Lage ist, jene Kräfte

einzubinden, die in die differenzierteste Klangstruktur überhaupt � die Sprache � eingebettet sind, gelingt

Penker eine geglückte Neuformulierung der alten Formel der Avantgarde.

Adam Budak

Installation view: Elisabeth Penker �(Untitled) Instrument�

�Protections: This is not an exhibition�, Kunsthaus Graz 2006

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Elisabeth Penker

At the opening for "Protections" Penker will play live on her instrument entitled "Sonic Structure" which is

choreographed within the sound piece "Die Bildhauerin (The Sculptor [fem.])". The instrument vaguely resembles a

keyboard, made of wood and industrial materials, any sounds made on this structure are amplified by means of a

number of microphones set at different heights that allows the artist to produce music. By acknowledging Luigi

Russolo's "The Art of Noise" and Jack Foley�s recording methods for film, allows her to find a vocabulary for rhythm

and language transformations. Penker successfully rephrases the old avant-garde formula through an orchestra that,

although organized with instruments made of industrial materials, is able to involve those forces embedded within

the most sophisticated sonic structure of all - linguistics.

Text: Adam Budak

Installation view: Elisabeth Penker �(Untitled) Instrument�

�Protections: This is not an exhibition�, Kunsthaus Graz (background: Elmgreen & Dragset)

Installation view: HTTP Gallery, curated by Tobi Maier 2005

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Elisabeth Penker

HTTP GALLERY

71 Ashfield Road

May 10�June 15

For the past few years, Austrian artist Elisabeth Penker has been exploring the spatial dynamics that occur in the relation between objects and sound. In her solo show at this not-for-profit space consecrated to "technologically termed praxis," she investigates rhythm and musicality by rearranging phonetic units in a process inspired by First Nation languages. With the multichannel sound installation Die Bildhauerin (The Sculptress), 2005, the artist breaks the grammatical structure of the title words into units, or "morphemes," which become the basis of a minimal composition that resonates in and shapes the surrounding space. Backed by pre-recorded vocals and the echoing sound of two stonemasons chiselling into a wall, Penker's performance on the show's opening night took place on Sonic Structure (portable instrument), 2005, a geometric construction vaguely resembling a keyboard, made of wood and covered with industrial flooring. Any sounds made on this structure are amplified by means of a number of microphones set at different heights that allow any performer to produce music with wooden blocks and sandpaper. Having examined Luigi Russolo's "Futurist Manifesto" of 1912 and, in particular, his experiments with noise, Penker successfully rephrases the old avant-garde formula through an orchestra that, although organized with instruments made of industrial materials, is able to involve those forces embedded within the most sophisticated sonic structure of all�linguistics.

�Diana Baldon

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Sonic Structure (portable

instrument), 2005.

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