Sunday, 15. April 2012, 23:03 - 23:59, Ö1


„RadioCona presents: Radio Arts Space“

„RadioCona: Radio Arts Space“ constructs a gallery inside radio space, where sound art and radio art works are exhibited. It explores all the possible ways of exhibiting and reading Radio and Sound art. The project is complemented by an international platform for the discussion of meanings, contextualization, artistic research and the exchange of sound art works. It is not designed as a hermetic space with all the answers given in advance, but as a structurally complex space, which generates new questions.

The “Radio Arts Space” exhibition (Ljubljana, Slovenia, December 2011) consisted of 46 artworks by 42 international artists, which were simultaneously broadcast on FM 88.8MHz and streamed daily from 12.00 am - 9.00 pm. All works were exhibited and available in Škuc gallery on portable players, while daily selections were presentedi n the listening room. The project “Radio Arts Space” combines seven independent curatorial perspectives and approaches in its exhibition format (Manja Ristić, Maria Papadomanolaki, Milica Pekić, Ilari Valbonesi, Brane Zorman, Tevž Logar and Robert Sakrowski).

This exhibition selection for Kunstradio broadcast will focus on works that use innovative approaches in exploring radio frequencies and spatial sound elements to create a dynamic and dramatic sound works.

Statement by Brane Zorman and Irena Pivka of RadioCona:


1) Automating: “DePreston-Dedicated to Ambulance Victoria” (2010)


“I came to Germany as part of my Sound Art studies in Australia (in Germany it is called 'Neue Music'). I quickly found out that my scrambled crash course in the language was woefully insufficient, and also that the course didn't have nearly as much English as I had expected. In addition to the problem of basic communication, it became apparent that I was the only student in the institution not fluent in musical notation. So far homesickness hadn't presented as much of a problem as the general disconnection from the shared social experience. During Easter, while listening to the radio, I came across a site, which was streaming emergency service radio from Melbourne. A taste of home in the most unexpected form! While I was at my home on a sunny Spring day in Hannover, it was the middle of the night on a very long weekend in Melbourne. Overdoses, stabbings, pub fights, all detailed through a series of transmissions by people with one of the hardest jobs in the world, and most importantly in the accent I've taken for granted for the last quarter of a century. By puting it in contrast with the German professional and amateur radio from analogue and digital transmissions perhaps some sense of the culture shock can be felt.” (Automating)

2) Henry Gwiazda: “Claudia and Paul 2:13 a. m. audio version” (2008)


„Claudia and Paul 2:13 a. m. audio version is an audio version of a new media work by the same name. “I wanted to observe the effect of translating a visual/aural work into a purely sound version. More sounds were added as well as the presence of a narrator. A man is looking and listening from his window, observing the choreography at the crossroads below him...
My work is about the choreography of reality. It's about the way everything moves and is interconnected to create beauty. Each small, choreographed scene can be appreciated for itself, but on subsequent viewings, takes on a separate meaning. They become metaphors for our lives, our dreams and us.“
(Henry Gwiazda)

3) Emiliano Zelada: “The solemn geographies of our limits” (2011)


„The work is centered on language and its geographical implications and communication effects. The work “introduces” members of two different groups of wolves - one from North America and one from the Arabian Peninsula - into the European continent. The sounds made by wolves are very similar for all 39 species of canis lupus in all continents and its use, according to behavior, is identical throughout. The act of introducing other species in a geographically new location, as seen from a human point of view, it’s not very different from finding oneself in an unknown place – for instance, being an immigrant. In any given territory the newly introduced wolves, would be dealt with by the local packs using the same communication parameters, thus breaking any geographical frontier.
Original principles of human society’s structures are similar to wolves’ behavioral laws (inside aspect) within a broader geographical territory (outside aspect). In any case, inside and outside, as experienced by the imagination, can no longer be taken in their simple reciprocity; consequently, by omitting geometrical references when we speak of the first expressions of being, by choosing more concrete, more phenomenologically exact inceptions, we shall come to realize that the dialectics of inside and outside multiply with countless diversified nuances!
Language is one of the consequences of presence and doesn't serve as a referential delimitation of the territory, but, on the contrary, reinforces the natural statute of being in any geographical space.“
(Emiliano Zelada)

4) Tom Bogaert: “Black Noise (Black Panel)” (2008)


„Black Noise is the soundtrack to Genocide. Black licorice mice cover a turntable. As the needle bumps along over their backs, it generates a rhythmic pounding eerily reminiscent of tribal drums and machine guns. During the 1994 Genocide in Rwanda, the hate radio station "Radio Télévision Libre des Mille Collines" (RTLM) borrowed metaphors from the world of aggregate animal formation as 'swarming' and 'infestation' to stir the killers to action with a lively mix of entertainment, pop music and hate. On a catchy tune, the star DJ blared death tallies like sports scores. The title Black Noise alludes to a blatantly racist emotional disconnect. It examines how a radio frequency became a channel for crystallized hatred. Black Noise is also the technical term for a form of silence. Ideally, the Black Noise piece should be played live. The set up consists of a turntable, a modified vinyl record and a guitar amplifier in 'overdrive' position.“
(Tom Bogaert)

5) Jeff Gburek: “Astral weeds 1”


„It's a radio art project that utilizes the "in-between" spaces of short, middle, longwave and AM, FM radio. Recorded live, the piece is a merging between the action of field recording and the environment of radio transmissions. Jeff Gburek’s focus lies with indeterminate moments of transition and superimposition, which reveal the density of the radiophonic atmosphere, one that is filled with data that is not often recognized as real information but as noise. The weaving of the information brings about great questions concerning the nature of the time-space continuum. The recordings also present the phenomenon of heterodynes and long distance signal bounce as marvelous aesthetic experiences, which anticipate the glitch aesthetic and mash-up, analogous to psychic functioning in dream-time.“
(Jeff Gburek)

6) Luke Munn: “Dead Air” (2011)


"Dead Air is a 3-minute radio work comprised of liminal moments – that is, silences and near silences, breathe intakes, stutters, transmission cuts and other 'non-sounds' from the national radio station of New Zealand. These fleeting gaps and failures are strung out and strung together - simultaneously subverting traditional radio as densely programmed monologue, and allowing the 'listener' to become broadcaster, as his local sounds and voices overpower the quiet transmission."
(Luke Munn)

7) Ingo Gerken & Matthias Meyer: “The Invention Of Gravity” (2008)


„The Invention of Gravity/The Gravity of Invention is a recording on a 7-inch vinyl record that constructs two silent self- portraits of Matthias Meyer and Ingo Gerken, doing less than nothing. In fact, Meyer and Gerken stop breathing for as long as possible. Though the acoustic track remains nearly silent, the refusal of a basic life function creates an increasing suspense. For the audience the time between inhaling and exhaling produces a scarcely audible, but intense space of perception. The absence of sound is indeed the presence of the artists struggling for air. The piece reflects on the volume and the limits of body, media and art production itself. It is a minimalist statement of resistance.“
(Ingo Gerken & Matthias Meyer)

8) Kabir Carter: “Fill” (2011)


Geeking out with a transistor tuned in to "Fill", a soundfile submitted by Kabir Carter for the exhibition "Radio Arts Space" by radioCona, recorded by Maria Papadomanolaki

A small handheld radio receiver's tuning dial is swept and held at its designed limit. Nearly outband frequency signals, when observed, yield frequency clusters that are relayed as a continuous sound inserted in between air chain and receiver.

9) The Propagations: “The Bangalore Blowtorch” (2011)


The Bangalore Blowtorch fuses three of the signature sounds heard on the shortwave spectrum, distant music mutated by ionospheric propagation, data pulses and naturally occurring noise, shaped live using the filtering, and pass band controls of the Drake R8b communications receiver by The Propagations, David Goren and Ned Sublette. The recordings were taken from a live performance at The Tuning Lab in Flatbush, Brooklyn in February 2007, and mixed by David Goren in August 2011.