2013, Fri, Feb 222013, Sun, Feb 24

Tamer Fahri, Alexander Hacke, Andrew Pekler

Tamer Fahri Özgönenc | Cluster 100 | Illustration: Tamer Fahri Özgönenc

Tamer Fahri Özgönenc | Cluster 100 | Illustration: Tamer Fahri Özgönenc

Tool Concert I:

Tamer Fahri Özgönenc: Cluster 100 Drill Installation

Composer and sound designer Özgönenc drills through the wall separating music and sound: the number 160 stands for an orchestra consisting of 100 identical home tools divided into four groups all tuned to a certain pitch. The installation is an interactive sonic formation: the movements of the visitors in the space create acoustic interference which the ensemble of drill clusters responds to.


Tool Concert II: Alexander Hacke: Lockstep

Here, the soullessness of the chart-breakers is generated in a fully automated fashion. Using software, in Alexander Hacke’s installation subjects music of all kinds—played by hand, polyrhythmic, or freely improvised, primitive or complex—to the “totalitarian pattern” of modern hit production. Everything is set to four/four time at 120 beats per minute, everything played in C major. Hacke has been attacking totalitarian patterns ever as a member of Einstürzende Neubauten since 1980: here he mercilessly exposes them.


Tool Concert III: Andrew Pekler: Prepaid Piano

Berlin musician Andrew Pekler short-circuits John Cage’s “prepared piano” with modern mobile telephones. The installation is not only cutting edge in terms of media, it also invites visitors to participate: several prepaid mobile phones are placed on the piano that vibrate when called and make the instrument sound. The concert conditions also correspond to late-capitalist consumerism: The sounds last as long as the balance allows.


In the framework of
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