Opening: 15 January 2009, 19.00 – 21.o0
Project curator: Fatih Aydoğdu
2/5 BZ aka Serhat Köksal [Istanbul]
Ricarda Denzer [Vienna]
Martin Ebner [Berlin]
Mathias Fuchs [Manchester]
Bernhard Loibner [Vienna]
Bob Ostertag [San Fransisco]
Florian Schmeisser [Vienna]
xUrban Collective [Istanbul,
Arye Wachsmuth [Vienna]
Florian Zeyfang [Berlin]
Live performance: 15 January 2009, 21.30 at Fluc
Boundaries create regions and divide political
entities, they limit economical growth as well as ecological exploitation they
enclose geographic areas and show us the transgression of norms. Boundaries
appear where one entity ends and another begins, yet it is simulatnuously
permeable and contested.
On the other hand, the linguistic notion of boundary needs to be connotative
neutral. "Boundary signal / Grenzsignal" in this context designates
structural entities. A particular sound is indicating the boundaries of
sentences, words, syllables, or morphemes, that has delimiting or detaching
function marked as an "+", where no conditional modification to be
noted. This represents its feature therein exists that the usual position
contingent variations do not take place in the coincidence.
If we refer to «boundary signals» in connection with sound, we could describe
them as a unit consisting of smallest elements of sounds and sound modification
that have a special tone signifying the communicative function of tact.
When we conceptulize language as a medium of finite notation and bounded codes,
it can be perceived as a material for sampling. The situated differentiation
and the modelling, or the generative apparatus of the language can thus be seen
as a mechanism of sampling in the event that identical replication are
considered as technically mediated and structurally represented units.
Sampling is the concept that is used as a programmatic imperative on electronic
music, architecture, biotechnology up to the collage-techniques of the film and
even on socio psychological identity models and politics. As a universal
metaphor and contradictory model within itself, or as a technically mediated
identical replication, Sampling implies a notion of the archive that evokes an
awkward idea of the historic originality.
Behind the boundary, and/or beyond a syntactic boundary signal concerned with
topografic and/or linear aspects; there is a "space" or an "interval" behind
the boundary, and after a syntactic "boundary signal" respectively, that could
be called "after-field". This is following a syntactic boundary signal (in
whatever form) within a speaker's concrete hearable/readable expressions.
Positioned in the 'after-field', "Boundary signal / Grenzsignal" contributes
to a discussion not only focused on the 'Sound' as a possible communicative
level of artistic strategy, as a model of reflexion, as a border zone and an
experimental field that goes beyond the act of speaking and beyond music.
Additionally, it assumes a selected historical and political moment (time cut)
as a source of material in order to produce statements and comments on events
of the day.
Wien - Kulturabteilung MA 7
and supported in kind:
Open by appointment only, admission free
Zentrum für Kunstprojekte
115 286 32
Open Space - Zentrum für Kunstprojekte aims to create
the most vital facilities art concerned with contributing a model strategy for
cross-border and interregional projects on the basis of improving new approach.