{"id":3065,"date":"2021-12-26T11:04:01","date_gmt":"2021-12-26T11:04:01","guid":{"rendered":"https:\/\/www.annasokolova.org\/?p=3065"},"modified":"2025-01-16T20:12:39","modified_gmt":"2025-01-16T20:12:39","slug":"karaoke-wall","status":"publish","type":"post","link":"https:\/\/www.annasokolova.org\/de\/karaoke-wall","title":{"rendered":"KARAOKE WAND"},"content":{"rendered":"\n\n\n\n\n\n\n\n
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KARAOKE WAND<\/b>
\n2022-2023
\nMultimedia-Installation f\u00fcr Gesang
\nMetallkonstruktion 246 \u00d7 280 \u00d7 51 cm, 5 CRT-Monitore,
\n5 Mediaplayer, Mikrofon, Lautsprecher
\n5-Kanal Video, 2-Kanal Ton
\nLagergeb\u00e4ude in Andrejsala, Riga, Lettland
\nRekonstruktion in Unreal Engine<\/p>\n

Die \u201cKARAOKE WAND\u201d wurde f\u00fcr die dritte Ausgabe der Internationalen Rigaer Biennale f\u00fcr zeitgen\u00f6ssische Kunst \u201cExercises in Respect\u201d unter der Leitung von Ren\u00e9 Block und Nico Anklam geschtaltet. Im Mittelpunkt dieser Ausstellung standen der Raum und die Geb\u00e4ude der Andrejsala.<\/p>\n

\u201cAndrejsala, the old port area comprised of vast architectural structures, defined the search for the artistic voices invited as if pursuing musicians for an extraordinary industrial concert hall bearing unique and fascinating conditions. From an exploration of the area that uncovered features including an imposing storage building to gigantic grain silos, the questions emerged: Who would be able to cope with these conditions in form and content? Who might have the right \u201cinstruments\u201d to fill the space? And who would best resonate with these buildings?\u201d \u2013 aus dem kuratorischen Text von Ren\u00e9 Block und Nico Anklam.<\/p>\n

Ich besuchte das Lagerhaus im Jahr 2021, als es noch mit Getreide gef\u00fcllt war. W\u00e4hrend der Biennale sollte dieses Geb\u00e4ude mit Kunstwerken gef\u00fcllt werden, aber die Biennale wurde zun\u00e4chst auf 2023 verschoben und dann abgesagt. Ich konnte nicht widerstehen, diesen Raum so zu restaurieren, wie ich ihn in Erinnerung hatte, und meine Arbeit dort zu installieren.<\/p>\n

Ad Reinhardts 25 LINES OF WORDS ON ART STATEMENT wird in Karaoke \u00fcbersetzt und auf eine Videowand \u00fcbertragen, die aus f\u00fcnf CRT-Monitoren und f\u00fcnfundzwanzig leeren Zellen besteht. Der Betrachter ist eingeladen zu singen.<\/p>\n

Karaoke bedeutet urspr\u00fcnglich \u2018leeres Orchester\u2019. F\u00fcr \u201cExercises in Respect\u201d wollte ich Karaoke und Videowand vereinen. Zun\u00e4chst wollte ich die Wand aus drei\u00dfig Monitoren bauen, von denen f\u00fcnfundzwanzig kein Signal, also Schw\u00e4rze, zeigen sollten. Dann beschloss ich, die leeren Zellen der Konstruktion als Verk\u00f6rperung des leeren Orchesters um Ed Reinhardts Aussage herum zu verwenden:<\/p>\n

1. ART IS ART. EVERYTHING ELSE IS EVERYTHING ELSE.
\n2. ART-AS-ART. ART FROM ART. ART ON ART. ART OF ART. ART FOR ART.
\nART BEYOND ART. ARTLESS ARTIFICE.
\n3. PAINTERS` PAINTING. PAINTINGS` PAINTERS. PAINTERS` PAINTERS.
\n4. PAINTING THAT \u201cCANNOT BE TAKEN HOLD OF\u201d
\nTHAT \u201cCANNOT BE USED\u201d, THAT \u201cCANNOT BE SOLD\u201d.
\n5. PAINTING \u201cABOUT WHICH NO QUESTIONS CAN BE ASKED\u201d.
\n6. PAINTINGS AS \u201cNOT AS A LIKENESS OF ANYTHING ON EARTH\u201d.
\n7. ICON AS IMAGE AS IDEA AS SYMBOL, AS IDEAL, AS FORM AS ICON.
\n8. ICON AS DEVICE, DIAGRAM, EMBLEM, FRAME, GAME, SIGN, SPECTACLE, ET CETERA.
\n9. DEVICE AS EMPTY. DIAGRAM AS DEAD, EMBLEM AS ARCHETYPE.
\nFRAME AS (OF) MIND, SIGN AS FORECAST, SPECTACLE AS INVISIBLE.
\n10. PAINTING AS ABSOLUTE SYMMETRY, PURE REASON, RIGHTNESS.
\n11. PAINTING AS CENTRAL, FRONTAL, REGULAR, REPETITIVE.
\n12. PREFORMULATION, PREFORMALIZATION, FORMALISM, REPAINTING.
\n13. FORMS INTO UNIFORM INTO FORMLESSNESS. STYLE AS RECURRENCE.
\n14. LIGHT AS REAPPEARANCE, DULLNESS. COLOR AS BLACK, EMPTY.
\n15. SPACE AS HALVED, TRIPARTED, QUARTERED, QUINQUESECTIONED, ET CETERA, AS ONE.
\n16. VERTICALITY AND HORIZONTALITY, RECTILINEARITY, PARALLELISM, STASIS.
\n17. OUTLINES, MONOTONES, BLANKNESS, QUIESCENCE, PREMEDITATION.
\n18. BRUSHWORK THAT BRUSHES OUT BRUSHWORK.
\n19. MATTER ONLY TO THE MIND.
\n20. THE STRICTEST FORMULA FOR THE FREEST ARTISTIC FREEDOM.
\n21. THE EASIEST ROUTINE TO THE DIFFICULTY.
\n22. THE MOST COMMON MEAN TO THE MOST UNCOMMON END.
\n23. THE EXTREMELY IMPERSONAL WAY FOR THE TRULY PERSONAL.
\n24. THE COMPLETEST CONTROL FOR THE PUREST SPONTANEITY.
\n25. THE MOST UNIVERSAL PATH TO THE MOST UNIQUE. AND VICE-VERSA.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[8],"tags":[],"class_list":["post-3065","post","type-post","status-publish","format-standard","hentry","category-uncategorized-de"],"_links":{"self":[{"href":"https:\/\/www.annasokolova.org\/de\/wp-json\/wp\/v2\/posts\/3065","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.annasokolova.org\/de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.annasokolova.org\/de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.annasokolova.org\/de\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.annasokolova.org\/de\/wp-json\/wp\/v2\/comments?post=3065"}],"version-history":[{"count":8,"href":"https:\/\/www.annasokolova.org\/de\/wp-json\/wp\/v2\/posts\/3065\/revisions"}],"predecessor-version":[{"id":3937,"href":"https:\/\/www.annasokolova.org\/de\/wp-json\/wp\/v2\/posts\/3065\/revisions\/3937"}],"wp:attachment":[{"href":"https:\/\/www.annasokolova.org\/de\/wp-json\/wp\/v2\/media?parent=3065"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.annasokolova.org\/de\/wp-json\/wp\/v2\/categories?post=3065"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.annasokolova.org\/de\/wp-json\/wp\/v2\/tags?post=3065"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}