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( 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 860 Defragmentation/green Intermedia / Audio-architectural installation Austria Augarten, Graz images/spacer.jpg 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 868 Performance Project instrumental (acoustic) composition Austria Konzerthaus Vienna images/spacer.jpg For traditional Chinese instruments and 3 listeners. Commissioned by the ensemble China Found Music Workshop. FP: Ensemble China Found Music Workshop, Christian Utz (conductor) 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 871 Flüssige Musik music project Austria ÖKS and the Kunstvolkschule Pinkafeld. images/works/gal-2002-fluessigemusik_27.jpg Flüssige Musik (Liquid Music) is a composition developped with and performed by 24 kids from an elementary school in Pinkafeld, Austria, as a result of a workshop organized by ÖKS. Being a collaborative project with pianist Xenia Hu, the goal was to open up the ears of young children. Together we created a new musical work by exploring the multifarious sounds of water, discovering new instruments and developing a new kind of score. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 870 Mount Blanc instrumental (acoustic) composition Austria Kunstverein Alte Schmiede, Vienna images/spacer.jpg n Mount Blanc, the resonating sounds of a grand piano are spread out into the entire performance space over a multi-channel loudspeaker projection. In a minute move from the lowest to the highest register, the entire range of the piano keyboard is explored. The hold pedal is always down, and only white keys are played. Depending on construction, volume, and intonation, varying overtones begin to resonate and to interact. Within the electronically amplified decay of tones emerge micro-compositions of fluctuating chords and tonal interferences. A site-specific adaptation of Mount Blanc has been presented at the Kammermusiksaal of Berlin Philharmonic Hall on Nov. 7th, 2005, in conjunction with the Festival The New Austrian Sound of Music. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 851 bestimmung new york Intermedia USA 1998 Studio Five Beekman, New York City images/works/gal-98-bestimmungnewyork.jpg In bestimmung new york I intend to foster an awareness for the musical/sonic qualities of language. I spent the summer of 1998 in New York City recording the voices of 15 friends and colleagues speaking always the same phrases and words in different languages. Using digital sampling and some computer processing I extracted speech rhythms, speech melodies or simply sounds and recombined them creating short electro-acoustic pieces. Starting point was my experience that languages, when detached from their semantic and functional context, are perceived as sound events, as music. I am interested in opening up this acoustic space by focusing on melodic and rhythmic patterns, as well as sonic and dynamic characteristics of language, yet seen from a musical viewpoint. Strongly connected to this idea is what I call the individual sonic fingerprint of each voice. The acoustic and also the inherent emotional qualities of the different recordings played an important role within the compositional process. Thus, the 3-5 minutes long pieces emerge from the individual sound character of the respective voices, the influence of rhythmic and melodic textures, as well as my associative assemblage and modification of the recorded voice fragments. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 850 Defragmentation/blue Intermedia / Audio-architectural installation USA 1999 Studio Five Beekman, New York images/works/gal-1999-defragmentation.jpg In Defragmentation/blue, time seems to stand still. Five bright blue lines float in the dark. Depending on the viewer’s perspective, they appear as a horizon or as a covering of the space, and they continue into the infinity of unlimited black. In actuality, the light rays are ultraviolet-reflecting ribbons. To move further into the room, one has to crawl under them, which completely changes the visual and acoustic perception of the space. The unboundedness of the architectural installation is reinforced by the static-repetitive structure of the sound installation. In the compositional design of Defragmentation/blue, Bernhard Gal incorporates psycho-acoustic phenomena like masking effects, combination tones, and the gestalt laws of psychology. In a progression of frozen time-windows, superpositions of partial tones unfold, varying with the listener’s position in the room; micro-tonal glissandos form floating sound textures that fill the whole room. A CD-version of Defragmentation/blue was released on the German label Plate Lunch in September 2000. Defragmentation/blue was also published as part of Bernhard Gals Book and audio CD Installations , Kehrer Verlag Germany, 2005. audio/gal-defragmentationblueexcerpt1.mp3 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 849 Dissociated Voices Sound installation, Austria 2000 Vienna 1999 / Werkstadt Graz, Graz 2000 images/works/gal-2000-dissociated.jpg Based on bestimmung new york, Gals first series of voice sculptures. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 861 Defragmentation/white Intermedia / Audio-architectural installation Japan 2000 Gallery Shigpro, Tokyo 2000 images/spacer.jpg 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 1225 Of Sound and Time Composition / Installation Germany 2000 Parochial, Singuhr - Horgalerie in Parochial, Berlin images/works/gal-2000-cfmw.jpg composition for traditional Chinese instruments and three listeners 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 848 Defragmentation/red Site-specific installation Germany 2000 Kryptonale Festival, Prenzlauer Berg,Berlin images/works/gal-2000-Defragmentation.jpg Defragmentation/red was conceived specifically for an underground water storage tank in Berlin’s Prenzlauer Berg district and its circular architecture. Glowing red acrylic tubes float in the darkness of the concentric passageways, an abstract apparatus for measuring time and space. The bottom of the building is covered with water whose dark surface creates an effect of endless depth. The red columns of light are discovered successively, one after the other. This architectural installation is supplemented with a sound continuum composed of shifting sound textures that wrap the visitor corporeally. Micro-tonal sound sequences change in correspondence with the visitor’s position and motion through the space. The apparent boundlessness of the dark labyrinth is temporally and spatially disorienting, and the circles of the water reservoir expand into infinity. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 846 RGB Intermedia Austria 2001 Kunstverein Alte Schmiede, Vienna,In summer 2003, RGB was presented as part of Gals solo exhibition RGBuSW at singuhr-hoergalerie in parochial, Berlin. A new site-specific realization of RGB is currently being presented at Klangturm St. Poelten, April 2 images/works/gal-2001-rgb_rot1.jpg In RGB, Bernhard Gal uses the colors red, green, and blue to focus on the relationships between light, sound, and space. Concrete sounds and everyday objects are set in relation to abstract sound and light situations. The installation is based on two parallel layers of perception: on the one hand, light and sound are understood as concrete characteristics of the objects installed in the space. The objects are assigned colors (toaster – red; aquarium – green; ventilator – blue). Through sequencing software they are turned on and off in alternation; the objects’ resulting inherent sounds are amplified and projected into the room. At the same time, in a second layer, three “abstract” spatial and acoustic situations are created. Here, each color is assigned a side of the room and a composition. The result is nine different light and sound choreographies, each of which defines the installation or perceptual space for 3–5 minutes. audio/gal-rgb_excerpt1_2min18.mp3 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 869 beshadowed instrumental (acoustic) composition Austria 2002 Sound Travels, Toronto,Festival Nuova Consonanza, Rome images/works/gal-2002-beshadowed_detail.jpg For Flute, Violoncello, Sound- and Light projectionAbout the shadowy omnipresence of future and past, the foreshadowing and the repeating.Within this 34 minutes long composition, 15 time windows of light and sound emerge. Acoustic instruments dissolve overshadowed by electronic sounds, performers (re-) appear as shadows of the spotlight. Musical shadings in an interplay of development and repetition, improvisation as the shadow play of composition. audio/gal-2002-beshadowed.mp3 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 3949 Enelten Soundwork Slovakia 2002 Sound Off Festival. Galéria Umenia images/spacer.jpg audio/gal-enelten_excpt_1min.mp3 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 852 I am sHitting in a room Sound installation Austria 2002 Durian Festival. Konzerthaus, Vienna images/works/gal-2002-iamshitting.jpg The title of this installation cites Alvin Lucier’s classic “I am sitting in a room”, in which the intrinsic resonances of a room are made audible through the repeated recording and projection of the same text. In ironic reference to this conceptual idea, Bernhard Gal combines the sound spaces of the two lavatories (women/men) of the Konzerthaus in Vienna. Microphones and loudspeakers are installed in both restrooms; the sounds from the women’s room are projected into the men’s room and vice versa. The resulting feedback loops can be regarded as the fastest possible shortcut of Lucier’s concept. A live electronic sound control system with velocity envelopes, delay patterns, and pitch shifting alters the room’s sounds and dampens and modulates the feedback that constantly arises anew. At the same time, the recording and playing back of these sonic spaces breaks up and questions the intimacy of this “taboo soundscape”. audio/gal-IamsHittinginaroom_excerpt1.mp3 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 845 Machina temporis Intermedia / Audio-architectural installation Germany 2002 Franziskaner-Klosterruine, Berlin images/works/gal-2002-machina.jpg We regard the cloister ruin as a machine for experiencing time, in a spiritual context as well as in terms of its architectural-functional construction. .....- ...Bernhard Gal / Yumi Kori The now-ruined Franciscan monastery in Berlin’s Mitte district was built in the 12th century and severely damaged in World War II. The south side and roof of the church have disappeared; the original spatial concept can be experienced only as a trace. In Machina temporis, Bernhard Gal and Yumi Kori try to revive the spatial dynamic of the site, without reconstructing the building itself. Translucent textiles accentuate spatial zones that were originally created by the archways of the aisles. By moving under the fabric, the visitor passes through zone after zone. Under each textile screen, he experiences a separate acoustic zone based on concrete sound recordings carried out on site (Zone 1: the distant hum of an airplane, Zone 2: bells of neighboring churches, Zone 3: rain). In the apse, the visitor is finally wrapped in a multi-dimensional sound space created by 12 loudspeakers positioned in a semi-circle, hidden behind red textiles in niches of the apse. Here, the previously separated acoustic layers come together creating a virtual acoustic sound space that merges with the real environmental sounds of the city.... 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 862 Green Box Intermedia / Audio-architectural installation Japan 2002 Musashino Public Art Project, Tokyo images/works/gal-2002-GreenVoice.jpg Part of the Musashino Public Art Project Green Library, Musashino Chuo Library, Tokyo, November 2002 Green Voice Green Voice is based on the recorded voices of 28 people from Musashino and was presented in the framework of the public art project “Green Library” in the old public library of Musashino City, Tokyo. Through a light and sound installation, Bernhard Gal and Yumi Kori connect the personal statements of the participants with the library as a site of collecting and spreading knowledge. Sixteen loudspeakers project the voices into the library’s four-storey archive area; one hears young and old, male and female Japanese voices, from above and below, from close up and further away. The speech recordings consist of answers to certain questions (“What is your name?”, “How old are you?”, “Describe your favorite green!”, “What is your favorite book?”); the voices also hum a melody. Yumi Kori installs green light boxes as an abstracted memory of the books formerly stored here. The visitors carefully explore the dark space, a labyrinth of bookshelves, which is now acoustically filled with the stories of the recorded people. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 844 Klangbojen Site-specific intermedia installation Austria 2003 I. Hanslteich, Gutenbrunn (Lower Austria) - July 2003 .(In cooperation with Kulturinitiative Weinsberger Wald) II. Sidearm of the Danube, Tulln (Lower Austria) - August 2003 .(In cooperation with Musikfabrik Tulln) images/works/gal-2003-klangbojen_gu097.jpg Eight floating sound and light objects are positioned in relation to their architectural and room-acoustic surroundings on a surface of water. Each of the Klangbojen (“sound buoys”) holds a loudspeaker and a light source; sequencing software creates choreographed constellations of sound and light. In the realization for Gutenbrunn, blue and green buoys are positioned in a spiral whose center is a white buoy. In Tulln, two green and blue light curves are placed in correspondence to the fork of a river; their intersection is a white buoy. In “scenes” and motion sequences, various spatial constellations (for example, curve 1, curve 2, sequences with 1, 2, 3, or 4 buoys, only blue or only green buoys, etc), are made visible and audible. Bernhard Gal created a 45-minute composition of concrete sound recordings and synthetic sound material for these sound objects. Each buoy is assigned a frequency from two eight-tone scales; the combinations of light objects are mirrored musically in spatially dispersed combinations of intervals. Additionally, concrete sound recordings (birdsong, insects, church bells) are interwoven in the composition, fusing sounds that could originate in the site’s natural soundscape with the real surrounding sound environment. Abstract single tones amplify specific frequency ranges within the concrete sounds, and “foreign” tones give rise to new sound combinations. audio/gal-2003-klangbojen_tulln_excerpt_7m28.mp3 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 843 RGBuSW Intermedia Germany 2003 Parochial, Singuhr - Horgalerie in Parochial, Berlin images/spacer.jpg audio/gal-dreiband_singuhr_excerpt_4m24.mp3 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 842 Night Pulses Intermedia Austria 2004 O.K. Centrum für Gegenwartskunst, Linz. A Catalogue / CDR of Night Pulses has been published by the O.K Center for Contemporary Art in fall 2004. ... Night Pulses has also been published as part of Bernhard Gals Book and audio CD Installations, Kehrer images/works/gal-2004-nightpulses.jpg In Night Pulses, Bernhard Gal combines urban light signals with the musical-sensory experience of their transference into sound. Blinking pulses of light from nocturnal horizons of big cities – the signal lights of high-rises, airplanes, helicopters, ships, etc. – create a light score whose rhythmic complexity remains hidden from view. The synchronization of these visual structures with sound events makes existing rhythmical interrelations perceptible on both sensory levels. The work was inspired by Gal’s stay in New York in 1997–98, when he lived for eight months directly at the East River in Greenpoint, Brooklyn and had the Manhattan skyline before him every evening. Midtown Manhattan (filmed from Queens or New Jersey) stands in the center of the realization for the O.K Centrum für Gegenwartskunst. Four video projections and an eight-channel sound projection interweave visual and acoustic elements into a site-specific intermedia installation. audio/gal-nightpulses_excpt_4m01.mp3 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 865 Klangschatten - Austria 2004 Klangtheater ORF, Vienna images/works/gal-2003-vienna.jpg 45. Intermedia Music Project for Children, presenting tradtional and new music for Chinese instruments, live electronics and light projection in a performative setting. FP: Tung Chao-Ming (zheng), Wang Ming (pipa), Wu Wei (sheng, erhu), Bernhard Gal (live electronics, artistic direction) 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 866 UTOO Composition Austria 2004 Sound Field Festival - Renaissance Society, Chicago images/works/gal-2004-klangsch.jpg Ensemble Noamnesia (Fl, B-Cl, Perc, Vla, Vc, Db). 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 876 (Talking) Space to Space radio art England 2004 Resonance FM 104.4, London Performed as part of Radio Art Riot during the Frieze Art Fair images/spacer.jpg capturing radio emissions from the stars, reshaping it into an audio composition and broadcasting it back to the stars on Resonance FM. An extended version of this project has since then been listed for the PRS New Music Award in 2005. An extract is about to be released on10 vinyl by the German art label lich-tung 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 877 Qui Le Bruit quadraphonic live performance England 2004 Old Truman Brewery, Brick Lane, London images/spacer.jpg 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 879 Spoor Installtion England 2004 EARATIONAL Festival for electronic music and audio art images/spacer.jpg a site and situation specific 6-channel audio and photographic trail exploring aspects of urban space resulting out of a residency at Grafisch Atelier, s-Hertogenbosch (Holland). Also included public talk and performance. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 880 Stimung Soundtrack Croatia 2004 National Croatian TV, images/spacer.jpg a short experimental film , with Mario Radinovic 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 881 Traces Performance Slovenia 2004 Museum of Modern Art, Ljubljana / Earational images/spacer.jpg an audio visual performance project in collaboration with filmmaker Mario Radinovic, 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 867 belit Site-specific composition Austria 2004 DAAD. Kammerensemble Neue Musik Berlin, Inventionen-Festival, Sofiensäle Berlin, images/works/gal-2004-belit_m_web.jpg belit is a space-related composition for eight instruments and sixteen light sources and is the further development of a concept combining instrumental sounds and light projections that was first presented in beshadowed (for flute, violoncello, and six-channel light and sound projection, 2002). The spatial implementation of the piece is adapted to the architectural and spatial acoustic characteristics of the respective performance site. In Berlin’s Sophiensaele, eight musicians are positioned to surround the audience on three sides of the concert space. The interpreters are not directly visible; they are hidden by translucent textile walls. Light projections make their shadows alternately visible and invisible. The light score is always composed in correspondence to the music; changes in the lighting cue the musicians’ parts or mute them. Through the conscious separation and consequently the controlled coordination of visual and acoustic information, light and sound are perceived with greater awareness. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 872 soundbagism Intermedia Installation USA 2004 Denver International Airport, USA, July to October 2004 Part of The Luggage Project, a group exhibition of luggage art curated by Max Yawney images/spacer.jpg Soundbagism was created for the group exhibition “The Luggage Project” and was presented at Denver International Airport in Denver, Colorado. The installation documents the acoustic journey of a suitcase through an airport – from check-in to take-off. A recorder and a microphone were repeatedly checked in as luggage with the suitcase. Interestingly, these electronic devices were never discovered by the security checks in the airports. Then Bernhard Gal developed a 40-minute composition from the resulting sound recordings; it is reproduced by two loudspeakers hidden in a small black suitcase. The recorded sounds of the suitcase are thus broadcast from a suitcase again at the end of the sound journey, in another airport and another country. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 839 Defragmentation (Seattle) Sound Installation USA 2005 Center of Contemporary Art, Seattle images/works/gal-2005-defrag.jpg Part of Yumi Koris solo exhibition Infinitation. Bernhard Gal and Yumi Kori create audio-architectural installations. Since 1997, they have explored the interactions between aural, temporal and spatial situations and their influence on human perception and imagination. Their collaborations have been shown in Austria, Germany, Japan, and the United States. This installation was specifically created for the Centre on Contemporary Art in Seattle. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 841 Defragmentation (Krems) Intermedia / Audio-architectural installation Austria 2005 Donaufestival, Krems images/works/gal-2005-defragkrems.jpg Bernhard Gal and Yumi Kori create audio-architectural installations. Since 1997, they have explored the interactions between aural, temporal and spatial situations and their influence on human perception and imagination. Their collaborations have been shown in Austria, Germany, Japan, and the United States. This installation was specifically created for the Minoritenkirche in Krems, Austria. Bernhard Gals work is supported by Musik aktuell 2005. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 838 zhu shui Intermedia Austria 2005 Jazzatelier Ulrichsberg (Upper Austria), Dec. 00 - Jan. 01 x-tract-Festival, Podewil, Berlin, April 03 MATA Festival 2003. GAle GAtes et al, New York City, May 03 Long Night of Museums, Museum of East Asian Art, Cologne, November 03 Kunstverei images/works/gal-2000-zhushui_mata_9_web.jpg Four tea kettles are positioned on electric hotplates on the floor and programmed timers bring them to a boil or allow them to cool. The resulting musical interactions among the kettles present a broad spectrum – from the pianissimo of the steam to the fortissimo of the kettles’ whistling, from the crackling of the cooling metal kettle to the sizzling evaporation of condensed water droplets. The installation space is darkened and spotlights illuminate the objects. The reduced interplay between sound and light underscores the aesthetic quality of the tea kettles. PS: zhu shui = mandarin for boiling water. audio/gal-zhushui_ulrichsberg_excerpt1.mp3 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 863 Defragmentation (ISCP) Intermedia / Audio-architectural installation USA 2005 ISCP, New York City images/works/gal-2005-defrag_iscp2_web.jpg 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 874 Incantation: audiovisual - Ireland 2005 Nun’s Chapel in Cork images/spacer.jpg 4-hour site and situation specific durational Live Art event. commissioned by Art Trail as part of Soundworks Festival 2005. With Régine Elliott, Claire McRandal, EVRAH, David Aylward, Tom Scott and more. The performance looked at how we as artists interact with interior spaces and audiences, and audiences with us. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 875 Space Performance England 2005 unknown images/spacer.jpg a participatory performance collaboration with Lynne Brackley investigating the transformation of ordinary spaces into extraordinary ones, commissioned by Creative Partnerships London North. It involved people, string, sound and strange stories 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 840 Hinaus:: In den, Wald. Intermedia USA 2005 Diapason Gallery, New York. A reworked surround version of Hinaus:: In den, Wald. has been published by Aspect Magazine, vol.4 in October 2004. Aspect - Biannual DVD Magazine of New Media Art, Boston, USA. images/works/gal-2005-hinauscd_cover_web.jpg In ‘Hinaus:: In den, Wald.’ (which translates into: ‘Out:: Into the, forest.’, deliberately written with ‘Wölfliesque’ punctuation) I translate Wölflis written transformations, abstractions and creations into my own sound language. Points of reference are Adolf Wölflis idiosyncratic punctuation and orthography, the rhythmic-repetitive character of his listings and testaments and Wölflis biography and megalomania in general. I tried to express his permanent creative urge through an additional recording, which is based on my own walking, running and breathing out there in the woods. Different text passages are interwoven on several layers - from totally untreated phrases to modified elements. Specific sound properties like speech rhythm, speech melody or contextual associations were focal points of my creative processing. All texts were spoken by myself or by Stella Kao, a Taiwanese girl who didn’t understand German at all. Stella’s voice can be either seen as a cross reference to the voice of young Wölfli himself or to the voice of one of his victims. By listening on headphones, you enter Adolf Wölflis mind, hearing voices whispering inside your (his?) head, running through the woods, breathing. 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 835 Reinstallation Intermedia Canada 2006 Festival Electric Eclectics, Meaford (Canada) images/spacer.jpg 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 836 Die Grüne Hölle Intermedia Austria 2006 Sonambiente, Berlin, Gallery of the Austrian Embassy, images/works/gal-2005-diegruneholle.jpg In his installation developed specifically for the gallery of the Austrian Cultural Forum in Berlin, Bernhard Gál relates to a current topic in Germany – the 2006 football World Cup. The yelling, whistling, singing and clapping of tens of thousands of fans offers a truly symphonic sound experience, whose dynamics and sonic intensity are a dream to the ears of a sound artist. The Gleichschaltung of the masses, the channelling of emotions and aggressions and the concomitant ostracism of the others, is surely counterproductive, especially today, even in such a seemingly harmless and purely sporting context. Die Grüne Hölle unifies visual and acoustic elements from the world of football in a large-scale installation. The soundscape of football is in focus, as is Gáls personal artistic statement about the staged media spectacle of the football World Cup . Accessed 31.05.2007 from 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 837 Airport Intermedia Germany 2006 Musikinstrumenten-Museum, Berlin images/spacer.jpg Airport – the harbour of air – combines aerial sounds from the interior and the exterior, in correspondence with the location and context of the Music Instruments Museum Berlin: the existing acoustic environment of the new museum entrance with its flows of passing traffic merges with sound recordings of musical instruments from the museum (accordeon, flute, guitar, harp, clarinet, crumhorn, trombone, trumpet, and several percussion instruments). Blown air mutates into „driven“ air, the tides of urban traffic are mirrored in periodically recuring sonic movements. Instrumental sounds are diffused by a grid of twelve loudspeakers, thus chords and tonal mixtures can be also perceived as a spatial phenomenon, interactions of neighbouring frequencies result in microtonal beatings. The underlying electroacoustic composition is subdivided into 32 one-minute long time windows. The change between sections is made audible through various bell sounds. Twelve loudspeakers are installed in the roof construction of the Museum’s newly built entrance area, facing downwards. They are positioned in a straight line, parallel to the adjacent street, Ben Gurion Strasse. Therefore it was necessary to a priori include this specific sound constellation in the conceptual development of Airport. The directionality of traffic flows is reproduced through virtual sound movements, real and prerecorded trafic sounds as well as instrumental sounds move from the left to the right, or from the right to the left. The concrete installation space of Airport is defined by short pulses (flageolet tones, key clicks, percussive sounds), At the same time (as is the case with all sound installations in public spaces) the inevitable and anticipated fusion of the sound installation with its surrounding urban sound reality also permits the experience of a quasi unbounded sound space. Ultimately, every acoustic event can become part of the installation, and thus a musical instrument by itself, as long as the listener is able and willing to perceive it in such a way. Many thanks to: Thomas Ertelt, Martin Supper, and the entire stuff of the Music Instruments Museum Berlin 58 1971 Bernhard Gal images/artists/Gal.jpg Austria 864 behape Composition Austria 2006 Echoraum, Vienna, images/spacer.jpg In behape the sonic spectrum of two clarinets (1 clarinet in Bb, 1 bass clarinet) are combined with their electroacoustic derivates. Two loudspeakers are set up, one speaker behind each musician. The composition deals with fundamental questions of connecting acoustic and visual information. Can we always trust our eyes, do we hear what we see, how easily can our perceptual system be tricked? Both musicians play their instruments without amplification, but throughout the course of the piece acoustic and electroacoustic sounds get intertwined more and more, tricking our senses. All electroacoustic sounds are untreated sound samples of clarinet playing. Sometimes certain tones are faked by the musicians by performing the respective visual gestures only, yet the actual sound is projected from a loudspeaker. By creating an ambiguous perceptual situation where visual and acoustic elements sometimes dont match, the usual predominance of visual information is abolished. Supported by SKE-Fonds, Austria. behape is going to performed at Neues Kunsthaus Ahrenshoop, Germany on September 29th, 2006 )