Tag Archive: venice biennale


Rushing over the Biennale in Venice and trying to grasp most of its art exhibits in one day lets your receptors overfire at one stage. It could sound like this recording that is a detail of an installation of Rosa Barba named “The future last one day” comprised of several film projectors running at varying speeds and screening evocative word fragments around the visitor.


As the film is running at high speed through ones consciousness it slows down at certain times when the overwhelming scope of this years Biennale offers little gems and islands of contemplation. The Biennale is everything in one: sometimes boring, modiocre, infuriating, partly brilliant, thought-provoking, irritating, reflecting the modern world as it is, I suppose. Reading through reviews in the guardian, the telegraph or in Texte zur Kunst, it is easy to understand that our world is as scattered and disintegrated as our reception of art in general. This is not too bad at all. My inner film was even set to another contrasting speed when I visited the new exhibition space at Punta della Dogana by French billionaire Francois Pinault who showcasts his pompous and intimidating collection at one of Venice most central spots to overtrump the Biennale with his sense for spacious and expensive art objects. Italian artist Maurizio Cattelan left one of the lasting images at the Biennale with his dead art collector swimming head over in his pool, only to re-appear at Pinault’s collection with his taxidermy-horse sticking out of a wall. It would be intersting to check in 10 years time which artists of this years Biennale will have made it into the universe of Pinault’s prestige craving.


Ismael Ivo invited me to work on a sound composition for his new choreography “The Waste Land” that will be premièred on 20th June 2009 at Venice Biennale. On Friday and Saturday I spent time with Ismael, his very friendly staff and the dancers at their rehearsals at Teatro Piccolo Arsenale to develop a sound composition for the first half of the dance piece. The second half will be Stravinsky’s Sacre Du Printemps and it is Ismael’s idea to relate to new forms of slavery and the exploitation of natural resources which earth responds in unpredictable ways. This vulnerable and shrinking planet will be represented through my sound recordings of volcanos, glaciers and breaking ice, that are composed according to the movements of the dancers. In fact, the composition will turn out to be a very condensed version of my radioart piece “fire and frost pattern“. Stravinsky’s Sacre, then, stands for the human reaction: the physical body in a ceremony of survival and confrontation. I’m looking forward to hear how the confrontation of my sound piece with Stravinsky’s classic turns out, but I imagine it will be very effective to wait for more than half an hour for the first “real” musical tone and that this might give the Sacre even more strength.