Exhibiting SoundArt

Museum directors, scientists, journalists, and publishers examine the diversity of relationships that arise between sound as an object of study. Questions about sound as a medium of art and culture, as well as the possibilities and conditions for exhibiting sound art, are at the center of this examination. For several decades, sound art has been an integral part of art and music festivals and has been shown in museums, experimental spaces, and public spaces. Sound art requires special curatorial, conceptual, production-related, and performance-related approaches.

Exhibiting Sound Art brings together internationally renowned museum directors, curators, exhibition organizers, scholars, journalists, publishers, and artists who are dedicated to addressing these questions. The diverse relationships to sound as an artistic subject of investigation are examined, as are the cultural dimension of sound and the challenges of exhibiting sound art in the first place. The different approaches are vividly illustrated with numerous images.

In the first part of the book, "History, Reflection, Experiment," music researchers such as Helga de la Motte-Haber, Julia H. Schröder, and Michael Zwenzner present their perspectives. Science historian Hans-Jörg Rheinberger examines the epistemological interest of artistic experiments, and Joshua Weitzel reports on sound art at all previous Documentas. Salomé Voegelin revives a curatorial performance in the form of a text score—partly intended for self-performance.

The practical aspects are covered in the section "Practice, Institution, Results": Thomas D. Trummer (Kunsthaus Bregenz) reports on Bruce Nauman at the Tate Modern, Gabriele Knapstein (Hamburger Bahnhof Berlin) on sound art exhibitions in museums. Major sound art festivals are presented by their artistic directors: Björn Gottstein (Donaueschinger Musiktage), Carsten Seiffarth (bonn hoeren), Julia Cloot (Sound Art in Industrial Culture, Kulturfonds Frankfurt RheinMain). Julia Gerlach provides insight into her many years of curatorial work, including at the ZKM Karlsruhe and the daadgalerie Berlin.

Maija Julius describes her first-hand experiences with the revival and reinstallation of existing works by her father, Rolf Julius.

Contributions by and about Miya Masaoka, Bernhard Leitner, and Peter Kiefer, written by Stefan Fricke and Anne Katrin Voss, offer insights into artistic creation and personal reflections.

The book also contains two separate chapters on the sound art presentedas part of the Gutenberg Sound Art Course in the summer of 2019: works by Bernhard Leitner, Miya Masaoka, Peter Kiefer, and works developed especially for the course by ten international sound artists are documented here.

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