Peter Ablinger
SEHEN UND HÖREN
SEEING AND HEARING / Musik ohne Klänge / Music without Sounds
Photographs, Photo-series, Photos and Chairs, Photo Projections
SEHEN UND HÖREN:
Verdichtungsstudien, variabel (1994)
7 Stücke in 3 Teilen, 21 Fotos (1994-96)
Saturn Suite, variabel (1997/98)
Berlin-Ravenna, variabel (1998)
Nachtstück (für M.I.), 6 Fotos (1999)
Schwarz, 8 Fotos (2002)
Klavierstück (Nocturne), 6 Fotos (2002)
Kleines rotes Lied, 4 Fotos (2002)
Großes rotes Lied, 24 Fotos (2002)
Ohne Titel, 12 Fotos (2002)
Weissensee (Schwarze Serie), 12 Fotos (2002)
Two Part Invention, 36 Fotos (2003)
Klavierstück, 36 Fotos (2003)
Kleines Klavierstück, 6 Fotos (2003)
Lautsprecherstück, 12 Fotos (2003)
Blues, 20 Fotos (2003/04)
Grüne Elegie, photo-sequencer (2006/2020)
Untersee, variabel (2010)
Ferdosi Gramophone Piece, Fotoprojektionen (2013)
Piano Piece, 4 Fotos (2017)
Fotografien, Fotoserien, Fotos und Stühle, Fotoprojektionen
verschiedene Formate
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OHNE TITEL (2002)
UNTITLED, 12 photographs
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NACHTSTÜCK (FÜR M.I.), (1999)
NIGHT PIECE (FOR M.I.), 6 photographs
DIE ERSTEN BEIDEN VERDICHTUNGSFOTOS 1994
THE FIRST TWO CONDENSATION PHOTOS 1994
Seeing and Hearing
In 1994 I was searching for a solution to increasing significantly the density of sound - as in "Der Regen, das Glas, das Lachen" - that would still allow me to continue collaborating with instrumentalists. "Significantly" meaning, I had a conception of sound comparable to noise (Rauschen): something, where events would become color. I was close to the solution that eventually led to the IEAOV pieces when I began taking photographs with extended exposure time and a moving camera: movements in space that would condense into color spectra. For me, these first photos were in no way visual art. And yet, the soon to follow condensation pieces for instruments and electronics have always been more like huge colored plates than music - huge colored plates which, nevertheless, were composed for the concert hall... However, if in the beginning the photos were studies for the concert pieces, they later asserted themselves as an independent and self-sufficient series of works - which, to me, only make sense when I consider them as music: when I, so to speak, hear them - or, maybe better: when I must provide them with a further, additional sense, a sense where seeing has only a preparatory function while hearing becomes an extra-physical process... (P.A. 11/02, engl. version edited by Bill Dietz)
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KLEINES KLAVIERSTÜCK (2003)
SMALL PIANO PIECE, 6 photographs
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Triptychon Nr. 6 aus: 7 STÜCKE IN 3 TEILEN (1994-96)
Triptychon Nr. 6 from: 7 PIECES IN 3 PARTS, 21 Photos
Bild 1 aus: Triptychon Nr. 6 aus: 7 STÜCKE IN 3 TEILEN (1994-96)
Image 1 from: Triptychon Nr. 6 from: 7 PIECES IN 3 PARTS, 21 Photos
aus/from: SATURN SUITE (1997-98)
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"Batisterio" (left) und "22 Jungfrauen" aus/from: BERLIN-RAVENNA (1998)
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Triptychon "14 Heiligen" aus/from: BERLIN-RAVENNA (1998)
Two Part Invention, 32 Fotos (2003)
Two Part Invention, 32 Photos (2003)
"Two Part Invention" is a score to produce its 32 photographs as an interpretation of that piece. The required instrument is a camera with variable exposure time. The score is basically a choreography of how to move the camera during the extended exposure time in front of a red - or at the other part - black postcard as its object.
"Two Part Invention", 32 Fotos, 2003, nach Partitur realisiert von dem bildenden Künstler Martinho Dias, Lissabon. Ausstellungsansicht im San Rocha Museum, Lissabon/ "Two Part Invention", 32 photographs, 2003, realised after the score by the visual artist Martinho Dias, Lisbon; Exhibition view at San Rocha Museum, Lisbon.
The original german score is a detailed describtion of how to produce this work.
Additionally here is an english translation.
siehe auch / see also:
Hörstücke / Listening Pieces
Musik ohne Klänge / Music without Sounds
Videostuecke / Video Pieces
read also:
Window Piece: Seeing and Hearing the Music of Peter Ablinger
2010 by G. Douglas Barrett, as download-document: pdf (52 KB)
