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Susan Philipsz Returning 10.12.2016–26.02.2017

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Susan Philipsz Returning 10.12.2016–26.02.2017 Kunstverein Hannover Sophienstraße 2 Presse- D-30159 Hannover T: +49(0)511.16 99 278 -12 F: +49(0)511.16 99 278 - 278 [email protected] information www.kunstverein-hannover.de Susan Philipsz Returning 10.12.2016–26.02.2017 Hannover, 8.12.2016 The solo exhibition Returning by the Scottish artist Susan Philipsz (*1965, lives and works in Berlin) presents new sound installations that embrace places and their history. The sounds of site-specific works develop and branch out on the circular path through the exhibition, enter into a dialogue with photographs and films, and give rise to a nexus of sound and space, past and present. Susan Philipsz has developed numerous impressive sound installations in public and institutio- nal spaces. For more than twenty years, the artist, who was born in Glasgow and was awarded the Turner Prize in 2010, has been exploring the spatial and sculptural qualities of sound and its emotional and cognitive influence by means of her own voice or of instrumental compositions. The concept for a work begins with inspecting the site, feeling out its atmosphere and characteristics, and researching its history. Against the backdrop of site-specific conditions, her sound works take up existential themes such as impermanence, loss, and returning, or even trauma and grief, which she has dealt with in many of her most recent works, such as in the exhibition Part File Score (2014) at the Hamburger Bahnhof, in War Damaged Musical Instruments (2015/16) at the Tate Britain in London, or in Night and Fog (2016) at the Kunsthaus Bregenz. Philipsz shapes sound, which can unleash memories and emotions in a unique way, and examines how it defines space and changes how we perceive it. She develops immaterial sound sculptures within which we move and whose multiple layers become accessible by actively listening. The sculptor’s sound installations create an awareness of the space and the things that surround us and force us to consciously sense ourselves in relation to the specific site. Room 1 + 2 The three small-format photographs Vernebelt (2016) at the beginning of the path through the exhibition feature the trace of a whiff of the artist’s breath that has condensed on a pane of glass. The intimate self-portraits without a face are signatures of a past present as well as a fleeting touch. At the same time, they point beyond themselves to presence and disappearance, life and death, and thus to aspects that run through the exhibition like a common thread. Kunstverein Hannover Sophienstraße 2 Presse- D-30159 Hannover T: +49(0)511.16 99 278 -12 F: +49(0)511.16 99 278 - 278 [email protected] information www.kunstverein-hannover.de Each of the metal organ pipes, which have been placed on pedestals and extend through the first two rooms, emits a calm, drawn-out tone in the respective timbre of the labial pipes. Susan Philipsz activated the pipes during the recording process and thus filled them with life. InOrgan Pipes (2016), she forms, which is typical for her work, a sounding body that can be experienced individually when one traverses the space from different directions and distances. Room 3 Inspired by the idea that in 1906, in Hannover 36,000 records were produced every day on 200 presses, in the work Seven Tears (2016) Philipsz examines vinyl records as sound storage media for the first time within the context of an exhibition. The inventor of the record, Emil Berliner, was born in Hannover in 1851 as the son of a Jewish merchant family, and along with his brothers he founded the Deutsche Grammophon Gesellschaft in 1898 in his hometown. Berliner succeeded in making the record a mass medium. Each of the seven records features a tone played by Philipsz from the composition Lachrimae or Seven Tears (1604) by John Dowland. The artist used wine glasses with different water levels to produce seven different pitches. In keeping with the source material, the tones are emitted without exception at those places where they can be heard in the original composition. Dowland’s variations on different types of tears celebrate the sweet pain of impermanence and touched the nerve of the Elizabethan era in an attitude of melancholic reflection on life and death. Philipsz appropriates the composition by inquiring into the sound-related aesthetic of the individual elements. Through positioning the sound reproduction in the space, which takes place with the use of record players amplified by speakers, an abstraction of individual notes in the overall composition occurs, and the recordings are extended into the space. The suspended sounds blend to become an almost magical nexus that is capable of transporting presence and absence in the context of life and death, sound and silence, both in terms of content as well as form. Room 4 Susan Philipsz also takes up regional history in her six-channel installation The Bellows Wake (2016) in the thirty-meter-long skylight hall and at the same time addresses—as she also does at the end of the tour—facets of German-Jewish history. The sounds that can be heard here were produced on a historical synagogue organ (1896) that survived the Night of Broken Glass and has been in the Villa Seligmann in Hannover since 2011. Within the context of the Jewish religion, the Kunstverein Hannover Sophienstraße 2 Presse- D-30159 Hannover T: +49(0)511.16 99 278 -12 F: +49(0)511.16 99 278 - 278 [email protected] information www.kunstverein-hannover.de organ marked the birth of liberal Judaism and became a symbol of the reform movement. An organ was installed for the first time in a school synagogue in Seesen in the Harz Mountains in 1810. Up until their nearly total destruction in November 1938, almost every major city in Germany had a synagogue organ. In her recordings produced using this organ, Philipsz substitutes the automatic control of the air supply and the resulting flawlessness of the sounds. The manually produced, irregular airflow she uses instead directs our awareness to the physical origination process of the music with all of its ambient noise, which is normally blocked out. The audible airflow and the creaking of the bellows, which Aristotle compared with a lung, now becomes a succinct part of the composition. Room 5 + 6 The atmospheric diptych Separated Strings (2012) was produced during a journey from Dundee to Glasgow, Philipsz’s hometown. The slightly blurred photographs of power poles and power lines against an eventful, cloud-covered sky make reference to transience as well as returning. The film Returning (2004), which was made on a sunny day in January in Berlin’s Tiergarten, also captures fleeting moments in a single shot, which link motion as well as pause with one another. The came- ra is directed at a memorial, situated some distance away, in memory of the socialist leader Karl Liebknecht, who, like Rosa Luxemburg, was murdered on January 15, 1919, and features visitors to the park who pass by or pause to reflect. Room 7 The work War Damaged Musical Instruments (shofar) (2016), which was also created specifi- cally for the exhibition, ties in with a series that the artist began in 2013 that includes sound recor- dings of wind instruments that were damaged in the war. Only very few damaged instruments are preserved in collections; most of them were either disposed of or restored. The shofar (ram’s horn) shown in the photograph belongs to the collection of Rolf Irle, which is held by the Center for World Music at the University of Hildesheim. The shofar, a musical instrument without a mouthpiece or finger holes, is one of the oldest instruments in the world and continues to be used in Judaism to this day. The ram’s horn in the collection stems from a Jewish family from Hannover who, before fleeing Germany during the period of National Socialism—and never returning—hid it in the base- ment under a pile of coal. Its squashed, flat form testifies to the load it bore for years before it was found. On a quest for the sound that can still be elicited from the instrument, Philipsz—interested in sounds beyond the known musical scale—had a musician reanimate the “disabled” instrument. Kunstverein Hannover Sophienstraße 2 Presse- D-30159 Hannover T: +49(0)511.16 99 278 -12 F: +49(0)511.16 99 278 - 278 [email protected] information www.kunstverein-hannover.de The recordings convey an idea of how much power is required to play such an instrument, and sometimes only the musician’s breath can be heard. Like the sound recordings for which she worked with the historic synagogue organ, in this case Philipsz also shifts the physical production of music into the foreground. The sound of this shofar implies not only a strong human presence but the history of its infirmity as well. The trace of history in the form of sounds and noises memorably and touchingly relates thoughts about war and death as well as about the strength to survive. The combination of the individual works results in a sensual, melancholic path comprised of sounds that cause the past to appear in the present and at the same time sensitizes visitors for another view of the surroundings. Thus the title of the exhibition makes reference to returning to a place not only physically, but also mentally. ____________ Curator of the exhibition Ute Stuffer _____________ Press contact Birte Heier T +49 (0)511.1699278–12 [email protected] www.kunstverein-hannover.de/presse Kunstverein Hannover Der Kunstverein wird vom Kulturbüro der Sophienstraße 2 Landeshauptstadt Hannover institutionell gefördert.
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