Exhibition at Stedelijk Museum II
Exhibition opening event: Fri, 22 Feb: 19:00–23:00
Regular opening hours: Daily 10:00–18:00 Friday 10:00–22:00
STEIM is working hard to create permanent spaces for sound art works. And the word ‘space’ is not a metaphor - it is about real, physical space; air with some kind of boundary around them so waves may vibrate and travel, to be heard and admired. STEIM believes that every sound art piece needs and deserves its own box of air molecules, more or less isolated from the rest of the world, undisturbed and undisturbing. Their miroTONE initiative is all about that; boxes you can stick your head in that contain a sound art piece. Easy to exhibit (in any kind of space), easy to transport, and easy to enjoy. This is microTONE, a collection of 'sound art works in boxes'.
Room 0.27
Kosetsu (2019) is a new sculptural work by Ryoko Akama, co-commissioned by STEIM and Sonic Acts. The work examines accidental aural properties. Sound never resonates the same – its characteristics are constantly changing depending on the architectural setting. The original idea came from Akama’s passion for antique jars and the novel Hearing Trumpet by Leonora Carrington. The performance features glass jars, hearing aids and motors.
Room 0.27
#71.1 is a generative audiovisual composition for radar display tube and analog chaotic circuit, co-commissioned by STEIM and Sonic Acts. The work is an experimental outcome of a long term project that aims to give a voice to the materiality of technology with which we surround ourselves. This project aims to develop another view on our current technology and visions of the future by researching early electronic technologies of simulation and control. Analog electronics is especially interesting since it bridges matter and model, and marks the beginning of the miniaturisation and dematerialisation of our devices. By going back to historical practices I want to develop a fresh approach to working with matter on a molecular scale, an approach that is based on analogy and dialogue between physical systems instead of on notions such as the programming of matter. The first cathode ray tube from 1897 was the direct ancestor of the radiotube, the television tube, the particle accelerator, the electron microscope and the lithographic devices that produce most of our nanoscale electronics. It was the first device in which electrons could be directed, as a way to amplify and control signals, as a way to direct energy, or as a means to show invisible phenomena on a screen. In a vacuum, electrons behave similar to light, focused and deflected by electric and magnetic fields.
