Artists: Sabine Schäfer (Karlsruhe) / Rosemarie Vollmer (Gondelsheim)
Title: Natura Sonus # 1 – #3, 2022
Subtitle: Glass-sound-objects from the work series Sound Drawings in Space
Material: Glass, wood, audio technology
Audio material: Composed sound microscopies of bat voices
Dimensions: 184,5 cm x 67 cm x 30 cm
Price per piece: 8.500,00€
The objects can be operated without being connected to the mains, as the playback technology has an integrated rechargeable battery.
The sound can be switched on and off via the toggle switch.
All objects are unique.
Sabine Schäfer: media artist, composer
Rosemarie Vollmer: visual artist, painting, sculpture, glass art
The artists have been working on collaborative series of works since 2020:
“Dialogische Übermalungen” with augmented reality
“Klangzeichnungen im Raum” with glass facades and objects for sound reproduction
The thematic discourse of the two artists lies in the current context of climate change and the Corona pandemic. Artistically, the bat is thematised as a symbol of the endangered biodiversity in nature as well as the intertwining and compression of our world: the world of animal life and the world of humans, who ultimately threaten the space for both by advancing into their natural habitats.
An exhibition of the GEDOK Karlsruhe
and the Joint Research Centre (JRC) of the European Commission
in cooperation with the ZKM
in the context of the 25th European Cultural Days “Europe – a Promise”.
with the premiere of
Sabine Schäfer’s new audiovisual installation “Europa – so nah, so fern”.
Sa. 1.05. – So. 6.06.2021
Opening Hours: Mi-Fr 10-18 Uhr / Sa, So 11-18 Uhr
Current Information: www.zkm.de oder telefonisch unter 0721 / 8100 1200
From 3.05.2021 online presentation of the introduction by curator Dr. Annette Hünnekens (GEDOK) and video clips on the exhibits on:
On the occasion of the European Culture Days, GEDOK Karlsruhe is a guest at the ZKM | Karlsruhe together with the Joint Research Centre (JRC), the joint research center for Europe. One of the currently most important issues is to reconcile the goals of environmental and climate protection and the energy turnaround, i.e. the associated safe dismantling of nuclear energy, with the increasing energy requirements of Europe’s digitalization. The exhibition focuses on the enormous challenge and addresses the approaches to solving these contradictory objectives. With a total of seven exhibits, the exhibition condenses the current positions in each case and, seen together, clarifies the global situation.
Europa, so fern und doch so nah
The new commissioned work “Europa – so nah, so fern”, created for this occasion by Sabine Schäfer, will be shown for the first time in the exhibition. The two-part audiovisual work is interactive. The backlit glass panels of the free-standing object show satellite images of continental views and capitals of the European Union at night, alongside a trio of music stands with audio QR code panels. Using a free image-scanning app, animated videos and sound compositions can be accessed via QR code.
The audiovisualle Installation Fragil by Sabine Schäfer is a further development of the SEM light image gallery „MicroSonical Shining Biospheres No.1“ by the artist dou of <SAJO> Sabine Schäfer / Joachim Krebs.
The artist’s two works use audiovisual experiences to open up a broader field of tension between energy supply, its achievements and prices
The Joint Research Centre of Europe presents five works from its collection “Art Spaces”, whose common denominator is a barrel typical of the disposal of radioactive material, which has served as a starting point for renowned artists in their reflections and comments on the theme of responsible energy supply, which also includes thoughts of disposal. Works by Fabrizio Plessi, Raphael de Vittori Reizel, Paola Ravasio, Roberto Barni and Peter Hide 311065 will be shown.
Projektpage of the ZKM: mehr…
Projektpage of the GEDOK: mehr..
The centerpiece of the exhibition is a two-part work by Karlsruhe-based media artist and composer Sabine Schäfer. Her works are part of the collections of the ZKM and the city of Wolfsburg.
The two-part work has visual and auditory components: 16 printed glass plates are suspended in the free-standing, luminous light metal object. Associated with it is a trio of music stands that hold the notations of a three-part sound composition using large-format QR codes.
The image gallery presents colorful portraits of the earth in shades ranging from blue and yellow-orange to red and bright white, hung in double rows around the rectangular object.
These are satellite images of eight continental views and as many European Union capitals, showing views at night.
The base material for the city views are satellite images from the ISS, International Space Station, which were processed by scientists for this project. Four out of eight of the aforementioned big city views can be scanned using a smartphone or tablet and ARTIVIVE’s free augmented reality app.
In contrast to the light-filled metropolitan views, the less to not at all illuminated sections of the earth reveal plan squares that refer to the more natural state of the earth’s surface, facing away from the sun, not shining by themselves.
Where the luminosity of the cities reveals their structural pattern to us, these are shaped by bluish-looking framings in the upper and lower areas into a landscape format characteristic of the cinema image. These framings are aesthetically implied as an earth atmosphere, but in the context of the large cities they refer to their inherent ambience – the invisible haze that has lingered over them since their creation. The decontextualized atmosphere becomes a framing and thus a content element that can be interpreted as a price without which neither the big city nor the view of it can be had.
By means of augmented reality, the viewer can undertake virtual zoom-in journeys into the big cities, Berlin, Brussels, Paris, and Rome, via an image-scanning app, and set in motion or change his visual and mentally associative view of courses and relations.
The imaginary camera journeys show the widely ramified, luminous streets of the EU capitals in their interconnectedness and fragility. The factor of time also leads these journeys into a historical thread, since the development of large cities cannot be thought of without the overcoming and structuring of space and time, also independent of day and night. Here, light seems to symbolically stand for the subjugation and colonization not only of space but also of time, and refers to the empowerment and inflection of physical quantities and their transformation into energy, communication and data transmission.
There are no limits to the associative thoughts of neuronal connections, interconnectedness and network formation in such a view from an outside standpoint or, better, from an astronautical point of view.
Thus also the thought of artificial worlds germinates, which seem to form and multiply silently around the globe, as the three circular moons on the view of the Benelux countries suggest. Or is this already the visibility of those bubbles in which our digital world, down to the individual, is retreating? Perhaps, however, we have long since found ourselves in a “suicide mission” and are looking from afar at the catastrophes, infernos and collapses that are imminent for us. In any case, the astronautical view of the Earth is a view in suspension and a view from a great distance and only in this way allows us to sense the immense dimensions of global forces.
Consequently, the two image motifs on the narrow sides of the installation ultimately turn the dimensions of orientation upside down: Thus, all horizons are given in portrait format, so that the luminous events of the cities show themselves to a viewer in a now free-floating state only as a glittering rain of light, which can mean anything – from wars to eruptions of the earth or large-scale forest fires, the extent of which we can actually only experience through the satellite images of the media.
Under this global view, Europe recedes into the distance and the reflection on its union more than 70 years ago for the purpose of solving economic and ecological tasks allows the European idea of solving global questions across countries to live on in a next larger community in the sense of a global union.
The interactive astronautical large-scale installation is accompanied by a trio of music stands, facing each other and extended at different heights, reminiscent of a nuclear family. Instead of sheet music, however, each stand holds a panel on which a QR code can be seen in different positions and sizes. If the viewer scans this with his smartphone, a separate sound composition sounds for each code. The compositions interpret and comment on the current situation in three different ways: visionary-fictional, classically cathartic or purely scientific.
Original voices of students of KIT, Karlsruhe Institute of Technology and the University of Music, Karlsruhe were used for this purpose.
Each of the audio compositions gives rise to auditory images that connotatively convey different states of mind and accompany the view of the distant portraits of our current, technically shaped earth.
The compositional polyphony silences any polarization in favor of the undisputed perception of a state of emergency and the call for each individual to act responsibly and self-determinedly.
(Dr. A. Hünnekens – Excerpt from the introduction to the exhibition)
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with the artists Ulrich Singer, Sabine Schäfer, the representatives of the city of Karlsruhe (Susanne Asche, head of the cultural office, Lord Mayor Frank Mentrup) and the zoo directors Matthias Reinschmidt and Clemens Becker, chairman of the species protection foundation and the zoo architect Eva Kaltenbach (l.t.r.)
On earthy ground lies the metal plate of a QR code. Grass is sown between the QR code gaps. The arrangement of the pixel squares forms the shape of a butterfly for the human eye. This stands iconically for the world of insects. The grass grows out of the QR code gaps. But the longer the blades of grass grow and push through the open spaces of the code, the more unrecognizable and illegible the code becomes. At some point, the grass is cut back and the process begins again.
One experiences the magenta-colored butterfly code changeably, sometimes it is overgrown, sometimes clearly recognizable. The connection between nature and culture seems to convey an additional piece of information to us here. Namely the fact that hybrids, if they have living parts, change in favor of one or the other part! In this case in favor of the nature outlasting all culture.
The audio composition
Via the QR code, shown on the adjacent work panel, the visitor can access the sound composition via smartphone/tablet. Take a “microscopic look” into the sound microcosm of insect voices!
The animal voices form the basis of the artfully designed sound compositions by Sabine Schäfer. The compositions change regularly!
Listening through headphones is recommended.