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Kirsten Reese
Installation, Thursday-Sunday, Mellemarmen - Aarhus Harbour
External link: www.kirstenreese.de
Kirsten Reese
Sound artist, komposer (DE), 1968
 

”Context is extremely important in my work - most of my work is site specific. The spatial, acoustic characteristics, but also the social and historic aspects of a site are starting points for sound and form of my works.”


Kirsten Reese is a composer and sound artist based in Berlin. She creates experimental music for electronics and instruments, sound and audiovisual installations, and performative works with electronic media. In recent years, she has focused particularly on sound installations in outdoor environments, i.e the artwork Vexierklang, which takes place in a forest at the ruins of the castle Hardenstein and contains over 30 small loudspeakers (Wittener Tage für Neue Kammermusik 2011). KlangBallon is another performance and composition, which includes the landscape - as well as a hot air balloon, geodata, instruments, mobile loudspeakers (Netzwerk Neue Musik, Eisenach 2010). And in the installation Lotussound, Reese placed sixty loudspeakers in seven gardens of Lotusland, Santa Barbara, California, 2010.

Kirsten Reese's works has been presented at concerts, galleries and at international festivals, i.e. Donaueschinger Musiktage 2006, MIBEM Melbourne 2008, Borealis Festival Bergen 2009, Festival Rümlingen 2008 and 2010, SoundArt ZKM Karlsruhe 2012. She teaches sound art and intermedia composition at the University of the Arts Berlin. In 2010 she taught at the Bern University of the Arts in the program music and media art.

3 questions for Reese

What opportunities, qualities or restrictions do you think sound has as an artistic material?

 

I guess sound for me mainly stands for the possibility to shape time and space, and to transmit non-verbal forms of communication - with other people, within oneself, with 'the world'.

What does silence represent to you – in generel and in regards to your artistic practice?

 

Silence represents concentration. There is no such thing as complete silence, silence always has a colour, an atmosphere. There is always something, some sound, some event, some communication to discover in silence. Silence can be quite loud.

How do you work with the relation between sound and context in your artistic practice - or with the particular artwork/ composition you are bringing to SPOR 2013?

 

Context is extremely important in my work - most of my work is site specific. The spatial, acoustic characteristics, but also the social and historic aspects of a site are starting points for sound and form of my works. This is particularely true for the cofferdam installation at SPOR festival 2013.

 
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