feature
soundart
SoundLAB I
The today’s article would like to spotlight Wilfried’s interest and engagemnet in soundart on occasion of the NMF2020 April edition featuring the 1st edition of SoundLab, realised in 2004 for The RRF Project and its installation @ BEAP – Biennale of Electronic Art in Perth/Australia.
In all the past and coming articles – the relevance of this electronic art meeting in Australia for Wilfried’s course of life as an artist, curator and private person had been emphasized. It was the occasion of this event which encouraged Wilfried to spotlight all possible digital media, besides netart including interactive and and static images, it was videoart and the non-visual medium of soundart.
The latter hat not been in the focus, yet, although Wilfried had been predestined to deal with new forms of audio orientated art due to his musical talents and the musical education by using instruments like violine and his voice, additionally his interests in dealing actively with music had been always of experimental nature, this was good particularly concerning contemporary (classical) music, but also popular forms of music like jazz or Rhythm & Blues. Many contemporary composers use sound as a tool for their musical inspiration, and so, when Wilfried started creating SoundLAB as a platform for sonic art (Klangkunst) it was the challenge the realise live events streaming via the Internet.
Wilfried started such audio streaming already when Eva Sjuve joint 2003 as a curator of an audio podcast in collaboration with BEK – Bergen Electronic Art Center an early edition of The RRF Project to take place starting on 5 March simultaneously at different places – Bucharest (MNAC) & Bergen (BEK), it was a kind of predecessor of the RRF Project’s SoundLab Channel at BEAP and following venues.
There were several incidents happening around the end of 2003 and the first months of 2004, like MAEM – an event organised by Antonio Alvarado in Madrid, when Wilfried met some electro-acustic artists like Juan Antonio Lleó, who became later also a curator for sonic art from Spain,making it clear to Wilfried, it was now the time to extend the spectrum of his digital art activities about sonic art.
SoundLAB I ( The SoundLab Channel of The RRF Project) was already pathbreaking due to the involvement of external curators who were offering to the audience alternative conceptual positions than Wilfried’s own position, and via them soundLAB reached additional audiences which he usually would never reach, so the networking aspect was certainly at that time particularly relevant.
After BEAP, Wilfried extracted SoundLab Channel from the rest of The RRFproject, in order to establish SoundLAB as an individual platform for sonic art projects und keep it at the same time running in the framework of the big event project. The RRF Project was running until the end of 2006.
Soundlab Channel was realising SoundLAB II in 2005 and SoundLAB III in 2006, and when THE RRF stopped SoundLAB was meanwhile established as a really relevant sonic art source in the net, which can be proved, because not all but really many prominent internation soundartists were participating in the next following soundLab editions, and then, in 2010 after the 7 annual soundart projects had been realised, it was typical for Wilfried, that when the soundart context was most successful, he changed the focus of his interests – in this case, directed to videoart. The years 2010-2015 will be representing the high time of Wilfried’s “art & moving images” activities.
Soundlab I includes sonic art works by
Wittwulf Y Malik, Remigio Coco, Judson Wright, NOTUS, Ludovic Guerry, Abinadi Meza, Caroline de Lannoy, Toni Mestrovic, Kenji Siratori, Mark Kammerbauer, Adam Overton, TACTICAL20, Robert Ciesla, Kirsten Reese, Ros Bandt, Le Tuan Hung, Wolfgang Menzel, nick barker & r. jacobs, David McCallum, John Plenge, Alison Chung-Yan, Andrea Polli, Colin Black, Darko Fritz, Ivan Bachev, Juergen Winderl – mikrokiko, Lee Kwang Goh, Kenji Siratori, Lynne Williams, Marcello Mercado, Natalia Ludmila, Werner Cee and contributions by the curators Zoe Drayton, Juan Antonio Lleó, Tobias Van Veen, Eva Sjuve and John Kannenberg.
In 2005, SoundLab I was participating in FILE Hypersonica as part of FILE Electronic Art Festival – 31 October – 05 November 2005.
In January 2014, Pieter Gyselinck (soundartist himself) made an interview with Wilfried about curating soundart
Enter the soundart feature here
