[X] Sie befinden sich im Archiv auf den Seiten des Internationalen Musik- und Keramiksymposiums 2009. Zu aktuellen Informationen gelangen Sie hier.



An initial principle of the Bauhaus, to combine different artforms, lay the foundation stone for later Installation, Conceptial and Sound art. Within this concept existed a strong interest in the intergration of music with the plastic arts.
Bauhaus artists such as Paul Klee (Polyphonie), Kurt Schmidt (das Mechanische Ballet), Wassily Kandinsky (Gegenklang), Lyonel Feininger (kontrapunktisches Denken), Oskar Schlemmer ("Triadisches Ballett"), Lazlo Moholy-Nagy ("Mechanische Exzentrik") let music influence them, intergrated musical thought patterns in their theoretical concepts and attempted to visually illustrate music and tone. Equally important for Contemporary Sculpture, Insallation and Sound Art, is the concept of
"Space- and Space and Time" developed by Bauhaus artists such as Walter Gropius (Raumdefinition), Paul Klee ( Time and Space). In the context of this background is the interaction between ceramic sculpture and Sound art the theme of the second International Music and Ceramic Symposium Kappellendorf.

KlangForm Mix.mp3

« Klangform 1 und 2 »


Ceramic: Philippe Godderidge / Tone: Falk Zenker

Both sculptures are the result of Phillippe Godderidge´s reaction to the accustic form played by Falk Zenker. The original "amorphic sculpture" transforms to"frozen tone" once fired in clay.

« Gedehnter Raum 1, 2 und 3»

Raku, Paperclay fires at 980C, 2 times Mono Audio with XXXX dripping water and stone tones.

Ceramic: Petra Töppe-Zenker / Tone: Falk Zenker

Petra Töppe Zenker created the volume of these vessels using her personnaly developed clay-stretching technique.
Falk Zenker played with the exsisting accustic interior and stretched the vessels using a virtual soundwork which projected tones to an expanded volume. The tone material Petra had requested were dripping water and stone resonance. These sounds vibrated from hidden loudspeakers - sometimes close up, enclosed by the material accoustic of the vessel, sometimes remote, as if
from a deep, invisible cavern.

"Gedehnter Raum 1" invites the spectator to use his/her own voice to play with the interior.

Gedehnter Raum.mp3

« Soundwalk », « KlangrOHRe », « Impulse »

Raku, fired paperclay, white glazed

Ceramic und Installation: Danijela Pivasevic-Tenner /
(Tone instruments: all Symposium participants)

Which sounds can be captured in clay and ceramics ? To discover and invent these tones for herself, as well as to present the spectator with the task of discovering the tones, was the primary idea for Danijela`s project - an interactive base Sound labyrinth, - a "soundwalk". Here the visitors are invited to participate, they should trust themselves, They are allowed to play,- like at a concert or like children at a playground.

Danijela´s art work / Installations are always interactive. She aims to help peolple become familiar with ceramics. Visitors can use the "Klang Ohre" which function both as enhancer and filter; the tone changes in space, the perception alters. In her artworks Danijela concentrates on the material of clay and doesn`t use an enhancer. It is a finished piece, the tone isn´t prepared, the visitor has to discover it and can themselves become the soundartist.


« And the word was… »

a mobile - a ceramic installation, which, through sounds can be made to sway gently. (Fired clay, finely glazed, hanging in a frame wired with microphones, tone equipment and loudspeakers.)

Ceramic und Installation: Anne-Katrin Altwein
Live-elektronic: Sun-Young Pahg, Blazej Dowlasz, Falk Zenker

"Fire, water, earth, air in combination with the sound challenge you - yet, according to the biblical Creation, the visitor recieves the Word. To him it seems as if the system of many pieces, which sways as if alive, is trying to get the creations to make sounds, to move...
However, definitively it is the visitor whose voice would be moved by the new tone, who has fun shaping, not concentrating on the final result... the trancendence, that one can experience from body and soul activities. Here we are repeating the 1918 Bauhaus Manifesto, and the deep seperation that confronts us now." (A-K. Altwein)

« Seven spoken levels »

Fired clay, 7 drawings, 7 Audio channels

Ceramic und Installation: Philippe Godderidge,
Tone: Sun-Young Pahg

This installation incorporates seven terms, each of which describes an elementary process / hand manipulation
with clay : pinching, rolling, tearing, folding, twisting, punching, impressing, pulling.

Sun-Young Pahg recorded these seven words, spoken by the frenchman, Phillippe Goodridge and analysed them on the computor.
The result is that each word has its own sonogramm graph. Phillippe Goodridge used these graphs to inspire the forms of his clay objects - each of which is worked in the matching method. Sun-Young Pahg transformed the tone of word, using the results of the anaysis, into seven rhythmical structures.

Sept Etudes Dites.mp3

Klanginstallation « Imagination »

Fired paperclay, slabs, molds; glazed, structured, painted, goldleaf, 7 Audio channels

Ceramic: Susanne Worschech / Tone: Blazej Dowlasz

Susannne Worschech, in context with the Bauhaus Project, occupied herself with squares and cubes. her "Blue Boxes" illustrate the transformation form 2 Dimension to 3 Dimension. The cuboid "Cubes" define a space. The term "tone" associates with colour tone. Glazes and surface structures provide the colour tone.

Blazej Dowlasz`s concept is the "imaginary room", created by Susannes´s cuboid loudspeakers surounded by four sound projectors.
The result is a group of five calming Cuboids on steel podests, facing and turned away from the viewer. When walking between the objects the visitor experiences the virtuel wold of silence and timelessness- each cube with its own colour tone

Imagination.mp3 (audio example not available)

« Schalenklang »

Paperclay, 980°C, 4 Audio Channel with recorded bowl vibrations

Ceramic: Petra Töppe-Zenker / Tone: Falk Zenker

For "Schalenklang" Petra Töppe-Zenker created thin Paperclay vessels from which her husband recorded their individuel tones.
These purpose-made tone resonating bowls react like a membrane and create their own sound - bordering on the frequencies of silence, illustrating a unique, once only, rhythmical princip.


PDF Laudatio by Prof. Dr. Kai Uwe Schierz

Für den Inhalt dieser Seite ist eine neuere Version von Adobe Flash Player erforderlich.

Adobe Flash Player herunterladen

back to top