22. March 2020


sound + space

The exhibition of media art has a long tradition at Skulpturenmuseum Glaskasten Marl. Above and beyond the Marl Media Art Awards, thematic or monographic exhibitions are also regularly organised for this purpose. In their works, international sound artists Sistermanns and Cassière explore in depth the interactions of sound and space, with ‘space’ always referring specifically to ‘resonance space’. One trait common to both artists is that their works explore the physical as well as the psychological properties of their soundscapes. Sistermanns, for example, is developing a new, site-specific, room-filling sound installation for museum’s the lower level that explores the spatial dimensions both materially and non-materially. Cassière’s works hew closely to existing spatial conditions and create immersive interactions between the beholder and the work.

Pierre-Laurent Cassière


Influenced by a variety of fields, such as media archaeology, musicology, architecture, physics or physiology, in his work, Pierre-Laurent Cassière focuses on perceptual experiences in connection with movement. Sound installations, kinetic sculptures or expanded cinema often create contemplative situations that grapple with the paradoxes and boundaries of perception. The artworks proposed for the exhibition entitled ‘Tonspur’ play with the relationships between sound and moving image, or between noise and shadow. Due to the different configuration of devices, the deconstruction of principles in cinematography, such as amplification or synchronisation, leads to unusual perceptual phenomena.

Johannes S. Sistermanns

ma meta [Marl]

This new sound sculpture is being created especially for the museum space. In the course of the multimedia flow within the space, sound colour video space photo drawing slide all mark out individual perspectives of their own [including graphic notation / Australian paper tree bark / resonating sound-insulation board / stretched sheeting] that are detached from each other and positioned without transition. Decoupling creates space. Only the perceiving individual can qualify, experience and dissolve these spaces. At the same time: Space is a membrane. The sound source is decoupled from sound projection. Sounds are transmitted directly to sheeting, insulation board, wood and iron by means of sensors and exciters (sound generators). Sound projection on window glass transcends every spatial boundary in architecture. This permeability accentuates the glass pane into an interface between interior and exterior. Sistermanns works intuitively, following impulses and in the realm of the things he does not know about space. This is how ignorance, impulse and intuition can open up individual avenues of access to ‘ma meta’, which represents neither an idea nor a message. The exhibition is nothing but these elements themselves.