The Very Big and Unlikely Orchestra

The starting point of the work is the question developed by Martin Heidegger in “Remarks on Art – Sculpture – Space” and “Art and Space”, how sculpture forms space.
The sculpture does not stand in a neutral, Cartesian space, but forms it in the formation of places, it spaces.

This observation also applies to sound, since it too, like the body, is a spatial phenomenon, generating and creating places, as can be demonstrated by many examples. The creation of sound is a plasticizing, spatial act and thus an act of space creation.

The objects to be found move along the question of how they determine space as speakers, individually and in ensemble, sounding and (an)being.

But their potentials are explored for five hours, their interplay closely observed, the spatial polyphony playfully followed.

Being is playfully gathered in single places.

All objects are based on the same transformational principle: Sound -> Movement -> Sound.

The sound / signal of the guitar is amplified and sent in the same direction to 16 motors.

These find themselves in the most different situations and constellations, mithin plastics, put together, produce movement.

The movement leads on most different ways, by chaotic and non-chaotic channels, to the emergence of further sounds.

However, the movement produces not only sound, but also shapes, it plasticizes. The sculpture and the sound fall into one in the room and in the space.

Concept/Artistic Direction/Performance: Nicola L. Hein
Building of 3 out 16 sculptures and help in realization: Jasper Diekamp

Kulturamt Köln

Premiered at Kunsthaus Rhenania, January 2018