Jan-Peter E.R. Sonntag. Rauschen (Noise)


Jan-Peter E.R. Sonntag, apparatus operandi, exhibition view, Kunstraum der Leuphana Universität, Lüneburg, 2011
Jan-Peter E.R. Sonntag, Model for the "Noise Space" at Württembergischer Kunstverein, 2014
Jan-Peter E.R. Sonntag, LENTO, with Chris Kondek and Penelope Wehrli, 2007
Jan-Peter E.R. Sonntag, Extended Atmosphères, 2011, a sonic discours with Edwin van der Heide
Jan-Peter E.R. Sonntag, Beckett's Sqad for a stadium and four football players, 2011
Jan-Peter E.R. Sonntag, Beckett's Sqad for a stadium and four football players, 2011

Positioned at the center of the exhibition space—as a kind of White Cube within a White Cube—is the Noise Space. It is fashioned from four special horns in large format, so-called diffraction horns, constructed by Sonntag and his team especially for this exhibition. In the Noise Space, sea and forest fade in and out, along with inner-body sounds, Wagner’s In the Greenhouse, and Sonntag’s endlessly crescendoing noise, first developed in 1991, to arrive at a total immersion in sound, or so-called white noise.

Shown on the outside wall of the passage is a four-square-meter-large switchboard made of modules from the Lectron system introduced by the Braun company. It is said that Kittler used to construct one of his first switching circuit with the help of such a kit.

To be found in the Passage are large-format photographic still lifes along with a video projection of the "anatomical studies" from the apparatus operandi cycle. It moreover encompasses a wealth of archival materials on the history of the horn, of noise, and of many other things.

The Sound-Film Room contains sound film horn loudspeakers from the nineteen-thirties newly developed by Sonntag and his team. Further, videos from Sonntag’s almost cinema cycle are presented, alternating with the main noise installation. In addition to older pieces, here the three works Pacific Nocturne, Raw Extension 012, and 21_g are shown for the very first time.

The exhibition, which is posited at the juncture between art and research, also provides the framework for a continuation of the technophilological research work on Kittler’s synthesizer, which is on loan from the German Literature Archive (DLA) in Marbach. These works were developed in the scope of the Gesammelten Schriften Friedrich Kittlers (Collected Works of Friedrich Kittler), on behalf of which Sebastian Döring and Jan-Peter E.R. Sonntag have edited the circuitry notations in Kittler’s soldering work.

Schlossplatz 2
D-70173 Stuttgart
Fon: +49 (0)711 - 22 33 70
Fax: +49 (0)711-22 33 791
Württembergischer Kunstverein Stuttgart