ANUAL PROJECT RESONANCES
Hanne Römer
/.aufzeichnensysteme
L U F T 1 (audio piece)
Sunday, 26 April 2026, 3 pm
Turbulence, animals, ink, sounds – everything is in the AIR, which, as a medium, indiscriminately carries whatever enters it: The art lies in separation: the enigmatic and the bizarre, amplified into a wealth of associations, is guaranteed.
Entry by donation.
Photos and text: Hanne Römer
“Clap, dive – the creature’s gesture is unmistakable. The researcher roams the vastness of a habitat, extracting sounds from the landscape, from the air, from a context; she shapes clicks and bites from the nibbles and nibbles of rodents gnawing at branches and twigs; she writes and edits texts into books and radio plays, transforming natural communications into artificial ones.
Rarely does the kingfisher pierce through the traffic noise. Insofar as it concerns the urgently needed air that should still remain for us to carry on, it is also about the pause. Where there is none, it is about space that she lacks. Names marked with a full stop, however, are reserved for the system, dictates an instruction, which the researcher’s recording systems recklessly disregard with the principle: The air is not clear. But she can learn.*
The idealised depiction of nature—or rather, what remains of it—appears deconstructed, carefully embedded and narratively charged (including text from DATUM PEAK) into a narrative that continually fizzles out: A I R, understood as a medium and a poetic, essential, and, as it were, democratic entity, encompasses all and excludes nothing, yet struggles with intruding, parasitic forces. A form of artistic resistance – the unconditional focus on writing, drawing and listening under all circumstances – directs the sedate gaze into the smouldering abysses of a reality that is, in truth, always incomplete and disturbed. The absence of effects brings into focus the painstaking precision of a mosaic-like montage, which, through concise leaps and shifts, intensifies the ambivalence of staged and documentary recordings.
As radically as the 45-minute audio piece prevents an escape from reality, so artfully does it assert its inviolability as a work of art, whose instrumentalisation it fends off and seals with a diabolical taboo: Lucifer! (= noli me tangere) snaps the damaged soundscape – abruptly brought into collision by a passer-by who unwittingly bumped into the recording device, thereby causing it to produce an unwanted sound – immediately incorporating it into its fiction.”
The book *L U F T* has been available to order
from bookshops / Ritter Verlag since 20 March 2026
The exhibition and the project „Resonancen“ is funded by
in 2025
and in 2026
