Deutsches Historisches Museum - Verf�hrung Freiheit. Kunst in Europa seit 1945 - Blog

Raul Keller is a young Estonian artist whose works can currently be seen in Kumu’s exhibition ‘Out of Sync – Looking back at the History of Sound Art’ (until January 12, 2014). Right at the beginning of his talk he informs us that he does not actively consider himself a sound artist:

‘I work predominantly with sound but also with photography, the fine arts and text. I think John used a very nice term: ‘auditory culture’ – the contemporary field which embraces music and sound art approaches and somehow blends them with popular culture and different practices.’  

“Most people would probably say that architecture does not produce sound, it cannot be heard. But neither does it radiate light yet it can be seen. We see the light it reflects and thereby gain an impression of form and material. In the same way we hear the sounds it reflects and they, too, give us an impression of form and material”

(Steen Eiler Rasmussen – Experiencing Architecture (1959)

In the second part of our symposium, the American artist John Grzinich, based in Estonia, talked about the project ‘tuned city: architecture and sound’ in Tallinn. 

Last week – some of you might have seen that on Facebook – we had a symposium on sound and public space in Tallinn. Our speakers were journalists, artists, innovation designers and sound architects who presented a wide variety of their projects.

While we don’t want to bore you with long accounts of what was said, we would very much like to show you some of the work that was shown to us.  

The story of a museum is written not only by its objects and exhibitions but also and foremost by its visitors. Without its visitors, as Jane put it, a museum is ‘just a room with beautiful paintings, sculptures and installations’. To fill it with life, you need people who are willing to experience what a museum has to offer. To bring the museum’s objects to life, you need someone who can tell their story. One of these people is Jane Meresmaa-Roos, who works at Kumu’s Art Education Programme.  

Our exhibition has just opened in Tallinn – the third and for now last station of 'The Desire for Freedom. Art in Europe since 1945'. Not only has the city (and country) changed, also the name is different: 'Critique and Crises. Art in Europe since 1945' is the new and at the same time old title. Why old?