32 page feature on “Sound Art” + audio CD

for kunst.ee magazine – Estonian Quarterly of Art and Visual Culture  (6/06)

Editing and design: John Grzinich
Estonian translations: Evelyn Müürsepp

Articles by / Artiklid:
John Grzinich
Fred Jüssi
Erkki Luuk

Interviews with / Intervjuu:
Estonian artist – Ki wa
Carsten Seiffarth (Singuhr Hörgalerie, Berlin)

+ History of Sound art and experimental music events at MoKS

+ Comments from visiting sound artists to MoKS: Derek Holzer, mnortham, Paulo Raposo, Antonio Della Marina

-> Download the English PDF version (2.6mb)

Audio CD: sound works from the MoKS archive

compiled and edited by John Grzinich

TRACKS

01. art sounds of the estonian wilderness, talv 06
02. copperless in saaropera – jgrzinich with mnortham and Hitoshi Kojo
03. Forage – by mnortham with Tero Nauha and Lars Larson
04. end of an age – sound action by jgrzinich
05. Kiwa – Live at Heli+Visioon
06. Ici-Même – City Sounds Concert, Live performance in Tartu
07. Ctrl Alt Dlt – Live at Heli+Visioon
08. Maxims Shentelevs – Ant hill life
09. Noortele Heliworkshop installatsioon
10. jgrzinich – manual fracture: mp3 file
11. .murmer. – Field recording in Mooste
12. suviFLUX – sound performance, Sõmerpalu Mõis

from the intro:

What is this that we call sound art? The medium of sound is elusive. It is immaterial, or isn’t it?. Under special circumstances we can see it and feel it. Yet, in everday life, our sense of hearing is as important to us as the other senses. So what would drive artists and others to use sound as as a means of artistic expression and where do we make the difference between sound and music? It wasn’t until the early 1990’s that the term “sound art” first started to surface commonly among papers and conferences and international festivals of music and art. It would take another 10 years before “sound art” would appear as an acceptable field among notable exhibitions operating on an international scale. The debates and discussions about sound remain as open as ever, even as “sound art” becomes a legitimate area of practice within the wider context of artistic practices,. This is certainly true, with myself and other colleagues even after more than 10 years of practice and exploration with sound and if we dig deeper there are many artists with much longer histories and paths across disciplines with their use of sound. It is on this rich and fertile ground that I attempt to approach the many angles of this invisible medium.

read more in the June 2006 issue kunst.ee