invisible escultura

8/15/2019 Invisible ESCULTURA

1/6

D

Ol l iS

VON 0

{(,\

F IEN

MAX

NEUH

·

AUS

Invisible

scu

l pture

molded sound

L

TIll: ullhl.

:a

ru -ur

and

tht:

llllUtlCr


2/6

ay l l n d

('xpericllccd

in a e ~ t h c l i c ~ ~

s . - -

-

a

; · a - ~

k i l r r t i e f r e c l . In asquClrc , v l l c r C l l l e " i ) l ~ e

TC\"

11 the co nl ra r ), he

wanted

10 g

uide

th e Zlud icncc was low, the so

und would

drown out c\'c rYlhing d ~ t

hr

oug h th e aural spa ces of their imme diate in

Times

Square it is

barely

perce ptiblt' . On

the

on

l I r r n r l i l l ~ ~ . As if determined to brin g hom c to hi s hand

it

uses

automobile

~ n d

air

craft

Iloises,

and n

Iis tcn ers·' th e ir OWIl

raculty

as "

re so

n

ance

clUllll - ·

the

other illllixcs in

peace fu

l "ol ll1cis such as 10 1Ii

n

he accompanied

them-for

an c\'cn t

entitled

( 19tiG)-th roligh ; t

rea

of

Ma

nh:luan which

pani cul rt rl ,. r ich in so und

and

had dis ti nc tivc

lll ra l h ; l r ~ l c t c

N (

';1

ri y t

ell years lalcr,.\1 Tim es S(

llIa.r

c,

he ere,lt e d

ric"t pe

rm;1lwnl

ac

ou stic

spa

ce. A virtuoso

work.

r a kind .

111

the middk

of

the nobiest sl"Jl1arc in

Ncw

i \ 1 e l l

n l l l ~ put up

al1

invisih le

space

Illarked off

n - ;KOII ti c walls. illitiall Y;1 is imperceptihle bCG1II SC

"o u nd (,11

1t' IS it .

;Icou"lic

environmenl

stealthil}l.

inl l·tlder in

d ; ~ g : \ l j s c , ;lnd

is in

an)' c

as

e

cognate

Iilal cllvironmenl. thal

onl

y

gr;:ldu:l lly

docs it

it " ow n

alien

ch ;u ac tc r. Bllt t h

ose , ~ h l ' )

lo cate

f l und e:-.. p erit·ncc it

as an

acoustic thre shold

i

l1 g:

into

a

C


3/6

.111 \ .\ 1 l - I f U .\,

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JI I :n· I (10 , \ / . 1 1 .12, ,,,/,,,, 11 p ,,d lJIt 1·"/"

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/ ;SY

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II lId

'Jf) x

iU

rm // 1 11)10111.1, \ ( .11 \ UIL / t l i l

II i IO I

1111 , 1.\1

11 \\

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t-

:ACI I ItUUM liAS

A

~ U U N l J

Ui - Irs OW:>::-TlIKEt:: QUIt::T «.;OLO k ED BV

SOUND

.

" IIt:: 1 1 / J { U . ~ ( J N I I

r:OLOKS

M I X UII-'Ft::RENTL\' WITH

:>

O l

'I I :> HH

IM

O U

TSIUE

TI

lE

lI

'ACf. l

,

SOUND C E ~ fR()M

U

l :

1 I U ~ I' .

T I

IROC(;I

I

Tl IHI .

RECOLORING

,\NII ' l ' l I t; :-; kU:XI'USI '


4/6

Neuhaus docs not in

faeL

c

alculate his

spaccs, He

Irllsts his enrs, He tric'i it Ollt

on

the spot ' till the

..;nUlld is r i ~ l l l

and

Lilt:

space is right. AI timcs, draw

ings

Inil}

' help define and pl;tce il. panicular ...Irca

l1lore

pl-ccisely (II'

so

und

Ollt

aCOlistic reflections.

But

:1

so

und

;11SI:1ll.lt;0I1 is n

C\'c."r rill; lIy eS

l

ilblishcd on

the basi '

or

1'1Ich dr;twings , Setti n g:

11p

the

(lcoll''lic

r : \ ( T is : l l1 l : l l l r r orpurcly inlltilivc

experimentation.

Orawings

,mel

texts po

sses" great sign ifi

cc

m cc as a

rclkcti\'(, 111cdil11l1

and arc

il constitllent of Ncu

h : l I I ~ s work in their own rig-hI. The drawings arc

dOTH:

in pencil .1I1e1

crayon. The pencil

indicates the

. .wel the crayon

the

sOll nd. The

lay

variolls

,lcflllSlir q.ll:1litics arc juxlaposed like ne\\l walls b c ~

\ide exining walls or criss-cross the space like

e n e rgy

ClIrren lS is

simplicity

itself.

The drawing

,.

have

nonc

flf

Ill(' function or

mllsinll 1101:1Iiol1.

in ract. hut I"ath

( I rcc;111 the It'llr; livc

definition

or clcClrical. n erve

HI

hrain

impul

sc\,

Neuhaus di. .lingui:

i

hcs

bctwccn

rhe

"wnrl..irlg· t-arning

d r a w i n ~ s

and the

"how-I-rlid

II

drawing:..;"-the

propo

.al'i and lite

ciiplychs

cO

llsist

j'lg (d '

text

:llId

drawing.

For NClIli;IlIS, the diplychs

I

1111"'\

i

1111

e

;1

vi1: 11 C\l;lI)Ii o.IIIT1(: n t elr distance.: , afford ng

,

I l l

t I I ' n

i t , \ \ , of

lhe work,

For

rho 'c

who

experience

Ill(' , \'

nrk,

1IH'),

arc

a complex nH, n

llS of approaching

;r

: wltat Ille tl'XI G\1I110t cxprcs

..

the dr;rwillgs fill in.

,lIul ,'ic(' , '

c.:I",:1-

Tht'

diJlI\chs of' lex t


5/6

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t_

INI'N

SOlJN

ll ll .\R 'o r r I.IT

,\1\:0.

l

d ispla

ce

menls Nc

uh

au:. has

h i t : v

was i

lc n

Crev

e Gall e r y in Co logn e. In a lin y k

th a t o

pe n

ed off

a

larg

er room, he

l

oc

atc::d

ceptible

ac o ustic signals

that would,

stricti}

have been

characteristic of

vastly spa ciolls

vaulLs. The eye saw a cramped

cabiJlel

spa

ear registered th e

largc

sounds and echoe

in a big space. The eye e lljoy(.'d a

clear

gai

for

long.

When you moved into

the

exhibi

with

its

normal sound character

un

ch

ang

denly

seemed to

have

shrunk- the

ear

lished 'new

relat

i

ons,

and the eye

suffered

To

present

something

by

the

absence

trusion. to whet

attention by

removing

sound; is the

motif

of

the

MOMENT

I'

IE

C

ES,

28


6/6

juxtap

osed asain'il the PLACES. \Vc a rc all fa mi l·iar

with th e phe nomeno n . An electric coffee gr in der is

IClud l), ra t t ling

away

in a

ca

fe,

say, the so u nd unn o

ticed

in

th e gene ral noise

of

the cafe, a nd

th

e n sud

(It-n l)' the machine i:

invisible escultura

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