This Is Not A Love Song [Radio] #4 - Kraftwerk, Germany

This Is Not A Love Song [Radio] builds on an existing field recording project by artists Joe Wilson and Chanelle Collier titled This Is Not A Love Song (Sound Archive): 200 field recordings, 200 countries; a collection of the ambient sounds of major art institutions around the world, created through recordings from a global community of contributors. The project appropriates sound to critically study the ambience of institutional space.

Each episode is presented in two halves: the original field recordings from the first half of each episode (A-sides), and the second half of each episode (B-sides) is a sonic response by invited artists, curated by artist and musician Jack Prest.

These responses take the form of deconstructed, remixed or re-recorded versions of the original field recordings and explore ambient electronic, contemporary classical, noise and other musical/sound forms conceptually connected to the practice of field recording.

CALL FOR CONTRIBUTORS: If you would like to contribute a field recording from an art institution to This Is Not A Love Song (Sound Archive), contact Joe and Chanelle at chanelle@chanellecollier.com

The artists would like to thank and acknowledge support from all contributing artists and arts workers who have offered recordings and advice.

The series is made in collaboration with Jack Prest.

A Side Field Notes:
“This field recording of Kraftwerk in Berlin was made during the pack down of the sound and light festival, Atonal, with the help of Atonal Art Director (and our dear friend and former Sydney ARI gallerist) Adrianno Rosselli. These personal connections highlight the interweaving of disparate moments and places that the recordings often produce, that can instigate a dynamic reading of site and context. For instance, 1960’s power station in Berlin, meets international contemporary art festival, meets a closed Sydney ARI.

What is interesting about this site is that it is a former power station (like the Tate Modern and others). It is not made for art, but occupied by it. So it exists as something of an anomaly in the project, not being easily classified, that provides an opportunity to wonder: what is the art institution or museum, and from where does it draw its power?” - Chanelle Collier

B Side Notes:
On the recording process with a live ensemble: “a direct response in the studio wearing headphones with no previous listening” - Jack Prest

From The Archive (DEFINING THE MUSEUM):
The International Council of Museums (ICOM) definition of a Museum, which stood for 50 years but is under revision (at the time of writing September2019). It states that the Museum is “a non-profit institution” that “acquires, conserves, researches, communicates and exhibits the tangible heritage of humanity and its environment for the purposes of education, study and enjoyment.” – (ICOM)

Danish curator Jette Sandahl, working with ICOM, has put forward a new definition in a 21st century language. The new definition was developed in a two-year process but has been met with criticism. Sandahl’s proposal defines Museums as “democratising, inclusive and polymorphic spaces for critical dialogue about the past and the future”.

It continues: “Addressing the conflicts and challenges of the present, they hold artefacts and specimens in trust for society, safeguard diverse memories for future generations and guarantee equal rights and equal access to heritage for all people.” They should be “participatory and transparent”, work “in active partnership with diverse communities”, “aiming to contribute to human dignity and social justice, global equality and planetary wellbeing”. (excerpt as reported in The Art News Paper, by Vincent Noce, 19th Aug, 2019, theartnewspaper.com)

This new language and definition highlights who is to have access and asks who has permission to engage with the Museum; it highlights a need to address diversity and inclusion, ultimately recognising the need to include the voices of its many beneficiaries (viewers not donors).

"As an update (August 2020), Jette Sandahl has resigned over definition disputes." - Joe Wilson

Tracklist

A SIDE
Kraftwerk Field Recording - Joe Wilson and Chanelle Collier
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B SIDE
Group Improvised Response to KFT-WRK Field Recording (Edited) - Electric Guitar - Dave Rodirguez, Drums - Nicholas Meredith, Piano - Benjamin Freeman, Bass - Jarrol Renaud. Recorded by Jack Prest and Jack Garzonio at Studios 301, Australia.