MARL INDUSTREAL by Peter Simon

This experimental arrangement consists of the sound that is brought into the room. It is electronically modeled sounds that are produced in the room. There is an initial idea of which instruments will be used. How and why is decided on the spot in the improvisation with them. Like a sculpture of sound that is positioned in the space. The rooms in the museum are empty. No works of art are exhibited. The electronic sound that is sent into the room takes over the role of the work of art, the sculpture. It becomes a sculpture of sound. But it is also a changeable, kinetic sculpture that temporarily moves through the rooms.
Everything is improvised. It emerges directly in the moment, it grows, moves through the space and disappears again, fizzles out, until a new sound comes and spreads.

Brutalism as an architectural style is a worldwide phenomenon. It is the architecture in which we grew up. A love-hate relationship connects us with these buildings, whose fascination is fed by the monolithic.
School buildings, museums, city halls, libraries... at the moment we are experiencing a paradigm shift and see these buildings threatened with demolition. More and more of these complexes are disappearing from the cityscape. Structural substance is crumbling, the preservation of historical monuments is dealing with them. Brutalism once again becomes a generational issue.

Brutalism is a system outside political ideologies. Whether in Texas, Brussels or Bratislava; Brutalist buildings were built both in the communist Eastern Bloc and in the capitalist West.

Change, duration, difference, multiplicity, instability and imperfection...

experimentalelectronicfieldrecordingambientnaturetapesandspaces

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