this edition of framework:afield has been produced in hamburg, germany by stefan paulus. for more information see his website at http://psychogeography.blogsport.de. stefan says:

This show is not a linear drop down playing songs show. It´s more a cluster, a collage of sound collages from field recorders, street walkers, sound artists. The following playlist represented therefore more the structure of the show – you will find Bernard Parmegiani for example at the beginning and in the end. I also used “own” field recordings, collected through psychogeography drifts, in between.

Playcluster for framework:afield:

Ian Breakwell & Ian McQueen – Breakwell’s Circus (1979) # Bernard Parmegiani – L’ecran Transparent (1973) # Juergen Ploog & Column One – Tote Zone I (2005) # William S. Burroughs – Throat Microphone Experiment / Word Falling, Photo Falling / Creepy Letter, Cut-Up At The Beat Hotel In Paris / Origin and Theory of the Tape Cut-Ups (1959 through 1986) # KK Null, Chris Watson & Z’EV – Conclusion – Demon, (the super-natural) mercury hearing water north winter twilight / Development – Woman (the balance) saturn taste earth centre late summer noon (2005) # Bj Nilsen & Stilluppsteypa – Man From Deep River. Part three (2009)# Chris Watson – 3m (2007) # Dave Phillips – Schimpfluch-Commune Chiang Mai (2007) # Sibirische Zelle – Knechte des Tourismus (2005) # Rolf Dieter Brinkmann – Schreiben ist etwas völlig Anderes (1973) # Francisco López – Populations of Xenophyoph (1993) # Yannick Dauby & Thomas Koener – Une Topographie Sonore (2002) # Stefan Paulus – Sendeschluss der Kulturindustrie / Pension Falkenhof und Gaststaedte Bruns / Unwahrnehmbar-Werden / Journey into the grey Room (2009-2012)

Kristin Oppenheim (Honolulu, Hawaii, 1959) viu i treballa a Nova York. Partint de l’ús de la seva pròpia veu –malenconiosa i misteriosa– l’artista teatralitza l’espai expositiu per a escenificar les relacions poètiques que s’estableixen entre el so, la memòria personal i l’experiència col·lectiva. L’austeritat que destil·len les seves instal·lacions la vinculen al corrent minimalista, mentre que l’ús experimental de la veu i del so la connecten amb l’art conceptual. Les primeres temptatives d’utilització de la veu humana al context de les arts plàstiques es troben a les experiències de poesia sonora realitzades als anys vint per futuristes i dadaistes, que més tard, a partir dels cinquanta, van reprendre els lletristes i figures com Vito Acconci, Henri Chopin i John Giorno. 

Kristin Oppenheim selecciona fragments de cançons populars o de poemes que ella mateixa escriu o troba, cantats i repetits gairebé a mode de mantra. A “Hey Joe” (1996) l’artista recita el primer vers d’un tema homònim que va popularitzar Jimi Hendrix l’any 1962. La cançó parla d’un home que, després d’assassinar la seva dona, planeja fugir a Mèxic per escapar-se de la seva condemna. El vers que Oppenheim recita diu: «Hey Joe, where’re you going with that gun in your hand?» (Ei, Joe, on vas amb aquesta pistola a la mà?). Una pregunta que, per la seva reiteració i per la fragilitat de la veu que la pronuncia, embolcalla l’espectador en un ambient inquietant on la sensació d’amenaça i vulnerabilitat va in crescendo. L’artista també disposa dos focus al sostre que projecten raigs de llum al terra de la sala buida. 

Google Translation:

Kristin Oppenheim (Honolulu, Hawaii, 1959) lives and works in New York. Based on the use of his own voice, melancholy and mysterious artist dramatizes the exhibition space to stage the relations established between sound poetry, personal memory and collective experience. The austerity that exude their facilities linked to the current minimalist, while the experimental use of voice and sound to connect with conceptual art. The first attempts to use the human voice to the context of the arts are on the experiences of sound poetry performed by the Futurists and Dadaists twenties, later, from the fifties, lyricists and resumed figures like Vito Acconci, Henri Chopin and John Giorno.

Kristin Oppenheim selected excerpts from popular songs or poems that she wrote or found, sung and repeated almost mantra mode. A “Hey Joe” (1996) the artist reciting the first verse of a topic titled Jimi Hendrix made ​​famous in 1962. The song speaks of a man who, after murdering his wife, plans to flee to Mexico to escape her sentence. The verse recited Oppenheim says: “Hey Joe, where’re you going with that gun in your hand?” (Hey Joe, where are you going with that gun in your hand?). A question which, by their repetition and the fragility of the voice that pronounces it, envelops the viewer in an environment where the disturbing feeling of threat and vulnerability was in crescendo. The artist also has two ceiling spotlights that project light rays on the floor of the empty room.