On April 4th, 2014 Frantic Gallery from Tokyo and Berlin based Das Foto Image Factory open Digit((al) (/)Sound(/)Image)(.) exhibition and present their viewpoint on the present and possible future of technology-related art and its relationship with the media it is recorded, saved and transmitted with. Makoto Sasaki and Macoto Murayama ― two Japanese artists strongly bound with cutting edge digital imaginary ― will show their perspective on futuristic urban landscapes and post-organic flora, captured and transformed with the latest technologies.
Recorded and saved in numeric ways, images of these artists are brought into the material world by Das Foto Image Factory printing company. For several years Frantic Gallery has collaborated with our colleagues from Das Foto to find the best way not only to record and preserve, but to use the printing technology in a way it can reinforce aesthetic/digital qualities of the image. The Factory which burns Murayama and Sasaki’s digital images onto paper, giving them physical presence will become a showroom for the works of these artists for two months with the Digit((al) (/)Sound(/)Image) exhibition, while revealing the intricate relationship between digital works of art and its media.
From the opposite of the Image Factory side (=the side where Image enters its substance) we invite Stefan Goldmann, a person active in the field of Sound and its techno-metamorphoses. Goldmann’s interest lies in the junction of sound and its technological paraphernalia, in urge to understand how audible content is recorded, saved, distributed and in what way the progress of these techniques and technologies transforms into aesthetic parameters capable of shaping music itself. While visitors of the show will be able to see the printing machines in process of shaping digital image, a music performance of Goldmann will let you hear the way recording machines bring to life and shape digital sound. Goldmann presents his excursion through 140 years of music media while playing with the technologies and revealing their aesthetics-infusing powers. The ”historical” Dj set will be performed by Goldmann ( in the midst of printing devices and exhibited visual art works ) during the opening reception and will be available online after the start of the exhibition, offering our guests permanent access to both, the audio and visual dimensions.
Between Tokyo and Berlin, Art and Science, Future and Past, Message and it’s Media Digit((al) (/)Sound(/)Image)(.) exhibition offers you the research and experience of those paths image and sound so defining for the start of the 21st century moves from its initial state to media that shapes it, from technological processes to the final presence of the work of art in its Digital Age.
Macoto Murayama / 村山誠 creates computer generated botanical drawings, bringing an ancient tradition of flower illustration into the digital age. Pre- modern visuality meets here with cutting-edge technology; natural forms intertwine with scientific sharpness and descriptive precision. Murayama starts as a true botanist: he collects a plant, makes vivisection and observation, draws and photographs. However, his own flower is born with the help of the 3dsMax software for three-dimensional graphics, while composition and symbolical indications are created with Adobe Illustrator and Photoshop applications. The full body of works is called Inorganic Flora. It has two major brunches, namely “Botanical Diagrams”, large drawings of a particular flower with the scientific name, parts indications, measurements, scale and other descriptive elements, and “Botech Art”, vivid manifestation of synthesized “Botanical Art” and “Technical Art”, in which organic form discloses its mechanical elements while architectonics of the plant reveal its gentle, lively and even sexual nature.
Makoto Sasaki / 佐々木睦 perceives the Megalopolis as a place of multi-directed and synchronous times in the series of works titled Tokyo Layers and Shanghai Layers. Photo for Sasaki is not a medium for still life, in reverse it is a city-like accumulation of elevated bustling lights and radiating motions. Sasaki is using a technique of capturing subject with the camera in movement and exposure time of 20-30 seconds, while interrupting the light stream for several times during each shot. Thus extension of light in captured image comes together with its black out, the line absorbs the rhythm, the continuity is overlapped with a rupture. Layers of stretched light that comes from the windows of the city skyscrapers constitute The Tokyo/The Shanghai, taking the viewer to the personalized time of its dwellers, the presence of the artist and the moment of the shot.
Stefan Goldmann’s participation outline: Most of today’s music finds its final embodiment in a digital stereo master file (not in a score, not in a performance), encoded at 16 bit and a sampling rate of 44.1 kHz. Anything else is aesthetics – or esotericism. For the first time in history the whole palette of sonic format specifics is readily available for use as an extension of what “instrumentation” used to be. Long “obsolete” technology is revived, within the boundaries of its software successors: not because of its evolutionary advantages, but for its specific colouration. Vinyl’s geometric distortion, high frequency compression and low-end mono, the specific harmonic distortion of a valve tube, digital degradation effects reminiscent of earlier technology etc. thus become aesthetic tools. Formats are now nothing but a filter put between a “clean” sound source and an ear: they have been freed to return as art. In his set for Digit((al) (/)Sound(/)Image)(.) Stefan Goldmann examines 140 years of recording history as a source of digital forms: juggling around techniques, colors, sources and audible results as layered aesthetic forms of music production and performance.
Changing techno from within, Stefan Goldmann has created his uniquely own version of contemporary music. Neither constrained by the pitfalls of academicism nor those of electronic club music functionality, his work topics range from micro details of production to macro concepts of exposing terminal points of entire genres or technical formats. His work is derived from the core parameters of techno: sample, loop, edit, grid rhythm, track. A constant here is exposing contours – footprints of broader organizational entities of music outside of traditional form or parameters: Recording-process and interpretation differences in ‘Sacre Edit’, pitch bend curve extraction in ’17:50′, the analog-digital divide in ‘Vinylism’, comparative DJ mix analysis in ‘Macrospective’, digital access and inverted improvisation in ‘Trails’ – music characteristics never before even considered being possible material of compositional processes are made “visible” in the acoustic image and employed as gateways to new works of music.Stefan Goldmann regularly performs DJ and live sets in Europe, North America and Japan and runs the Macro label, which has been named “the leading avant- techno label” by De:Bug magazine. Outside the techno circuit he has developed works for Nationaltheater Mannheim, the Honen-In Temple in Kyoto, BASF Kulturprogramm, NyMusikk Norway and several other festivals and institutions. In 2012 he was artist in residence at Villa Kamogawa in Kyoto, Japan. He also writes a bi-monthly column for Berghain’s flyer program.