The genre identity of Sound Art, its institutionalization and what comes after

Magnus Kaslov

The genre identity of Sound Art, its institutionalization and what comes after

Magnus Kaslov

museet for samtidskunst

Research output: Contribution to conference › Paper › Communication

Abstract

Sound has a stubborn tradition of falling between the categories of art institutions and thus slipping through their fingers. Establishing Sound Art as a genre of art has been instrumental in changing this problem. But perhaps it is now fruitful to let both the genre identity of Sound Art and the museum conventions become a bit more fuzzy around the edges.

"I think, that this is what is at the heart of my hesitance with the category or genre-identity of Sound Art. That “real” Sound Art is always really supposed to be about sound. The problem in this – to me – is, that this formalist, essentialist, high-modernist understanding of “Sound Art” seems to direct the gaze – and our ears – away from all the other art works that use sound as its medium – but not as its central motif – and might make us completely overlook (or overhear) some of the art practices that to me are the most exhilarating and wonderful right now."

Original language	English
Publication date	5 Dec 2017
Publication status	Published - 5 Dec 2017
Externally published	Yes
Event	Presenting Sound Art - SMK, Statens Museum for Kunst, København, Denmark Duration: 5 Dec 2017 → 5 Dec 2017 https://www.komponistforeningen.dk/konference-presenting-sound-art

Conference

Conference	Presenting Sound Art
Location	SMK, Statens Museum for Kunst
Country/Territory	Denmark
City	København
Period	05/12/2017 → 05/12/2017
Internet address	https://www.komponistforeningen.dk/konference-presenting-sound-art

Cite this

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N2 - Sound has a stubborn tradition of falling between the categories of art institutions and thus slipping through their fingers. Establishing Sound Art as a genre of art has been instrumental in changing this problem. But perhaps it is now fruitful to let both the genre identity of Sound Art and the museum conventions become a bit more fuzzy around the edges. "I think, that this is what is at the heart of my hesitance with the category or genre-identity of Sound Art. That “real” Sound Art is always really supposed to be about sound. The problem in this – to me – is, that this formalist, essentialist, high-modernist understanding of “Sound Art” seems to direct the gaze – and our ears – away from all the other art works that use sound as its medium – but not as its central motif – and might make us completely overlook (or overhear) some of the art practices that to me are the most exhilarating and wonderful right now."

AB - Sound has a stubborn tradition of falling between the categories of art institutions and thus slipping through their fingers. Establishing Sound Art as a genre of art has been instrumental in changing this problem. But perhaps it is now fruitful to let both the genre identity of Sound Art and the museum conventions become a bit more fuzzy around the edges. "I think, that this is what is at the heart of my hesitance with the category or genre-identity of Sound Art. That “real” Sound Art is always really supposed to be about sound. The problem in this – to me – is, that this formalist, essentialist, high-modernist understanding of “Sound Art” seems to direct the gaze – and our ears – away from all the other art works that use sound as its medium – but not as its central motif – and might make us completely overlook (or overhear) some of the art practices that to me are the most exhilarating and wonderful right now."

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M3 - Paper

T2 - Presenting Sound Art

Y2 - 5 December 2017 through 5 December 2017

ER -

The genre identity of Sound Art, its institutionalization and what comes after

Abstract

Conference

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