sound:frame turns TEN!
In 2016, sound:frame in cooperation with its numerous partners, international artists and audiences celebrates its tenth anniversary. A large retrospective shows the developments of the past decades and an international program runs the gamut from the past to the future.
As usual, our program includes audiovisual live shows, interdisciplinary installations, and performative educational concepts, panel discussions, and laboratory situations. International artists present select works and commissions created specifically for the sound:frame festival at brut, Künstlerhaus, Passagegalerie, and AIL / angewandte innovation lab.
In 2016, the RETROSPECTIVE exhibition at the Künstlerhaus Passagegalerie – the space where it all began in 2007 – explores these developments on a metaphorical level. The history of the festival and its protagonists is inscribed in an organic sculpture. With it, we pose the question of whether the at times artificially paved, at times naturally grown, living structure of a festival can be transposed to a three-dimensional map.
With its 2016 exhibition, RETROSPECTIVE, sound:frame takes a thorough look back at its ten-year history. Along with the factual reexamination of past festivals, the exhibition includes an artistic inquiry which attempts to place sound: frame’s history on a three-dimensional map in order to render it tangible for viewers. The basis of this historical topography was created in a procedural, collective investigation of each festival year. Concepts, functions and experiences, successes and failures, growth and decline, changes of perspective and reorientation manifest themselves in the scenery of a map and are put in relation to each other by way of geographic metaphors. Various developments are reflected in this topographic sculpture and thus become a reference point for stories, anecdotes, facts, and memories, offering a direct, intimate glance at the process that made sound:frame what it is today. Maps facilitate an individually scattered perception while simultaneously displaying a high degree of com- plexity. They pick up on the explorative and curious element in the viewing process and allow for an alternation between overview and depth in their reception.
Cultural policy discussions have often been about how to determine criteria on the basis of which events ought to be evaluated. They have chiefly been concerned with visitor numbers, budgets, losses, and even Vienna’s cultural glut. Beyond this, the festival as an organism operates in a much more intensive conflict area, which renders its identity a fluid structure. An increase or decrease in the festival’s budget requires an examination and adjustment of its contents; excellent weather can have just as negative an effect on visitor numbers as a too avantgardist lineup. Likewise, a strong team with positive group dynamics is a potential that can compensate for shortages elsewhere. A festival must therefore not be regarded merely as a cultural juggernaut, but should be seen as an emotional creature with its own psyche. The method of representing the psychographic profile as a topography allows both the viewers and the protagonists themselves to change perspective on the construct of the festival in general and sound:frame in particular. sound:frame, therefore, not only grants audiences a look behind the scenes at the highs and lows of a festival’s history, but also renders transparent the internal organs of the festival as a construct.