Not the future, but the present is ‘phygital’. Just like our current everyday reality, Felix Kindermann’s new exhibition Interplays moves between the physical and the digital. Invited by Kunsthal Gent to contribute to its Endless Exhibition, Felix Kindermann created a virtual version of his ‘Choir Piece’ (previously presented at KANAL – Centre Pompidou (2020), KIT – Kunst im Tunnel (2020), S.M.A.K. (2019) and Museum Dhondt-Dhaenens (2019)).
Artist(s) Felix Kindermann
Venue Kunsthal Gent, Ghent, Belgium
All images Michiel De Cleene / courtesy the artist and Kunsthal Gent
Choir Piece is a living sculpture performed by 16 singers, but as such physical exuberance is not possible in times of corona, he recorded the 16 singers spread across the monastery of Kunsthal Gent. We hear these voices reproduced by speakers, circulating in an unpredictable movement through the space via a digital algorithm. For the first time, Felix Kindermann’s research explores the realm of digitisation, translating the modular score Composition for Separated Musicians that he commissioned from US composer Natalie Dietterich into a virtual, moving choir. We hear technically disorganized singing voices, still matching each other harmonically.
With this work, Kindermann continues his exploration of order and chaos, while shifting his attention to the disruptions of perfection in digital processes. Wandering through Kunsthal Gent, we pass clusters with parts of white shoes. On closer inspection, the shoe-stacks turn out to be 3D-prints, unnaturally joined together and covered with digital noise and sharply cut apart, like a 3D-puzzle revealing its machine-production process. Kindermann scanned some of the singer’s shoes in low resolution and re-assembled them as pairs and groups. Like a disrupted reality, the intertwined images of the scan force the printer into its own interpretation, creating unforeseeable digital noise. Referring to the singers’ missing bodies all fragments echo each other as separate parts of a larger whole. So do their voices, of which we never know how the program puts them in motion.
There is neither perfection nor virtuality in real life. The broken shoe-sculptures become emblems of this dilemma, an existential friction, addressed by daily life objects of leisure time and a capitalist economy, non-sustainable throw-away products of a hyper-individualized society. As the sound is echoing in the room, the sculptures seem to be leftovers, traces of a world in-between, in-between reality and virtuality, perception and imagination.
Choir Piece (Virtual Edit, Kunsthal Gent Version), 2021 Concept and text by Felix Kindermann