Johanna Diehl, <i>Das imaginäre Studio XIV</i> (Hermann Scherchens rotierender Nullstrahler, Studio für Elektroakustische Musik, Akademie der Künste, Berlin), gelatin silver print, 2017, 61 × 49 cm



Do 18–22 Uhr, Fr 18–22:30 Uhr, Sa 10–23 Uhr, So 10–20 Uhr

Camilla Vatne Barratt-Due und Alexandra Cárdenas 
Respire Tune (2017) (UA)
Performative Klanginstallation mit gefundenen Akkorden und ausgesonderten Akkordeons

Respire Tune is a performative installation consisting of dismantled elements of accordions, transformed into a new form by appropriating an altered mechanic system. In this installation, a collection of unrepaired accordions stemming from different times and places come together to form a new instrumental body. The bellows are replaced, and mechanically pressurized air vibrates the reeds, causing them to produce sound. During the instrument’s 150-year history, different grades and qualities of treated steel were used in order to construct the reeds, causing slight variations of pitch and timbre. Due to the effects of time and the high cost of repair, many cheap to mid-priced accordions fall out of tune and out of use. When played together, the different reeds create a pallet of frequencies standing in unique relation to one another, providing us with a pool of tones from where we can mine out undetermined sets of chords: a process that relates to the feeling of finding them, rather than building or composing them. The accordion tradition in Germany enjoys an excellent international reputation due to major manufacturers such as Weltmeister and Honer. Between 1860 and World War I, Germany produced approximately 255,000 instruments a year. In this period, these accounted for the main worldwide distribution of accordions, with instruments exported to the USA, South America, Canada, and the rest of Europe. Back in Germany, a rich accordion tradition evolved and is still being maintained.

Alexandra Cárdenas / Camilla Vatne Barratt-Due