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In “Untitled (A Love Song)”, Christian Naujoks’s practice finds resonance with works by Heike-Karin Föll and Erika Landström. Notation, text, rhythm, and sound—the core components of love songs—appear and reappear in various works in the exhibition. The desire for an unspecified other is (in)audibly conveyed within them: They betray cautious gestures of affection and withdrawal, of approaching but also retreating.
The point of departure for “Untitled (A Love Song)” is Christian Naujoks’s research on hearing impairments, which are made productive as compositional principles. Building on Pauline Oliveros’s (1932-2016) “Sonic Meditations”, which establish empathic and precise listening as a practice for art and life, Naujoks stresses the potential of resistance within an ever-fractured corporality. Fragility is interpreted as a distinctive quality. Conventional notions of illness are replaced by new scales of ability. Meanwhile, rehearsal as a methodology of repetition gains a...More
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Press Release
In “Untitled (A Love Song)”, Christian Naujoks’s practice finds resonance with works by Heike-Karin Föll and Erika Landström. Notation, text, rhythm, and sound—the core components of love songs—appear and reappear in various works in the exhibition. The desire for an unspecified other is (in)audibly conveyed within them: They betray cautious gestures of affection and withdrawal, of approaching but also retreating.
The point of departure for “Untitled (A Love Song)” is Christian Naujoks’s research on hearing impairments, which are made productive as compositional principles. Building on Pauline Oliveros’s (1932-2016) “Sonic Meditations”, which establish empathic and precise listening as a practice for art and life, Naujoks stresses the potential of resistance within an ever-fractured corporality. Fragility is interpreted as a distinctive quality. Conventional notions of illness are replaced by new scales of ability. Meanwhile, rehearsal as a methodology of repetition gains a...More
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More Exhibitions at Kunstverein Nürnberg
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