kagablog

Time has come, the new edition of Netfilmmakers is upon us! On October 18th, South-African artist Aryan Kaganof will unveil the 18th edition, curated by him, aptly named “Noisewomb”, at the new and improved Netfilmmakers’ space, at Brorsonsgade 1, Vesterbro. Contributing artists Kerstin Ergenzinger, Isabelle Schiltz, and Catherine Henegan, will be present and discuss their works.

Curator Kaganof describes his idea of Noisewomb:

Intention of the theme (After Adorno).

If the aesthetic realm originally emerged as an autonomous sphere from the magic taboo, which distinguished the sacred from the everyday, seeking to keep the former pure, the profane now takes its revenge on the descendant of magic, on art. Art is permitted to survive only if it renounces the right to be different, and integrates itself into the omnipotent realm of the profane, which finally took over the taboo. Nothing may exist which is not like the world as it is. Noise is the false liquidation of art. Instead of utopia becoming a reality it disappears from the picture. NOISEWOMB is a net-based staging of the reappearance, on the scene of the absent sign, of the previously silent utopia.

I think it is useful to return to Rainer Maria Rilke’s fabulous essay “Primal Sound” from 1919, where he describes the following:

“The coronal suture of the skull a certain similarity to the closely wavy line which the needle of a phonograph engraves on the receiving, rotating cylinder of the apparatus. What if one changed the needle and directed it on its return journey along a tracing which was not derived from the graphic translation of a sound, but existed of itself naturally–well: to put it plainly, along the coronal suture, for example. What would happen?
A sound would necessarily result, a series of sounds, music … Feelings–which? Incredulity, timidity, fear, awe–which of all the feelings here possible prevents me from suggesting a name for the primal sound which would then make its appearance in the world … Leaving that side for the moment: what variety of lines then, occurring anywhere, could one not put under the needle and try out? Is there any contour that one could not, in a sense, complete in this way and then experience it, as it makes itself felt, thus transformed, in another field of sense?”

I am hoping that the three artists involved will work with this idea of a primal noise, an Ur-noise, a noise from the womb. I do not however, want to influence their interpretation of these ideas in any way.

aryan kaganof