Michael Pinter

SUB/DC, 2003

In its basic form, this work fulfills the criteria of a sculpture. The basic structure is a former steel water silo with a length of 11m and a diameter of 4m, which was removed from its original frame of reference and subjected to an entirely new contextualisation. Fitted with eight bass loudspeakers, the silo has become a musical instrument. The deep frequency ranges produce pressure waves that not only make the sound audible but also palpable. The composition data is visualised on an external monitor. In the sense of an advanced sculpture concept, the converted Readymade is tangible not only in a visual sense. 

 

The multimedial approach is characteristic of Martin Pinter’s artistic methodology. Pinter works both as a video artist (reMI) and a musician, and his work “SUB/DC” should also be seen against this media-artistic background. In its basic form, the work fulfils the criteria of a sculpture, particularly in the context of Minimal Art, which, in addition to reducing objects on a formal level, pointed out the formal similarity of works of art to functional, industrially produced objects.

 

The basic structure of this sculpture is a former steel water silo with a length of 11m and a diameter of 4m, which was removed from its original frame of reference and subjected to an entirely new contextualisation. Fitted with eight bass loudspeakers, the silo has become a musical instrument. Visitors have the possibility of modifying the sound structures. The deep frequency ranges produce pressure waves that not only make the sound audible but also palpable on a physical level. The composition data is visualised on an external monitor. In the sense of an advanced sculpture concept, the converted Ready Made can thus not only be registered on a visual level, but addresses several senses.  


In his work “Box with the Sound of Its Own Making”, Robert Morris in 1961 pointed out the self-referentiality and the time dimension of works of art. Michael Pinter refers to the functional possibilities on the basis of the specific physical and existential dispositions of a piece. This plastic experience is not only imparted by the three-dimensional object in its materiality, but also by the acoustic structure of the work – the drasticness of the sound.

Author: Günther Holler-Schuster 
Plan & Overview: Position 42
Owner: [property of foundation, Sponsored by Medienturm, Schilcher & Söhne]
Biography: Michael Pinter 

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