Gasworks | Gerald Fiebig feat. EMERGE & Christian Z. Müller

 

Gasworks | Gerald Fiebig feat. EMERGE & Christian Z. Müller
Gruen 179 | Audio CD > [order]
Reviews

 

„Gasworks“ by sonic artist Gerald Fiebig collects his sound installations, radiophonic compositions, and live performances relating to the former gasworks in Augsburg-Oberhausen. They were created between 2010 and 2016, some in collaboration with colleagues EMERGE and Christian Z. Müller. Among the compositional materials of the album are processed recordings of the sounds of gas and industrial machinery, stories told by a former gasworks employee, and live improvisations in the echo chamber of the large gas tank.

 


 

Liner notes by Gerald Fiebig:

 

Cities phosphorescent
on the riverbank, industry’s
glowing piles waiting
beneath the smoke trails
W.G. Sebald, After Nature

 

The former gasworks in Augsburg-Oberhausen (not to be confused with the better-known Gasometer in the city of Oberhausen in the Ruhr area) have been a subject of my artistic practice for more than a decade. This album collects all the works related to the gasworks except a site-specific installation version of Echoes of Industry that did not lend itself to documentation as a recording.

 

Opened in 1915, the gasworks are a testimony to the spirit of what one could call the ‚heroic‘ age of industrialisation. The architecture of the ovens and machine halls features stylistic quotes from the façade of Augsburg’s renaissance city hall as well as from cathedrals. Technological progress is presented as both raison d’état and religion. This stands in stark contrast to the extremely hard, dangerous and – for a very long time – poorly paid working conditions described by long-time gasworks employee Johann Artner in Nach der Industrie / After Industry. From our contemporary viewpoint, informed by climate change and the impending end of fossil resources, the optimism expressed in the beautiful architecture of the gasworks also appears less than justified for ecological reasons: until 1968, the gasworks actually produced gas by burning coal in large ovens. They then continued to operate as a distributing station for fossil gas from transcontinental pipelines into the local network. Operations ceased in 2001.

 

After almost two decades of merely intermittent use for festivals and other events, 2019 saw the re-opening of the gasworks area as an arts centre featuring a theatre as well as artists‘ studios, rehearsal rooms, and office spaces for creative businesses. This seems to imply that it has now entered the ‚post-industrial‘ age where clean, almost immaterial computer screens have replaced the factory floors once so dirty and dangerous.

 

In fact, there is no such thing as a ‚post-industrial‘ age, just globalised capitalism increasingly outsourcing the dirty and dangerous work (manufacturing the microprocessors for the ‚post-industrial‘ devices, for example) to poorer countries. And of course industrial manufacturing still does form an important part of economies of the global North, even if the leading role in ideological narratives of growth and prosperity has been taken over by the ‚post-industrial‘ businesses.

 

Both post-industrial, which is partly based on processed sounds of a metal tool factory quite close to the gasworks, and Echoes of Industry can be heard as reminders of these ambivalences. Echoes of Industry brings the space of the gasworks into contact with the sounds of textile machines. This is a reference to the fact that the decline of the gasworks as an industrial site paralleled that of Augsburg’s once-thriving textile industry. It also alludes to the role of the textile industry as one of the most prominent examples for the exploitative use of cheap offshore labour.

 

But my interest in the gasworks is not only due to its historical ‚echoes,‘ documented so well by the committed friends of the gasworks, or Gaswerksfreunde Augsburg. As an artist working with sound, I am constantly fascinated by the literal echoes inside the large metal gas tank, 84 metres high and 45 metres in diameter. This unique sound effect is at the heart of Echoes of Industry, as well as the two live performances I did inside this space in 2016 under the title Ohrentauchen mit Echolot / Ear-diving with Echo Sounding. Doing this live improvisation in which acoustic sound-generators, from hammers to whistles, interacted with the physical features of the room as well as with its resonant properties, I felt it brought to completion the work I had begun in 2007 with a tour of the gasworks, guided by members of Gaswerksfreunde Augsburg, and the interview with the late Johann Artner.

 

This album is dedicated to his memory.

 


 

Excerpts:

 

1. post-industrial
Excerpt of a sound installation in the so-called Apparatehaus during Grenzenlos festival, 2014
Sounds of hissing gas from a kitchen stove, processed by Gerald Fiebig, are combined with field recordings from a nearby factory in a building even older than the gasworks, processed by EMERGE.
Composed & realised by Gerald Fiebig & EMERGE
Commissioned by Christa Spaniol (Künstlergruppe 38/40)
MP3

 

2. Ohrentauchen mit Echolot
Excerpts from performances in the large Gaskessel during Asche zu Farbgut festival, 2016
Various unamplified tools, toys, and instruments, as well as Gerald Fiebig’s voice and body, were used to create sounds inside the 84-metre high metal chamber. This included hitting the metal surfaces themselves. The performance took place in the centre of the chamber, with the audience walking around the performer.
Live sound mix: www.yetiplanet.de
Commissioned by Christa Spaniol (Künstlergruppe 38/40)
MP3

 

3. Nach der Industrie
Sound installation at Lange Kunstnacht festival, 2010 (reworked version)
The late Johann Artner worked at the gasworks from 1947 to 1989. He was interviewed by Gerald Fiebig in 2007. Excerpts from more than two hours of recorded material were arranged and combined with processed sounds of gas from a kitchen stove. A transcript and English translation of Johann Artner’s narration can be found at www.geraldfiebig.net/gasworks.pdf.
Narration: Johann Artner
Commissioned by Elke Seidel (Stadt Augsburg – Kulturamt)
MP3

 

4. Echoes of Industry
Radio piece for Radioatelier on Radio Vltava, Czech Republic, first broadcast on 29 May, 2015
Two of Augsburg’s major industrial monuments meet in this piece: sampled recordings of textile machines (heard in part 1 of the piece) from the State Textile and Industry Museum Augsburg are played back inside the large Gaskessel. As they are transformed by the echoes of the room, a saxophone takes up an improvisational interaction with both the samples and the echoes. Part 2 of the piece is composed from live recordings of these improvisations in the gas tank. As the ‚remembered‘ machine sounds of industry become increasingly blurred, the theremin in part 3 gestures at the ambivalent perspective of a disembodied, ‚virtual‘ future of digital production.
Christian Z. Müller: saxophones, theremin
Gerald Fiebig: sampler, field recordings, processing
Composed and realised by Gerald Fiebig & Christian Z. Müller
Commissioned by Michal Rataj (Radio Vltava)
MP3

 

5 Tracks (68′18″)
CD (500 copies)

 


 

Credits:

 

Composed and realised by Gerald Fiebig except where noted
Audio mastering: Tomislav Bucalic and Tobias Schmitt
Design: Martina Vodermayer – www.martavictor.design
Photography: Sigrun Lenk, Martina Vodermayer, Gaswerksfreunde Augsburg

 

Thanks to: Tobias Brenner, Oliver Frühschütz (Gaswerksfreunde Augsburg); Julia Quandt (Museen und Kunstsammlungen Augsburg); Wolfgang Riß, Annette Trass (Stadtwerke Augsburg); and to Jutta Weber, Manuel Schedl, Bonnie Lee Turner, and Tine Klink.

 

Archival photographs are used by kind permission of Gaswerksfreunde Augsburg.
www.gaswerk-augsburg.de
The completion of this album was made possible by a residency at ELEVEN artspace, Starzach-Börstingen, Germany, in August 2018.
The production was generously supported by Arno Buchegger Stiftung, Augsburg, and Kurt und Felicitas Viermetz Stiftung, Augsburg.

 

 

 

 

Sound Art Series by Gruenrekorder
Germany / 2019 / Gruen 179 / LC 09488 / GEMA / EAN 192562755822

 


 

Reviews

 

textura
Issued in a 500-copy CD edition, Gasworks collects five works Gerald Fiebig (b. 1973) created at the former gasworks in Augsburg-Oberhausen, two of them respective collaborations with EMERGE and Christian Z. Müller. With the site the focus of Fiebig’s artistic practice for more than a decade, it’s a space he’s come to know intimately, and the pieces, created between 2010 and 2016, reflect a broad range of explorations, including a live improvisation performed in the echo chamber of the large gas tank, processed recordings of the sounds of gas and industrial equipment, and a sound installation piece built around a 2007 interview with the late Johann Artner, a gasworks employee from 1947 to 1989. Its large metal tank, eighty-four metres high and forty-five in diameter, has afforded the Augsburg-based sound artist a wealth of reverberative sound possibilities to work with.

 

In liner notes, Fiebig provides helpful context and historical background for the sixty-eight-minute recording. Initially opened in 1915, the gasworks initially symbolized the heroic promise of the industrial age, even if the conditions of the underpaid employees (as described by Artner) offer a less idealized portrait. With the 2019 re-opening of the site as an arts centre with once-dirty factory floors now a distant memory, the gasworks would seem to have entered a post-industrial age, even if Fiebig sees evidence of exploitative capitalism at work in the outsourcing of site-related technological production to poorer countries.

 

A sixteen-minute excerpt of a 2014 sound installation, “post-industrial” blends sounds of a metal tool factory with those of hissing gas from a kitchen stove, the former processed by EMERGE and the latter by Fiebig. With blurry whorls of static and hiss gusting insistently at the level of a controlled howl, the result is as close to catnip for industrial ambient fans as could be imagined. It’s not static either, as different textures and treatments surface (some buried so deeply within the mass they’re almost inaudible) throughout the piece and keep the listener engaged. Documents of 2016 live improvisations Fiebig performed within the space, “Ohrentauchen mit Echolot” appears as two separate tracks, one eight minutes and the other three. Positioning himself at the centre of the chamber, he used tools, toys, instruments, as well as his voice, body, and the room as acoustic sound-generators. With what sounds like the drizzle of rain in the background, the whoop of a slide whistle and pluck of a thumb piano appear alongside the echoing detonations of struck surfaces in the first version.

 

With the interview excerpts of Artner presented exclusively in German, listeners not fluent in the language will experience the twenty-six-minute “Nach der Industrie” on sound-only terms (available at Fiebig’s site is an English translation of the interview, in which Artner recounts his days as a locksmith, welder, and foreman and discusses, among other things, the camaraderie between workers, working methods, and health hazards such as getting covered with tar and coughing up black dust). Though Artner’s voice is the primary element, it’s augmented by processed sounds of gas from a kitchen stove and consequently listening interest is upheld, even if one possesses no command of the German tongue (one phrase in particular, in English “But it’s all just trifles like these,” recurs throughout and is subjected to multiple manipulations by Fiebig).

 

In contrast to the other pieces, “Echoes of Industry” originated as a radio work, in this instance one initially broadcast in 2015 on Radio Vltava, Czech Republic. The album’s second collaborative piece, this setting pairs Fiebig (sampler, field recordings, processing) with Müller (saxophones, theremin) for a fifteen-minute merging of the gasworks with sounds of textile machines and musical instruments. In the opening section, the clattering rhythms of the machines amplify the industrial dimension of the recording, but that presentation is gradually supplanted by ambient echoes of the room, the bleat and honk of the saxophone, and eventually the theremin, its wild warble intended to symbolize contemporary means of production. As longtime listeners are aware, Gruenrekorder has demonstrated for many years now an uncanny gift for issuing experimental recordings that encompass an incredibly broad range, and driven by its powerful industrial theme Gasworks is right at home in that company.
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Rigobert Dittmann | Bad Alchemy Magazin (102)
Die Städte, phosphoreszierend am Ufer, die glosenden Werke der Industrie, unter den Rauchfahnen wartend gleich Ozeanriesen auf das Dröhnen des Horns… Mit diesen Zeilen von W. G. Sebald, in „Nach der Natur“ gerahmt von Albrecht Altdorfers Visionen einer im Feuersturm verzehrten Stadt (auf „Lot und seine Töchter“) und des Gemetzels der „Alexanderschlacht“, gibt GERALD FIEBIG seinen Gasworks (Gruen 179) eine Stimmung wie auf William Turners ‚The Fighting Temeraine‘. Last Exit: Abwrackwerft, Elefantenfriedhof der Industrie. Erstes Stadium: Nach dem Paradies. Zweites: Nach der Natur. Drittes: Nach der Industrie, post-industrial. Fiebig, bekannt durch seine Klangkunst bei Attenuation Circuit und durch Gedichte wie zuletzt „nach dem nachkrieg“ (parasitenpresse), taucht mit den Ohren in das von 1915 bis 1968 betriebene und bis 2001 als Verteiler genutzte Gaswerk in Augsburg-Oberhausen, das, ähnlich wie die Westergasfabriek in Amsterdam, mehr und mehr als Kulturpark genutzt wird (Modular Festival, Brechtbühne…). Das postindustriale ‚Nach‘ sollte, so Fiebig, freilich nicht vergessen lassen, dass der Laden ohne die nur aus den Augen geräumte schmutzige Schwerindustrie weder global noch lokal laufen würde und dass auch saubere Bildschirm-Hitech endlos Energie frisst. Das Bewusstsein dafür schärft er, zusammen mit Emerge, bei ‚post-industrial‘ (2014) mit Gasgeräuschen eines Küchenherds und prozessierten Fabrikklängen. ‚Ohrentauchen mit Echolot‘ (2016) resultiert aus einer Performance im 84 m hohen Gaswerkkessel, mit Werk und Spielzeug und Fiebigs eigenem Stimm- und Körpereinsatz. ‚Nach der Industrie‘ (2010) unterlegt mit Gasgeräuschen die Erinnerungen eines einstigen Gaswerkarbeiters als eine proletarische Lehrstunde über Drecksarbeit für 83 Pfennig die Stunde. (Aber das sind halt immer so Kleinigkeiten.) Und ‚Echos of Industry‘ (2015), entstanden als Hörspiel für das tschechische Radio Vltava, schachtelt in den Gaskessel das Geklapper von Textilmaschinen – Basis für Augsburgs einstige Blüte als das deutsche Manchester. Dazu mischte Fiebig ein Saxophon als dröhnendes, klagendes Horn und ein Theremin als geisterhaftes Echo in …die Baumwollwolken, die weißen, in die aufgegangen war ohne ein Wort der Atem ganzer Legionen von Menschen… Nordländisches Trauerspiel, Schach- und Winkelzüge, zwangsläufig vollzieht sich immer das Ende.
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TJ Norris | Toneshift
From what looks like an intensely researched recording by sound installation artist and composer Gerald Fiebig comes five live pieces (2010-16) relating to the former gasworks in Augsburg-Oberhausen (built in 1915 to turn coke coal into gas for the town) in collaboration with EMERGE and Christian Z. Müller. The album contains “processed recordings of the sounds of gas and industrial machinery, stories told by a former gasworks employee, and live improvisations in the echo chamber of the large gas tank.” Fiebig has been recording for just over a decade and has a fairly large discography over this short period, he is also the owner of the former label/magazine Gebrauchtemusik. The gasworks, being the subject of this record still stands, fully preserved today.

 

As this opens with post-industrial, it sounds like a giant pilot light has been switched on. It’s coming from a kitchen stove, but honestly sounds as though it’s from one of those military testing sites where they have sub-sonic planes in the distance (I’m actually in a flight path and hear this somewhat regularly). It’s a wall of whitenoise, almost similar to the urgent gush of a waterfall. As EMERGE (Sascha Stadlmeier) works his processing of these electro-acoustic tonal changes, you can vaguely hear something of a melody forming, and swirling in a vortex echo chamber. On Ohrentauchen mit Echolot the listener will be engaged by what sounds like a rainstorm, with a host of animated rattles, peeps and clamor. Evidentally Fiebig has brought in his toybox to play with, though instead of engaging like a child, he managed to give each of these oddities a chance to solo in moans and other sudden reverie. It’s engaging and a little haunted to be honest.

 

Nach der Industrie is a 2007 interview with an old-timer, Johann Artner, who was one of the workers at the gas facility (1947-89). Fiebig intersperses gaseous emissions into the two-hour discussion (here edited down to a 26 min. piece). A transcript of his ventures (in German/English) appears here. The tape is run to show the vicerality (and versatility) of tape, highs and lows, hiss and channel swapping. As the speaker laughs to himself bells are introduced and his voice, with all its vintage is a wink to ‘been there, done that’. It’s refreshing to hear such an obscure subject matter captured in this stylish balance between documentary and Fluxus. The voice alone, no matter what language you speak, carries volumes of experience.

 

After a very short intermediary piece, Ohrentauchen mit Echolot that trudges like a broken kickstand within the shadows of depth, we are on to the conclusion. The radio piece Echoes of Industry with architect/musician Christian Z. Müller is unique in the way in which it starts with a spinning clack-track contraption initially resembling a printing press (actually a textile machine). In just over fifteen minutes there are dramatic pauses and searing shifts in atmosphere. Between the echoes we experience high tide and finite detritus amid near silence, and the sudden flare of horns as if some out jazz outfit are about to trounce us with an Ornette Coleman-style jab. But that never really comes to pass, rather becoming more a thick foghorn that could also be the call of a killer whale. But as the horns continue in closer succession the metamorphosis into avant jazzers comes to pass, like ships passing. It’s a vivid picture painted on murky seas.
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Martin Schmidt | a3kultur
Ein Gaskessel Dunkles – Neue CD »Gasworks« von Gerald Fiebig featuring EMERGE & Christian Z. Müller: Klangkünstler erforschen das ehemalige Gaswerk Augsburg-Oberhausen.

 

Mit »Gasworks« legt der Augsburger Soundartist Gerald Fiebig seine Premiere auf dem renommierten Label Grünrekorder vor. Die CD versammelt Klanginstallationen, Radiostücke und Live-Performances, in deren klanglich-thematischem Mittelpunkt das ehemalige Gaswerk in Augsburg-Oberhausen steht. Die von 2010 bis 2018 reichenden Arbeiten entstanden zum Teil zusammen mit Kollegen wie EMERGE und Christian Z. Müller. Verfremdete Gas- und Industriegeräusche, O-Ton-Erzählungen des langjährigen, mittlerweile verstorbenen Gaswerk-Mitarbeiters Johann Artner und Live-Improvisationen im Hallraum des großen Gaskessels bilden das kompositorische Material des Albums. Ergebnis ist ein Senderdurchlauf aus Drones, Ambient, Dokumentarischem und Musique concrète – trippy und schwärend. Im Ganzen – um den Titel einer alten DDR-Samstagabendshow abzuwandeln: ein Gaskessel Dunkles.

 

Der fast 16-minütige Opener »post-industrial« ist ein Auszug aus einer Klanginstallation im so genannten Apparatehaus des Gaswerks, präsentiert im Rahmen des »Grenzenlos«-Festivals 2014. Das Stück beruht auf dem Klang von Gas, das aus einem Küchenherd strömt (soundtechnisch bearbeitet von Fiebig), vermengt mit den Geräuschen aus einem nahe gelegenen Fabrikgebäude, unterzogen dem Soundprocessing von Augsburgs EMERGE. Das Klangergebnis vermittelt einem das Gefühl, selbst in einer – vielleicht von Putin errichteten – Gaspipeline zu liegen, und rauschend, dröhnend und Oberton-umflort von Propan umströmt zu werden. Dunkle Harmonien lagern sich zum Schluss an.

 

Soundscapes & Soundscaping
Die Stücke »Ohrentauchen mit Echolot« 1 und 2 bilden Ausschnitte aus einer Performance im großen Gaskessel im Rahmen des 2016er-Festivals »Asche zu Farbgut«. In dem 84 Meter hohen Metallkessel erzeugte Fiebig – live inmitten eines um ihn herum sich bewegenden Publikums – durch den Einsatz unverstärkter Werkzeuge, Spielzeuge, Instrumente, seiner Stimme und seinem Körper Klänge, wobei auch auf die Metallflächen des Kessels selbst geschlagen wurde. Die Performance evoziert einen inszenierten Klangraum aus dumpfen Schlägen und Sounds, aus Hall und Echo. Ein Stück, dessen performativer Charakter eindeutig zu hören ist, ist eher Klangforschung als denn zunächst Musique concrète.

 

Art for Artner
Beide »Ohrentauchen«-Kompositionen umrahmen das als drittes Stück in die Mitte der 5-Track-CD gesetzte »Nach der Industrie«. Als 26-minütiges Kernstück überrascht es zunächst als sprachliche Interview-Dokumentation. Zu hören ist die Stimme von Johann Artner, der über 40 Jahre lang, von der Nachkriegszeit 1947 bis hinein in die Kohl-Ära, bis 1989, im Gaswerk arbeitete. Wie das Gaswerk sein Leben, so umrahmen auf der CD die Audiostücke die Erzählungen Artners. Dem verstorbenen Zeitzeugen ist der Tonträger gewidmet. Seine Schilderungen im Augsburger Dialekt führen, ohne zu romantisieren, aber mit Verbundenheit ins Lokalkolorit und ins Humane eines – nicht immer schönen – Arbeits- und Identifikationsorts. Ausschnitte des zweistündigen Interview-Tonmaterials wurden mit verfremdeten Gasgeräuschen eines Küchenherds kombiniert. Eine (hochdeutsche) Transkription der Erzählungen Johann Artners findet sich übrigens als pdf-Download unter: www.geraldfiebig.net/gasworks.pdf. Das an ein Radiofeature, später an ein szenisches Hörspiel erinnernde Stück ist die überarbeitete Fassung einer Klanginstallation, die im Rahmen der Augsburger Langen Kunstnacht 2010 stattgefunden hatte.

 

Musique concrète
Das dreiphasige Schlussstück der CD, »Echoes of Industry«, eine im Jahr 2015 für das tschechische Radio Vltava produzierte Arbeit, ist inmitten all der abstrakten Klangstücken die näheste Annäherung an konventionelle, wenn auch erweiterte Musikbegriffe. Musique concrète verschmilzt hier mit Neuer Musik, Impro und Freejazz-Einflüssen. Die fruchtreiche Begegnung von Gerald Fiebig und dem Augsburger Musiker Christian Z. Müller beginnt mit harscher, an industrielle Vorgänge mahnende Klangserialität und bricht dann um in mal experimentelle, mal sogar impressionistische Musik; ein Saxofon nimmt einen improvisierten Dialog mit Maschinenklängen auf, Thereminklänge weben Atmosphäre ein. Das Geräuschgeschehen ist zudem die Begegnung zweier Augsburger Industriedenkmäler, zum einen des Gaswerks, zum anderem des Staatlichen Textil- und Industremuseums: das Innere des großen Gaskessels wurde mit Aufnahmen von Textilmaschinen beschallt.

 

Augsburg united
Die auf »Gasworks« versammelten Arbeiten nahmen fast prophethisch vorweg, dass heute die Kunst in die denkmalgeschützte Gaswerks-Anlage eingezogen ist: Das Gelände wird ein Kreativquartier aus Proben- und Atelierräumen und eine Spielstätte des Staatstheaters Augsburg. Grafisch gestaltet wurde das Album von Martina Vodermayer unter Verwendung historischer Archivbilder und Fotos von Sigrun Lenk und Vodermayer selbst. Die bildende Künstlerin (Gruppe »Extrasalon«) und Designerin beschäftigt sich u.a. in fotografischen Arbeiten ebenfalls seit Jahren mit dem Gaswerkgelände. Die Produktion der CD (Veröffentlichungsdatum: 15. März 2019) wurde unterstützt von der Arno Buchegger Stiftung, der Kurt und Felicitas Viermetz Stiftung und dem Verein Gaswerksfreunde Augsburg.
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Guillermo Escudero | Loop
German sonic artist Gerald Fiebig has been working since 2007 in the former gas factories in Augsburg-Oberhausen for his historical and sound interest.
These factories opened in 1915 representing the heyday of the industrial era in Germany. Today, they are converted into cultural centers where technology and minimalist designs have erased the difficult conditions in which their workers worked.
„Gasworks“ compiles sound installations, radio compositions and live performances, created between 2010 and 2016, some of them together with Sascha Stadlmeier aka EMERGE and others, with Christian Z. Müller. This CD consists in five tracks that include processed recordings of gas sounds and industrial machinery, stories told by a former employee of the gas factory and improvisations live in the echo chamber of the large gas tank.
The opener “post industrial” is a sound installation that took place in the so-called Apparatehaus during Grenzenlos festival, 2014. The sounds of hissing gas were processed by Gerald Fiebig and the field recordings of a nearby factory in a building even older than the gas factories, were processed by EMERGE.
„Ohrentauchen mit Echolot-1“ is a live performance at the large Gaskessel factory during the Asche zu Farbgut festival in 2016. The various sounds of tools, toys and instruments as well as Fiebig’s voice and body, were created inside the 84-metre high metal chamber.
„Nach der Industrie“ is a sound installation made at the Lange Kunstnacht festival in 2010 and it includes the sounds of processed gas, along with the narrative of the late Johann Artner, who worked between 1947 and 1989 in the gasworks.
On „Ohrentauchen-mit-Echolot-2“ the deep echoes of metal percussion are captured and finally on „Echoes-of-Industry“, the sounds of hissing gas are replaced by textile machines, thus predicting the emerging textile industry, while the fall of the gas factories was announced. Here Christian Z. Müller plays saxophones and the theremin. This last instrument makes a nod to the uncertain future of digital production.
Fiebig with this sonic proposal undoubtedly shows the dark spaces of these gasworks, through the gas sounds and the percussions that fall into the deepest void. Therefore, it is not hard to imagine the difficult life that the workers had in these factories.
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