photographs: Sophia Purbasari
Fritjof Mangerich is interested in the absence of objects. He is drawn to the behind, the inside, the underneath of things, looking for ways to sound and sense the stored traces of what has been present, and of what is present - atmospheres and ambiences such as the voices of a tuned chamber.
This interest presented itself precisely in the architectural intervention, wich he inscribed into a temporarily abandoned house in Brunswick, Germany in 2016 under the title „eine andere Stimme“. Alike Rachel Whiteread, who with her groundbreaking sculpture „ghost“ (1990) mummified the inside of a house waiting for demolition in London, Fritjof Mangerich fathomed and preserved the nature of a likewise abandoned single family home.
Through fife major funnel-shaped structures, wich replaced the windows of five rooms, he transmitted their air, their atmosphere and their ability to resonate to the outside as sound waves. These were generated through an archetypal acoustic probe: In each of those five selected chambers he clapped loud and clear with his hands, recorded that sonic incident in real time and reproduced it electronically as a sample. When impulse and impulse response merge, the characteristics of that particular room become accessible.
Like a big organism the buildings structure begann to articulate itself, and to turn itself inside out. Those, at the same hollow and loaded, at the same time silent and talking inner chambers of a former home, were brought into conversation with their immediate surrounding, with the city and with the spectator.
photographs: Sophia Hamann
E 12th Street and Avenue B
E 13th Street and Avenue A
W 19th Street and 11th Avenue
Crosby Street and Grand Street
E 28th Street and Mount Carmel Place
E 52nd Street and 2nd Avenue
W 129th Street and St Nicholas Terrace
Noise, chaotic, has no rhythm. However, the attentive ear begins to separate out, to distinguish the sources, to bring them back together by perceiving interactions.
If we cease to listen to sounds and noises and instead listen to our bodies […], we normally grasp […] neither the rhythms nor their associations, which nonetheless constitute us. It is only in suffering that a particular rhythm breaks apart, modified by illness. The analysis comes closer to pathology than habitual arrhythmia.
In order to grasp and analyse rhythms, it is necessary to get outside them, but not completely: be it through illness or a technique. A certain exteriority enables the analytic intellect to function. However, to grasp a rhythm it is necessary to have been grasped by it; one must let oneself go, give oneself over, abandon oneself to its duration.
Lefebvre, Henri. Rhythmanalysis. Bloomsbury, London, 1992.
Rhythmanalysis: Space, Time and Everyday Life