19 September – 17 October 2015
The foundation and material for the work of Berlin artist Nico Glaenzel is the phenomenology of music and spoken language as well as their cross-modal properties within and without the body. His installations, videos, prints and drawings alternate between the scientific and the fantastic. For Glaenzel, music and speech are systems of code that amplify the process of social (outer) and neuronal (inner) order and connections, accelerating them until landscapes of consciousness emerge. The prints of spectral/signal density of his speech acts (Fourier series) and sound compositions or the graphite drawings of musical connotations (Vulpian series) appear as stylized landscapes and topographies of an (inner) world shaped by sound. The artist’s choice of material stems from his interests in anthropology of music, psycholinguistics and neuroscience.
After his studies in musicology, art history and fine arts, Glaenzel became active in diverse areas of the music world and has taken part in numerous group exhibitions. SATELLITE BERLIN is pleased to present his first solo exhibition.
Béla Bartók’s opera “Bluebeard’s Castle” was written for a full orchestra in 1911 and is the point of departure for several works in this show. Paradoxically, the opera and its main character represent Bartok’s reluctance to allow himself and others insight into his psyche–even though the medium of “musical composition” is predestined for it like no other.
Fourier/without title, 2015, pigments on canvas, 140 x 75 cm
Installation view Vulpian/Bartók, 2015, graphite on paper, 115 x 95 cm (l)
Fourier/Without Title, 2015, pigments on canvas, 140 x 75 cm (r)
Vulpian/Blaubart, 2015, graphite on paper, 29 x 21 cm