20 Cindy van Acker | Lanx | 2008 In Lanx, a continuous current circulates between the body and the geometrical motifs around. Balancing on lines, unfolding its sides, its ridges, its angles, playing with perspectives that continually renew themselves, the body fathoms its capacity to inscribe forms in a predetermined space. Transforming itself as if it were under the effect of an optical illusion, the décor starts to vibrate, to transform itself: A continuum with variable dimensions on the level of sensation.

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strumming the strings without attracting too much attention still making our perception vibrate irresistably.29 Daniel Klemm M I K A VA I N I O – I N S TA L L AT I O N S A N D S O U N D T R A C K S Assembling a collection of Mika Vainio’s installation works has certainly been a long-term adventure. he rather stays in the background. This book is supposed to be the initial volume of a series of books dedicated to the audio-visual work of artists associated to raster-noton. with a focus on what is in front of him. In the present book. On the enclosed CD one can find a selection of tracks created for the respective installations and soundtracks. a overview will give a clear outline of this segment of his oeuvre. His Finnish temper is not what you would call pretentiuos. it has not yet been presented on the same level accordingly. Each work is presented with a significant selection of images (installation views. . his installations have never gained the broader recognition they deserve — without good reason. In the two essays Carl Michael von Hausswolff and Daniela Cascella – longtime companions and collaborators — delicately introduce Vainio’s conceptions to further enlight the reader’s understanding. and he has collaborated with both a number of important artists and curators. to deepen the insight into his artistic conceptions and thus expanding the comprehension of his work. The book in front of you — with a CD that gathers its soundtrack — puts together those parts of Vainio’s work that developed alongside his widespread musical career. Good things come to those who wait. Mika Vainio himself is not a chronologist who tends to document his life with every snip of paper carrying his name nor does he consider doing his bit for posterity. in the genres of video. Also his realized soundtracks for other artists. forging every minute to not leave it unseized. As for most of the artists of the label to work with material outside the musical context is quite a usual matter. film and dance are included. visuals or sketches) and an explanatory text to deliver its basic idea. but trying to reconstruct a period of more than ten years of a turbulent artistic life and investigating the remnants of a highly intriguing output was more than worth it. Since his musical work has been in the focus of attention. He lives in the here and now. In the past thirteen years Mika Vainio has exhibited in some of the major art spaces in Europe.

Arc en Rêve Centre d’Architecture. Bordeaux. Tampere. Italy / ›Frequenzen [Hz] – Audio-Visual Spaces‹. Ireland Sondear. De Vleeshal. ›Unfinished History‹. Spain 3 × Wall Clocks. Musée d’Art Moderne de la Ville de Paris. ›all+tag‹. Fundació Antoni Tàpies. David Crawforth. Schirn Kunsthalle. ›Sonic Boom – The Art Of Sound‹. France 2001 10 × Transistor Radio (with Ilpo Väisänen). UK mikro makro (with Carsten Nicolai). Milan. Finland / Galeria Miejska. Netherlands Rude Mechanic (with Ilpo Väisänen. Leonard & Bina Ellen Art Gallery.44 EXHIBITIONS 1996 Onko. Museum Boijmans van Beuningen. Middelburg. Walker Arts Center. Micamoca Gallery. Galleria Nazionale d’Arte Moderna. Berlin. Switzerland Ilmanvaihto. Mediaruimte. Germany / ›Traces‹. Triskel Arts Centre. Belgium SOUNDTRACKS 2001 2003 2004 Mika Taanila – A Physical Ring Anu Pennanen – A Monument For The Invisible Eva Teppe – Half Awake Half Asleep Eva Teppe – The Human Fly 2005 2007 Eva Teppe – Omertà Lars Siltberg – Candleflames Modulated Cindy van Acker – Kernel 2008 Cindy van Acker – Lanx . ›Bring The Noise‹. Rotterdam. Germany 2005 2008 2009 Untitled (with Ilpo Väisänen). London. Minneapolis. Netherlands Elsewhere (with Micol Assail). Hayward Gallery. ›3rd Berlin Biennial For Contemporary Art‹. Rome. Poland 1997 1998 4 × Radio. ›Migrateurs XXI‹. Germany / Taidekeskus Mältinranta/Galleria Saskia. Brussels. ›Perspectives – Architetture Sonore‹. Geneva. UK Untitled. Wroclow. Montréal. Canada 2004 Berlin Soundchamber. Chicago. London. Germany / Industriemuseum Chemnitz. Musée d’Art Moderne de la Ville de Paris. Barcelona. USA 2000 2 × 50 Hz Thru Leslie Speaker (with Ilpo Väisänen). Frankfurt/Main. KW Institute for Contemporary Art. Italy 2 x 540 kHz. Kunst der Zeit GmbH Dresden. Lab(au)’s Gallery for Electronic Art. Cork. France Linja (with Ilpo Väisänen). ›Mutations‹. Beaconsfield Gallery. France −27. ›Architectures Of Discourse‹. ›Nuit Blanche‹. USA / Museum of Contemporary Art. ›Manifesta‹. Hayley Newman).

Schirn Kunsthalle. Industriemuseum. Germany 2004 . Fundació Antoni Tàpies. Milan. Canada 2006 . Barcelona. Ines Bruhn / Peter Bauer). Musée d’Art Moderne de la Ville de Paris. Bordeaux. UK 2000 Architectures of Discourse | Exhibition Catalogue (curated by Ute Meta Bauer). Galerie Leonard & Bina Ellen Art Gallery. Walker Arts Center. Berlin.ipeg – bild ton maschine | Exhibition Catalogue (curated by Johannes Fricke-Waldthausen). London.45 BIBLIOGRAPHY all+tag | Exhibition Catalogue (curated by Prof. Museum Boijmans van Beuningen. Italy 2001 Frequencies [Hz] – Audio-visual Spaces | Exhibition Catalogue (curated by Jesper N. Künstlerhaus Bethanien. Germany 2004 Traces | Exhibition Catalogue (curated by Nicole Gingras). Minneapolis. Montréal. Chemnitz. Musée d’Art Moderne de la Ville de Paris. USA 1998 Mutations | Exhibition Catalogue (curated by Hans-Ulrich Obrist). Rotterdam. Frankfurt/Main. France 2000 Sonic Boom – The Art of Sound | Exhibition Catalogue (curated by David Toop). France 1997 Nuit Blanche – Scènes Nordiques | Exhibition Catalogue (curated by Hans-Ulrich Obrist). Hayward Gallery. Germany 1996 Manifesta – European Biennial of Contemporary Art | Exhibition Catalogue (curated by Katalyn Neray). Spain 2001 Perspectives – Architetture Sonore | Exhibition Catalogue (curated by Daniela Cascella / Luca Cerizza). Netherlands 1997 Migrateurs | Exhibition Catalogue (curated by Hans-Ulrich Obrist). France 1998 Unfinished History | Exhibition Catalogue (curated by Francesco Bonami). Berlin. Germany 2002 3rd Berlin Biennial for Contemporary Art | Exhibition Catalogue (curated by Ute Meta Bauer). Micamoca. Arc en Réve Centre d’Architeture. Jørgensen).

70/71 > Untitled (Migrateurs). Daniela Cascella. 79-82 > Linja). 76/77. track 09 for Anu Pennanen’s A Monument For The Invisible (2003). Lex de Meester (p. 56/57 > 3 x Wall Clocks. Giulio Buono. 17/18. Hayley Newman. With an introduction by Daniel Klemm. 72/73 > Onko) © 2009 by Mika Vainio and raster-noton All rights reserved by the artist. Geneva (p. Ilpo Väisänen. Frankfurt/Main). archiv für ton und nichtton | R-N 109 Essays by Daniela Cascella and Carl Michael von Hausswolff. Jon Wozencroft (p. Lars Siltberg (p. released in 1997. Cristina Ricupero. Daniel Klemm (p. 19-24 > Kernel. Olaf Bender Design: Denise Walther. Half Awake Half Asleep. Alain Gentil. the photographers and the publisher. 60. Tommi Grönlund. Work texts by Cindy van Acker. Heimatstuben Dresden Print: DZA Druckerei zu Altenburg GmbH. Carl Michael von Hausswolff. Carsten Nicolai. Centre d’Édition Contemporaine. 61 > Sondear).IMPRINT 46 M I K A VA I N I O . 10-14 > mikro makro). Gilles Amalvi. 49-51 > 10 x Transistor Radio. Micol Assaël. Lanx). Altenburg First edition: 1. 52-55. 78 > Omertà. Rutger Wolfson. 2 x 50 Hz Thru Leslie Speaker). Turin (p. Middelburg). Gilles Amalvi. 15. Isabelle Meister (p. 83 > Untitled. Eva Teppe (p. Geneva). Mika Vainio (p. Walker Art Center. Kai von Rabenau. –27. SouthStar Recorder Berlin. All tracks originate from the installation and soundtrack pieces presented in this book. Jens Liebchen. Milan). Editors: Daniel Klemm. David Crawforth. Mika Taanila (p. Héloïse le Carvennec. Max Hollein. 64-69. mikro makro 01 02 03 04 Total Time Ø noto Ø noto 12:25 10:05 11:55 06:33 40:58 This is a re-issue of the original CD on noton/ rastermusic. Jon Wozencroft Made in Germany ISBN 978-3-9812760-1-5 T R A C K L I S T C D 1: Mika Vainio. Nicole Gingras. 91 > Candleflames Modulated). and Mika Vainio. Mika Taanila. Track 04 was composed for Lars Siltberg’s Candleflames Modulated (2007). Jill Vuchetich. T I M E E X A M I N E D Published 2009 by raster-noton. Silvio Scafoletti (p. Minneapolis (p. Rachel Fleming-Mulford. the authors.500 Photo credits and courtesy: Ute Meta Bauer (p. 59. Musée d’Art Moderne de la Ville de Paris (p. Time Examined 01 02 03 04 05 06 07 08 09 10 11 Total Time Ilmanvaihto −27 The Human Fly Berns Half Awake Half Asleep Berlin Sound Chamber 3 × Wall Clocks Omertà Monumentti Sondear 4 × Radio 07:13 01:32 03:09 05:46 04:04 09:31 02:29 07:10 01:56 05:34 18:30 67:33 T R A C K L I S T C D 2: Ø + noto. 16 > 4 x Radio). Véronique Bacchetta. The Human Fly). Ilmanvaihto). Carsten Nicolai. Eva Teppe. Ute Meta Bauer. Anu Pennanen. 62/63 > Rude Mechanic). Hans-Ulrich Obrist. Lars Siltberg. 75 > Elsewhere). 84-89 > Untitled. off endpaper > ∞). Daniel Klemm. Berlin Soundchamber. Nicola Percy (p. Kai von Rabenau (front endpaper > Portrait). 4-9 > A Physical Ring). Nicole Gingras. David Toop. Lars Siltberg. Norbert Miguletz (p. encourage creativity! Thanks to: Cindy van Acker. Giulio Buono – Studio Blu. 58 > 3 x Wall Clocks. Uwe Walter (p. Respect copyright. Paul Smith. Eva Teppe. Jens Liebchen (92. .

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slightly out of tune to each other. mixing to a siren-like noise in the exhibition space. The resulting interference beat was sent through the Leslie speaker exploiting its revolving facility to add a rising and falling of overtones. .50 Vainio (with Ilpo Väisänen) | 2 × 50 Hz Thru Leslie Speaker | 2000 Mika The work involves a Leslie speaker (originally designed for the Hammond organ) and two signal generating oscillators that both have been set to 50 Hz.

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Mika Vainio | Untitled | 1997 In the context of the exhibition ›Migrateurs XXI‹ Mika produced a small booklet with close-up photographs of the intestines of an old radio — like amplifier valves. etc. condesators. 55 . — as well as the signs and inscriptions on the display that mark the radio as a migrating device that makes the listener travel through unknown territory.

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2006. Nicole: Poussières/Particles. that of the ›marked‹ and the ›non-marked‹ . Each clock is amplified through contact microphones recording the sound of the movement of the minute hand. Nicole (Ed. in: Gingras. An object. Without rhythm. This sound punctuates the time the visitor spends in the gallery. no language is possible: the sign is based on an oscillation.. »by rhythm.« – Extract taken from Gingras. this regular sound of the minute ›striking‹ makes it possible to mark out a territory. such as heartbeats. listening ceases to be purely supervisory and becomes creation. The clocks show the same time but are tuned slightly out of synch so that a sound from the moving hands creates a [slow] rhythm that spreads through the space.58 Mika Vainio | 3 × Wall Clocks | 2001 The installation 3 × Wall Clocks pursues the exploration of the invisible. The hand moves only once every minute. accompanying him in the same way as other regular and cyclical sounds. p. and the sound of it shifting is run through a mixer connected to a FX reverb unit and further played through a speaker.. sculpture and sound environment. At once a temporal and spatial reference. 29/30 . too. Galerie Leonard & Bina Ellen Art Gallery. Three regular wall clocks are mounted on the wall.): Traces. this work is heard before it is seen.

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which is located in an old meatmarket hall in Middelburg dating from the 17th century. In order to have a connection with its history. The resulting sounds were picked up with contact microphones and processed by various sound effects to finally be amplified into the room. Additionally. they placed big air ventilation propellers to both ends of the structure to make the hooks move in the stream of air they created and occasionally hitting the metal frame. Mika and Ilpo built a 24 meters metallic frame with 48 meathooks hanging from it and 24 meataxes lying beneath it on the floor. .86 Vainio (with Ilpo Väisänen) | Untitled | 2005 Mika This piece was installed in De Vleeshall. On the opening evening they used the set-up for a concert performance.

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92 Carsten Nicolai | ∞ | 1997 Opening performance of the ∞-project at documenta X in Kassel. Germany with Mika Vainio. Frank Bretschneider and Carl Michael von Hausswolff. Olaf Bender. . Carsten Nicolai.


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