Susanna Fritscher’s work has been nourished by the landscape.
A substantial landscape, stripped of everything except lines stretching toward the horizon. A landscape whose experience lies in an infinite unfolding, testing the possibilities through which we continually receive sensations: movements, vibrations, the densities of places, the development of sounds, and then their fading away. The work is made up of all these fields at once, of these variations down to the most subtle, as well as of these absences, which place the viewer themselves in a state of constant alteration.
Pulse II continues this exploration through a dialogue between the question of space and that of sound perception. The installation underlying the work—the phenomenon it generates—appears before our eyes as a strange framework, a machine-like structure stripped bare and reduced to its most elementary function. A fine network of wires is suspended throughout the space. Arranged parallel to one another along horizontal and vertical axes, the wires form a series of lines, each retaining its autonomy. Suddenly, some of them begin to oscillate. At first imperceptible, the pulses gradually extend beyond the movement of the wires themselves. They are transmitted to thin discs which, suspended a few centimetres above the ground, seem to “float” above it. Like membranes, these discs receive, amplify, and transform the vibrations into sound waves, making audible what, until then, had belonged to the realm of the visible.
The sounds change according to the sequences: with each new agitation of the wires, the layers of sound are recomposed, harmonised, beating and pulsing according to cyclical rhythms.
“My recent works and projects extend beyond the question of the artwork itself, and beyond that of the installation, to create visual and sonic landscapes that are constantly reconfiguring themselves. In dialogue with a fragile world, they reinvent our relationship to reality by suspending its apparent stability and constancy.”
- Susanna Fritscher
