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EXHIBITIONS AND LECTURES <\/p>\n Rufer \u2013 auf Plateau<\/p>\n Chamber music concert and lecture<\/p>\n With artworks by Joachim Krebs<\/p>\n Press release by BLB<\/a> <\/p>\n Upcoming exhibition: Preview publication: „Traumkraut und Rhizom“ Exhibition: \u201eMove! \u2013 1968 and the Consequences in Karlsruhe\u201c Exhibition Collection of the ZKM: „SonicRooms“ and „MicroSonical Shining Biospheres No.1“ Exhibition Lecture Lecture LAST SEEN<\/strong><\/p>\n Exhibition Lecture Concert PERMANENT<\/strong><\/p>\n Installation Installation <\/p>\n Dr. John Dack, London the german version was published by „Neue Zeitschrift f\u00fcr Musik“<\/a>(NZfM), may 2014<\/p>\n In his poem \u2018Horae Canonicae\u2019 the English poet W.H.Auden wrote the following lines:<\/p>\n You need not see what someone is doing You only had to watch the eyes of Joachim Krebs to know his vocation: he was a composer and he was a sound artist. For him these became one vocation. Each informed the other to produce a multi-faceted practice that was more, much more, than any single activity. But in watching an artist\u2019s eyes we should also remember that behind a real vocation is a rich and complex personal history.<\/p>\n Cautious is needed in claiming that characteristics of an artist\u2019s mature development can be detected in early works. Artistic outputs are seldom so regular or so easily classifiable. In the late 1960s Joachim was a member of the experimental rock\/theatre group Checkpoint Charlie<\/em>. Joachim and I were almost the same age and, despite our different backgrounds and different countries, we realized during many conversations that we shared common, adolescent memories. We both knew that many young rock musicians expressed youthful, idealistic enthusiasm rather than real political awareness. Consequently, is the term \u2018experimental\u2019 inappropriate when applied to a rock group when rock music\u2019s material can easily revert to a language based on harmonic and rhythmic clich\u00e9s? The answer is \u2018no\u2019. For Joachim \u2018experimental\u2019 was indeed an accurate description of Checkpoint Charlie\u2019s<\/em> ethos. The 1960s were, of course, times when political reality \u2013 particularly in Germany \u2013 led to forms of social engagement through all genres of music. The connection was inescapable. Today, the name Checkpoint Charlie<\/em> might be remembered merely as a crossing point between a divided city. For Joachim and others it was surely a symbol that demanded constant reinterpretation in order to remember what the barriers and dreary buildings (which I remember well) represented: the violent collision between two ideologies and the realization that the world did not always present a unified, easily grasped truth. Moreover, two threads from these times continued to run through his subsequent work. First, Joachim\u2019s early experiments with tape recorders confirmed the role of technology as a means of exploring and bringing to the fore the hidden world of sound and nature. Second, a concern for social engagement can be identified which, for Joachim, also led to a highly developed sense of ecological awareness. These aspects of his work merit closer examination.<\/p>\n The use of the synthesizer in the 1970s maintained Joachim\u2019s involvement with technology. All musicians who used synthesizers during this period will remember the gradual, and frequently uneasy, change from analogue to digital technology. Joachim rejected the standardization that went hand in hand with commercial developments in synthesizer design and manufacture. He turned instead to the particular functions of the digital sampler in order to discover as yet unheard worlds of sound. This kind of exploration can be compared with another pioneer\u2019s work. During the 1940s and 1950s the Frenchman Pierre Schaeffer also used technology that was often intended for other purposes within the broadcasting medium. Used in this subversive manner Schaeffer asserted that \u2018There is a creative power of the machine (\u2026) machines suddenly are not content to retransmit what was given to them they have begun – as if of their own accord – to make something\u2019. Technology becomes active. Devices such as the tape recorder could go beyond their immediate function of recording and playback to reveal aspects of sound unnoticed under normal conditions. In Schaeffer\u2019s case the process of sampling was achieved by the shellac disc, the phonog\u00e8ne and magnetic tape. Joachim understood that samplers can record and reproduce sounds but they can also transform them by reversal, acceleration, deceleration, fragmentation and combination. He considered the sampler as a Klang-Molekularisierungsmaschine<\/strong> and, drawing on the writings of the philosopher Gilles Deleuze, he investigated the way sound as a material substance is held together. The sampler thus became an instrument for what might be considered a method of forensic sonic investigation. It became what Joachim referred to as an EndoSonoSkope<\/strong>. Mikroskopie<\/strong> is a common scientific term but the distinction between the microscope and endoscope is important. By contrast with the microscope which examines the objects from the outside, Joachim\u2019s intention was to delve into the inner world of the sound. To hear its inner<\/em> life. By accelerating and decelerating sonic events and processes that were previously inaudible, the microworld of sounds surrendered unheard phenomena and provided an insight into the previously inaudible world of nature. To quote a paraphrase of Paul Klee from the text accompanying the CD \u2018TopoPhonic Spheres\u2019: \u2018(Klang-) Kunst gibt nicht das Sichtbare (H\u00f6rbare) wieder, sondern macht sichtbar (h\u00f6rbar).\u2019<\/p>\n The series of four \u2018Artificial Soundscapes\u2019 illustrates both the use of the techniques derived from the sampler to \u2018make the inaudible, audible\u2019 and Joachim\u2019s aforementioned ecological sensitivity. All the sounds originate from natural sources; the artificiality results from the techniques of digital processing which allows the inner character of sounds to emerge for the listener. The natural\/artificial dualism thus created, forms a field of possibilities within which Joachim could create sound \u2018molecules\u2019 which were transformed and combined in dense or transparent polyphonic webs. The sounds retained their origins not because they could be identified \u2013 the transformations and repetitions often prevented such exact recognition \u2013 but because the characteristics of the sounds from insects or water retained their organic beauty. The form of the work is not imposed from \u2018outside\u2019. It results from the consistency with which the sounds are literally composed<\/em> and a tripartite relationship between art-nature-man mediated by technology is made explicit. Are the \u2018Artificial Soundscapes\u2019 electroacoustic compositions properly speaking? They can certainly be considered as such. Nevertheless, Joachim\u2019s intention was to establish a type of acoustic art that is located between traditional categories.<\/p>\n It is impossible to provide a comprehensive discussion of Joachim\u2019s wide-ranging interests. Later developments such as the \u2018ProsaPhon\u2019 Klanginstallation<\/strong> at the \u2018Poesie als Kunstklang\u2019<\/strong> exhibition in Berlin reveal another facet of his skill in fragmenting and re-configuring sounds. Poetry need not \u2013 should not \u2013 remain as text on the page. The acoustic nature of the spoken word evokes precisely the sonic qualities evident in Joachim\u2019s work. We hear the fleeting qualities of sound that resist being fixed by the recording process, the subtle changes of timbre and intonation as well as rhythmic inflections and the interplay between the concrete and abstract. \u2018ProsaPhon\u2019 <\/strong>was a joint work and, of course, no discussion of Joachim Krebs\u2019 work can be complete without reference to his artistic partner Sabine Sch\u00e4fer. Though each artist produced individual works (see: www.sajo-art.de<\/a>) their collaborations resulted in sound works of profound beauty. Joachim created his \u2018Artificial Soundscapes\u2019, Sabine produced her Raumklangkunst-Projekt \u2018TopoPhonien\u2019<\/strong>. Joint projects reveal their common interest in natural sound and noise events. For example, \u2018AquaAngelusVox\u2019 from 1997 is a RaumklangKomposition<\/strong> where sounds from water, bird and female voices are collected and transformed to be re-presented as sonic material by means of the EndoSonoSkopie<\/strong> techniques. Another more recent project is that of the audio-visual installation \u2018SolarSonical Insects\u2019 exhibited at the \u2018Sound Art. Klang als Medium der Kunst\u2019 exhibition at ZKM, Karlsruhe in 2012\/13. In this work 7200 images of the sun from the \u2018Solar Dynamic Observatory\u2019 are compiled into a video of 10 minutes 30 seconds. These accelerated images are transformed into a stunning, slowly evolving, disc. This is accompanied by recordings of insects such as cicadas and crickets. By contrast with the accelerated images the recordings are slowed down. Both processes allow the viewer to access both the micro- and macro-dimensions of nature. Neither dimension could be experienced without such a breathtaking artwork. Moreover, their typology of sound installations will be of lasting benefit to artists and students. I am certain that Joachim\u2019s presence will be evident in Sabine\u2019s future works. His journey went from tape collages to the Bonn \u2018Beethoven Prize\u2019, from KlangMikroskopie<\/strong> to poetry as a sound art. It is with great sadness that I am only now gradually realizing I can travel no further with him<\/span>.<\/p>\n Another English poet, the Romantic Percy Bysshe Shelley wrote in his \u2018In Defence of Poetry\u2019 that poetry \u2018lifts the veil from the hidden beauty of the world\u2019. Joachim Krebs\u2019 work enables us to hear the world\u2019s hidden beauty and that, surely will be his lasting legacy.<\/p>\n John Dack , London<\/p>\n John Dack lives and works in London (UK). He is musicologist, specialized on electro-acoustic music and * Nov. 27th, 1952 \u2628 Dec. 28th, 2013 EXHIBITIONS AND LECTURES Upcoming exhibition: Badische Landesbibliothek Karlsruhe, 8.03.-8.06.2019 Music exhibition on the artistic work by Joachim Krebs With concerts and lectures In Co-operation with the Center of Art and Media (ZKM) and the University of Music Karlsruhe Preview read more
\n<\/strong><\/p>\n29.11.2022, 19 Uhr, Badische Landesbibliothek Karlsruhe<\/b><\/span>
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\nBadische Landesbibliothek Karlsruhe, 8.03.-8.06.2019
\nMusic exhibition on the artistic work by Joachim Krebs
\nWith concerts and lectures
\nIn Co-operation with the Center of Art and Media (ZKM) and the University of Music Karlsruhe<\/p>\n
\nPortrait about the composer and media artist Joachim Krebs
\nby Sabine Sch\u00e4fer, in: Music in Baden-W\u00fcrttemberg. Yearbook 2017\/18,
\nEd. by the Society for Music History in Baden-W\u00fcrttemberg, 24th volume, Stuttgart: Metzler 2018.<\/p>\n
\nStadtmuseum Karlsruhe, 27.04.-14.10.2018
\nPresentation of original documents by the musician Joachim Krebs (kb, comp) as a member of the political rock band \u201eCheckpoint Charlie\u201c
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\n\u201cCommunication as the Processes of Life\u201d
\nLautrach Castle, 20.03.-20.10.2018, extended to 31.10.2018
\nWith works by Sabine Sch\u00e4fer and the artist couple <SA\/JO>
\nmore\u2026<\/em><\/a><\/p>\n
\nAcquisition of the artworks, from October 2018<\/p>\n
\nJoachim Krebs: Deleuze and the Sampler as an Audio Microscope
\nCenter for Art and Media Karlsruhe, ZKM Medialounge 18.05.-16.07.2017
\nExhibition on the artistic work by the composer and artist of sound art Joachim Krebs
\nIncluding the presentation of works by the artist couple <SA\/JO>
\nmore…<\/em><\/a><\/p>\n <\/a><\/p>\n
\nVom kunstvollen Klang der Schrecken
\nThe micro cosmn of cricket voices in the sound composition TopoSonic Spheres by <SA\/JO>
\nMuseum for Natural Science Karlsruhe (SMNK) 4. July 2017, 6.30 p.m.
\nSabine Sch\u00e4fer and Dr. Manfred Verhaagh
\nmore…<\/a><\/em><\/p>\n
\nWorks by the composer and media artist Joachim Krebs
\nSerie: „B\u00fccherfunde in der Lounge“
\nBadische Landesbibliothek Karlsruhe (BLB) 12. October 2017, 6 p.m.
\nSabine Sch\u00e4fer<\/p>\n
\n\u201eDenn die Zeiten \u00e4ndern sich \u2026\u201c \u2013 Die 60er-Jahre in Baden-W\u00fcrttemberg
\nHaus der Geschichte Baden-W\u00fcrttemberg, 22.12.2017-24.06.2018
\nPresentation of original documents by the musician Joachim Krebs (kb, comp) as a member of the political rock band \u201eCheckpoint Charlie\u201c
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\nSabine Sch\u00e4fer: Microscopic view into the sound of nature
\nThe micro and macro cosmn of nature in the works of the couple of artists <SA\/JO>
\nCenter for Art and Media Karlsruhe
\nZKM Medialounge at Six, 1. June 2017, 6 p.m.
\nmore…<\/a><\/em><\/p>\n <\/a><\/p>\n
\nIn-Between Earth and Sky
\nBadische Landesbibliothek Karlsruhe 18. May 2017, 7 p.m.
\nChamber music and media art by Joachim Krebs with a short lecture by Sabine Sch\u00e4fer
\nOccasionally on the assumption of the artists\u00b4s original scores by the Badische Landesbibliothek
\nmore…<\/em><\/a><\/p>\n <\/a><\/p>\n
\nTopoSonic Tunnel<\/a>
\nby the couple of artists Sabine Sch\u00e4fer \/ Joachim Krebs
\nScience Center phaeno Wolfburg (GER)<\/p>\n
\nSonic Lines n\u00b4Rooms No. 7<\/a>
\nby the couple of artists Sabine Sch\u00e4fer \/ Joachim Krebs
\nZKM Center for Art and Media Karlsruhe (GER)<\/p>\n
\nAn Obituary on Joachim Krebs<\/strong><\/span><\/p>\n
\nto know if it is his vocation,
\nyou only have to watch his eyes:
\n(\u2026)<\/p>\n
\nsound art and he works as Senior Lecturer in Music and Technology at the Middlesex University London.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"