Photo: Ramón Rodriguez Torres
The idea of the physicality of sound and music – its natural material presence in space – is one of the central aspects in the works of Rudnitzky, who is active as a sound artist as well as composer and percussionist. Like a point of gravitation, materiality is the center that the individual works seem to strive toward. In so doing, sound is articulated not as an ostensibly immaterial substance, but with a strong and explicit reference to the material form in which it is bound. Rudnitzky finds an approach to the sound object which goes beyond this apparent relationship of necessity and locates the connection of both elements at a much more essential point.
Here, sound and object are not just elements of the same work that are coordinated with one other, rather, they are mutually dependent to such a degree, that it is not until the coalescing of the two elements that something meaningful is achieved. Sound manifests itself in Rudnitzky’s works as a musical composition and in this form, is afforded special notice: unlike with an instrument, the composition is not applied to the sound object, but is inscribed into it as a material aspect.
This visual-material way of thinking of music starting from the physical is translated into gestures which can perhaps best be observed in their entirety as stage language.
Text by Manuel Wischnewski (Fragment of the press release of the exhibition Swing for Poe)