"To that point the music is able to get aesthetic forms without a trace of a specific affects, shown by the ornamentic sector of fine arts: the arabesque. We catch sight of brandished lines, here bowed gently, there raised adventurous, (...), corresponding with small and high bows, seemingly incommensurable, but always arranged clearly, anywhere salutory the side and companion pieces, (...) as a collection of single parts, but also a whole. The vivid arabesque imagary for the outflow of the artistic genie with pouring out its opulent phantasy into the veins of that flow. This effect will near the musical sense, will not?" (free translation: E. Hanslick, Theorie "Vom Musikalisch- Schönen", 1854)
Constantin Luser (b. in 76, lives in Vienna) plays us a canonical melody of obsession to invite us to be a part of, go on expedition. In autumn this year, after the second soloshow at the gallery, he will start off the museum show at the Belvedere Vienna (cat.), because of winning the "BC 21 Award" for Young Austrian Contemporary Arts.
At the Berlin exhibition Luser shows a parcours based on drawings and sculptures in association with sections from Biology and Technic, Architecture and History, Human and Body and finally Music. The main space at the gallery will occupied by the "Trommeliglu" (drum igloo) and the "Vibrosaurus" (vibration saurian), 1:10. The recipient stands interactional in front of three-dimensional sound sculptures relating the synaesthetical sense to the artists drawings, commented motifs by some words.
Therefore the "Vibrasaurus" will be introduced by an accompanying artist drawing as a "communal audio-generating saurian", could breathed life by lips and vocal cord vibrations of several people. The tones and sounds are generated with the aid of 30 mouthpieces of several brass instruments (French horns, Tubas, Trumpets), the blown air pressure in turns with the compressed lips is channeled through the metal tupe-shaped skeleton of the saurian.
The acoustics as a synonym for the notion of Constantin Luser´s drawings is conterminous to the music term of the notation. With their graphic finelined form, similar to the musical parameters tone pitch, length and volume, they will be relatable and readable. These seemingly technoid drawn systems are comparable to recording technics- registering the perceptions of symbolic imagary characterizing conditions between actors and cultural codes- like a cache. By use of the media paper or even the wall the optical "wiring diagrams" counteract the multitude sheets of portraits, refering the refuse to forget contra being changeable.
Meanwhile compressing reality by increasing the playful up to the monstrous phantasy, things are filled with new acceptations, also the ambigious meanings in society are shown, obviously a self-ironic must in Luser´s cosmos.
Those fictions gets their concrete, sometimes utopian references by using the speech. Although and for they lead us astray, so we have to look twice, three and four times to struggle through the gallimaufry of lines to the three-dimensionality.
Aside this and to exponentiate the recipient´s view, another sculpure named "Rückblick in letzter Sekunde" ("last chance for rearview"), multiplicates the view through mounted mirrors onto its branches.
And yes- it will be archaic!- Whenever the "Vibrosaurus" with the "Trommeliglu" will goes together to extend their whole sound- Who is the one, who doesn´t want to be in on it? Who doesn´t want to play along? Who doesn´t want to follow Constantin, like childs the Pied Piper of Hamelin, to discover more of his universe? Perhaps you can see the marveling faces in the small rear-view mirrors of the sculpture,indeed the mirror is the reflection of the now, the narcissitic view on its own, self-identifying and welcoming, but even to be astonished- as a childlike feeling.