Androsch’s work is of pure, and grand beauty. And if you stare at them long enough you will begin to hear and read them anew.
Egbert Tholl in the “Süddeutsche Zeitung” on the exhibition “Phonographien” in the Historisches Museum Regensburg 2016

Catalog Peter Androsch Phonographie Historic Museum Regensburg 2016 [7.6 MB]

 – what Peter Androsch calls his sound-writings – are the result of layering scores or parts of manuscripts and creating more or less dense landscapes of writing. Originally – around the turn of the century – his own scores formed the basis of his visual production. However in the mean time phonographies have been developed based on the production of other composers and artists. In this way lithographs, serigraphs (silk screens), and sometimes digital prints of writings by artists such as Bruckner, Mozart, Schönberg, Wagner, and others, are created.

To an ever growing extent Androsch has begun to develop literary collages from other historic manuscripts as well – based on the idea that every piece of writing can be seen as sound-writing. At the centre of this interest is the thought that every piece of handwriting is a form of human expression. And what is personal invariably leads into the world of sound, as “personare” is Latin for “to sound”. This is why the “black arts” have become more and more central to his work.

Recently Androsch has begun work on the open collection of “Linz Writings”. They represent a “different” history of his home town. A very personal history. A history that was written by people who are defined by something special, something oppositional, something sincere, something incomparable. Today these writings exemplify a legacy of a longing for a humane society in which art plays a significant role. These texts come from a wide variety of people: Herbert Bayer, Vilma Eckl, Valie Export, Franz Jägerstätter, Eugenie Kain, Hedda Wagner, Anton Maximilian Pachinger, et al.

His folders of graphics form an ensemble of writings that deal with topics that can be seen in such titles as “Linz Writings Volume 1”, “Meistersinger’s Words”, Tristan Complex”, “Zero and Nothing – Anton Bruckner”, or “Mozart Requiem”.

Hand-written scores are something valuable – not only as an investment – and rightly so: They document the individuality as well as the specific working processes of an artist. The act of layering makes them seem to be X-ray images from which a doctor can make a specific diagnostic. They also demand a dialogue and to some extent they also represent a self-diagnostic for Androsch. By confronting the differences (Arnold Schönberger, Richard Wagner, Peter Androsch) they begin to speak, and by doing so the phonographies specify as they make the inconceivable that is music tangible, what Peter Androsch describes in his work “Topography of Utopia: Theory One” as the temporal, even physical aspect of music. The conductor Daniel Barenboim explained in an interview that as a conductor he hears the sounds, however he has no physical contact to the music. He only hears, he is outside looking in. That is why he feels the need to play himself. “When I play the piano I am confronted with resistance every second. Like gravity pulling all objects downwards. Silence pulls sound down, every sound wants to die. Music is the confrontation with death with every single note.” (Interview with Barenboim Milan 4.5.2007 D-Radio)
Bernhard Doppler is a doctor of literature studies at the university of Paderborn of a cultural journalist (Deutschlandradio Kultur, Berliner Zeitung, etc.).

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