Samson Younger’s aesthetically highly effective and scientifically exact works, with historic and social references and conflicts, transfer on the intersection of philosophy, literature, efficiency, and the current historical past of audiovisual convergence. He composes multidisciplinary areas that oscillate between sound and picture. His exhibition on the Kestner Gesellschaft consists of two multichannel sound and video installations and 3D sculptural works, investigating a phenomenon of the so-called “located listening.”

The Vacationers and the Listeners (set up model), 2023, (Corridor 1), consists of six musical movies structured on the idea of Walter de la Mare’s quick poem The Listeners (1912). In doing so, he not solely thematizes the determine of the Traveler who knocks on the door with an urgency. However refers particularly to the intangible, the unrequited and but attentive, which stands behind the door. To this the Angela Leighton (*1954), who’s a British literary scholar and poet specializing in Twentieth-century Victorian and English literature, remarks:

“[Walter de la Mare’s The Listeners] asks that essential query about poetry typically: who listens, and what does it imply to take heed to the silence of the poem on the web page, which is a silence at all times nonetheless asking to be voiced […] Listening to issues in that home of poetry could result in ghosts and phantoms, or to the memorable rhythm of pressing knocks, or maybe simply to these open, unanswered questions which have been our personal within the first place, however are returned to us, magnified, by the hospitable acoustic openness of the poem.”

On this work, the photographic negatives evoke ghosts and phantoms that conjure up the traces of the unconscious, the personal and social repressed photos. A ghostly unfavourable picture, along with the act of listening, creates a double non-being: a hidden silence.

The sound and video set up Variations of 96 chords in area (feat. William Lane), 2023 (Corridor 4), presents a color-sound-action scheme consisting of 96 colours. Every colour is reworked right into a chord. Software program reassembles the recordings of those actions in countless mixtures, largely systematic, partly arbitrary, in line with the logic of analog and complementary colours. The scheme underlying the work is logical in methodology and clear in mechanics. For the viewer, nonetheless, it might seem to be a perception system carried out in a ritual.

“There isn’t a assembly of minds on the half-way home of semantic-free knowledge, no supply code of notion for us to return to, solely the not possible quest of approaching one other’s Cartesian theater.”
—Samson Younger

Each works are a part of an extended course of. Already the recordings of the interactions have been systematically and cartographically deliberate by Younger. In our halls we present symphonies in area and time.

Curated by
Adam Budak and Robert Knoke

at Kestner Gesellschaft, Hannover
till February 18, 2024