1998, TVs, Piano, dimensions variable

Paik created a series of pianos with TV monitors embedded. TV Piano, made in 1993 with thirteen TV monitors, is the biggest one. The piano brings the surrounding environment to itself through a closed circuit system, suggesting Paik’s intention to expand music to sound by means of media.

1993, cage, monitor

The title is a tongue-in-cheek reference to the fact that the word ‘cage’ means an enclosure for confining birds. Paik keeps Cage ‘in cage’ but Cage in cage never ceases to pursue new music, dropping fragments of a broken piano on the bottom as if they were excrement.

2012, sound installation, dimensions variable

Kichul Kim’s work begins from making invisible sound visible. In order to evoke the imagination of visitors, Kim creates a situation of filling the void with sound. The two sound installations Sound Looking-rain and Sound Looking-wind are based respectively on the sound of rain recorded in the Jongmyo Royal Shrine, Seoul, and that of wind gathered in other various places. The visitors will be surrounded by the ambience of the sound, which will give a special synesthetic experience

2011, LED Lamp, Electrical Wire, Speaker, Coin, dimensions variable

Haroon Mirza brings into relief everyday sounds, by making visible the connection between object and its sound. He often integrates others’ works into his own one: for , he reinterprets with LED lamps a minimalist Fred Sandback’s work. Visitors will be led to enter the space and to catch personally the relation of different sounds. LED noises, movement from speaker and visitors’ bodies constitute together a kind of total work (Gesamtkunstwerk).

2012, cardboard Boxes 50×50×50 cm, DC Motor, Hemp Cords, Dimensions Variable, Courtesy bitforms gallery nyc

Swiss artist Zimoun, who received an Honorary Mention in Digital Musics & Sound Art category at Ars Electronica 2010, builds up a structure by repeatedly arranging a box-shaped module vibrated by a small motor. Before noticing how the sound is being generated, visitors instantly feel the huge vibration with sound through their body, realizing a unique point at which space, noise, and vibration are organically linked with one another.

2008, video color, sound, 4min 51sec

Answer Me presents a farewell scene: a woman says that she wants to break up, but her voice is silenced by her companion’s drumming, while a small snare drum beside her keeps beating because of the vibration of his drumming. The emotional tension is expressed through the incommunicable sounds and the physical movement, representing their complicated relationship. Furthermore, this break-up scene was shot in the place that had been used to tap Soviet and East German communications during the cold war, and thus the emotional tension represented by the sounds also implies the historical context.

2011, Light Bulb, LED Lamp, Xylophone, Balloon, Vacuum Cleaner, Bicycle Wheel, etc., Dimensions Variable

Yuko Mohri creates an installation with a mechanical structure by using everyday items. These common objects, or the artist’s collection since childhood, get a new face in her works. The title of this sound installation came from the name of a garden which used to be near her home in her childhood. To her, these old, worn-out objects are a kind of “record medium.” In Ofuna Flower Center, each object becomes an actor with its own role and connected with one another to be a score to be played harmoniously.

2008, Turntable, Metal, Wood, Plastic, Feedback Speaker, etc, Dimensions Variable, 2008

Otomo Yoshihide is an experimental musician, composer, turntable performer, and guitarist, widely known for his free improvisation performances with musicians of wide-ranging genres including noise and jazz. Without Records is composed of dozens of turntables, but these record players are spinning without vinyl records. Instead, their needles, which are all different from one another, are equipped with unusual materials such as corrugated paper or iron, so that the turntables play not LPs but themselves, disintegrating their own function. Hearing that the multiple layers of music, which is created by this installation, gather or disperse, the visitors will be able to experience a different world in a different dimension where sound and space join.

2010, aluminum, polyester resin, plastic foam, headphones, and mp3 Reader, 210×180 cm

Conceived by French architect, installation artist and performer, Didier Faustino, this devise looks like an instrument for observation of something outsides, but rather leads to visitors to their insides by repetitive sounds “Don’t believe architect”. Although having a meditation time, paradoxically visitors will become keener to the outside world.

2012, Plastic Bucket, Chandelier, Pulley Device, Pump, Water Tank, LED Lamp, Light Bulb, Balloon, Motor, etc, Dimensions Variable

Tetsuya Umeda has presented installations and performances which are unpredictable and contingent on place or situation by using such fundamental media as ‘water, wind, light and sound.’ The harmony of the auditory and visual elements of his installation, which comprises everyday things like an electronic fan, boiling water, and the shadows of balloons, evokes a poetic atmosphere in the space. The subtle sounds and movements made by these small articles give a new form of chance, sensibility and energy to the entire exhibition space.

2012, Furniture, Mirror, Monitor, Telephone Receiving Device, Radio, Book, Sound, Dimensions Variable

Sei Rhee organizes a narrative by making relations between moving and still images or between sounds and objects. For this, she creates a montage of different media and then turns it into a structure or a pattern, combining together sound and image as a unit. In this installation, visitors will be provided with visual and auditory experiences combined, which are normally separated in daily life.