Elisabeth Penker, Concerto per due Cavalli.
Sonic Structure Live Performance at Roma. The Road to Contemporary Art, 2010, curated by Ilari Valbonesi and co-produced by INSTITUT Wien.

The sculptor, sound artist and writer Elisabeth Penker is working on the structural overlaps between visual art/language & music. She was in numerous international museum shows including; Künstlerhaus Stuttgart; untitled 0654321 (curated by Jacob Fabricius) at Kunsthalle Brandts, DK; Documenta 12 (invited by Ricardo Bassbaum together with FO/GO LAB); Sound System (curated by Edek Bartz & HildegundAmanshauser) at Salzburger Kunstverein; Protection (curated by Adam Budak & Christine Peters), Kunsthaus Graz; INOVA, Milwaukee, WI and most recently a solo Exhibition at Galerie Nächst St Stephan / Rosemarie Schwarzwälder in Vienna. Her compositions have been broadcast on various radio station like Resonance 104 fm (London), during the frieze art fair and at ExTempore, radioart.sk, (Bratislava) E. Penker “Untitle Instrument, Sonic structure” curated by Adam Budak & Christine Peters Kunsthaus Graz

The music is composed and played by Elisabeth Penker on her self-developed instrument called sonic structure. The sonic structure references both Jack Foley`s recording methods for film soundtracks and post-production and the sound experiments of Luigi Russulo. Penker’s concert takes place on a Sonic Structure, a geometric construction vaguely resembling a keyboard, made of wood and covered with industrial materials. Any sounds made on this structure are amplified by means of a number of microphones set at different heights that allow any performer to produce music with wooden blocks and sandpaper. Having examined Luigi Russolo’s “Futurist Manifesto” of 1912 and, in particular, his experiments with noise, Penker successfully rephrases the old avant-garde formula through an orchestra that, although organized with instruments made of industrial materials, is able to involve those forces embedded within the most sophisticated sonic structure of all—linguistics. Diana Baldon, Artforum