With the project Ghost Erkmen once again addresses a set of historical issues. The reference is to Ludwig van Beethoven, who spent a number of months in 1806 at the Palais Erdödy-Fürstenberg, which has been home to T-BA21’s exhibition rooms as well as to his close relationship with Countess Anna Maria Erdödy. Beethoven dedicated a number of works to Anna Maria Erdödy, among them the two piano trios opus 70, composed in 1808 (also known under the title Ghost Trio), and the canon Glück, Glück zum neuen Jahr (WoO 176), written in 1819. Besides a web of speculations about the relationship between Beethoven and the countess, Erkmen refers to the rumor that the ghost of a young girl lives at the palace, which led the artist to arrange the canon Glück, Glück zum neuen Jahr for a single voice, a soprano. In more than one way, Erkmen’s work revolves around the question of immateriality, of the intangible. In this sense, she not only transforms the many-voices canon, reducing it to a single soprano voice, she also dislocates it from its original domain of meaning. Yet we may also read the title of her work as an indication of the intangibility of both the voice and the light installation staging the room itself, which will be dissolved and disappear once the exhibition is over.
Ghost has been commissioned by Thyssen-Bornemisza Art Contemporary and Vehbi Koç Foundation on the occasion of the exhibition Tactics of Invisibility
DAUER: April 16 - August 15, 2010
Audio and light installation
9 directional speakers, 12 lamps, 29 sec, looped
Commissioned by Thyssen-Bornemisza Art Contemporary, Vienna and Vehbi Koç Foundation, Istanbul