The publication “Space Knows” by German artist Fritjof Mangerich is being published on the occasion of the awarding of the New York Stipend 2019 to the artist.
All tracks on this LP were recorded in 2019 inside the Apartment 2B at 154 Grattan Street, Brooklyn, NY 11237.
Edition of 300 numbered copies.
“It is in the studio that art arises, in the supposedly private chamber of the artistic imagination. Art is then made public in the exhibition space. Many artists consider this method of a division of labor, which insistently separates the production of art from its presentation, to be an unacceptable process of relinquishment and estrangement. Thus someone like Daniel Buren refuses to produce a “manipulable object” in the studio. Instead he most often realizes his “painting in a zero state” on site, within the exhibition space itself. Lucas Samaras, on the other hand, was interested in the short circuit that is triggered when studio and exhibition space coincide. In 1964 he accordingly set up in the Green Gallery in New York a 1:1 reconstruction of his studio, including his clothes and the books that he was reading at the time. By plunging into his personal microcosm, the audience could become familiar with him and his manner of working.
Fritjof Mangerich goes a step further. The sounds that he recorded along the surrounding edges but also within the interior of his workplace and living quarters in New York are to be heard, not in an exhibition space, but on an LP. Whoever plays the A-side hears the time-and site-specific resonances that set his windowpane vibrating in the summer of 2019.
Whoever chooses the B-side can—on the basis of a mixture of birdcalls and musical underpinning, squeaking brakes and approaching trucks, intermixed voices and rhythmic songs—create a picture of what takes place each day in and around the building complex situated on the border between Bushwick and East Williamsburg. This offers proof that the place where a person lives is anything other than a monadic cell. Natural and meteorological phenomena, merchandise management, migratory movements and mobility concepts are echoed in the interior. Consequently no one must depart from within their own proverbial four walls in order to participate in this art. The wide spectrum of the sounds of New York which provisionally became an acoustic home for Fritjof Mangerich creates for itself an audience beyond the bounds of the institutionalized spaces of art. This public audience is engendered at many places simultaneously: namely in the supposedly private spaces of the recipients.”