Entitled «substructions», 2012 sees the sixth edition of sound:frame for the first time putting forward for discussion a general framework of audiovisual tendencies and works.
Themes like cultural economy, positioning in the context of art and sustainability will be examined with regard to the system “festival” and will then be put up for discussion in the settings of exhibition, conference and supporting programme. Economic, artistic, as well as social and ecologic parameters will be demonstrated. An internal glimpse on the sound:frame festival and its community will be sharpened by presenting different perspectives and overarching expertise of related and seemingly distant disciplines. A technical basis will be fixed in place for the creative work, whereas as to content the artistic positions will get absolute freedom. Due to this it will become apparent which consequences a substruction of audiovisual tendencies has and can have on creative realisation. As basis for further development the concepts and insights of both the exhibition and discourse programme «substructions» should be analysed and discussed.
By now, sound:frame is able to have recourse to a substantial wealth of experience. In the early days it was a priority to give something new a try, to explore limits and boundaries and to assess places and contexts in regards to their potential. With reference to content-related, financial and organisational issues it is important to accurately estimate external factors, to consolidate one’s own structures and to successively adjust them to the known requirements. After five years of experimenting and growing sound:frame takes this logical step and consciously adapts itself to its given parameters. The festival is becoming shorter and more compact, venues are becoming more assessable. Artistic freedom and diversity come to the fore, while at the same time the programme is realised in a grounded and secured setting.
The support of a project becoming apparent on the surface is a rare occurrence. The result presents itself, the substruction stays obscure. However, the base frame is equally important as the programming. No festival without know-how, a 60-strong team and funding. No artistic installation without a competent technical partner who understands concerns. In 2012 sound:frame wants to make conditions which are rarely in the focus of attention more transparent and in the process concretely discuss the construct “festival” and generally debate current cultural tendencies.