The beginning: a camera lens that gazes downward, tight against the street as though along the groove on a record. The camera as sound head, scanning the world rather than recording it, generating sounds from the structures of the landscapes passing by: a consistent gliding along the nearly flawless asphalt turns into an LP´s soft sizzling, hissing, static; speeding up the trip generates cacophonies, at times even melodies, which coincide with every new structure of the world in front of the sound head, to then fit together again to something beyond mere noise.
Billy Roisz´s and Dieter Kovačič´s most recent work contemplates the moving image - in a close association with the avant-gardes of the 1920s - as visual music, more precisely: as music that originates in the visual, produces itself from the visual. In contrast to most works by the two, it is not abstract forms but streets and landscapes that dominate the image; shine through relatively clearly, to then pass over into the abstraction of the sound world. In this way, the picture becomes a sound space (generated by the two artists in collaboration with the trio Radian) in which rhythm, timbre, and noise connect along the horizon to a timeline.
"All directions," as the title states, describes both the movements of the image (along the world, into the pictorial depth, upward in treetops rushing by, and downward, gazing at the crumbling patina of the country road) as well as an aesthetic experience, which is presented by the visual as music, the acoustic as motion picture, and the real world as abstract pattern. A thirteen-minute road movie into the night in which real things blur in order to appear as pure form, pure movement, pure light, and pure sound. (Alejandro Bachmann)
Translation: Lisa Rosenblatt