APROPOS Art Space and Project Room Luzern

About

In the liminal corridors of experimental sound, APROPOS Art Space and Project Room Luzern emerged, a temporal anomaly from 1978 to 1987, though curiously noted as active until 2010, weaving together England's avant-garde threads with the tactile immediacy of cassettes. The label, a sculptural entity in its own right, embraced the cassette format, bending it to capture the ephemeral essence of performance art and conceptual auditory sketches. Ruedi Schill, a recurring voice in the APROPOS narrative, created works like "Aus der Sammlung" (1987) and "Manchmal traue ich meinen Augen nicht" (1985), each a fractal of sound, reflecting the interdisciplinary nature of the catalog. The performances, documented with a raw intimacy on tape, form a historical archive of a scene rooted in exploratory impulse and process-driven creation. Marianne Eigenheer's "Bilder zur Lage" (1982) and Arno Arts' "Every picture tells a story" (1980) further delineate APROPOS's commitment to audio art that transcends traditional constraints, offering listeners a sonic canvas as much as a narrative journey. Notably, the inclusion of collaborative works such as "Concert De Tambour" by John M Armleder and Claude Rychner underscores the space's role as both curator and catalyst for interdisciplinary dialogue. Each release, whether a single artist showcase or a collective compilation like "Apropos Audio Art: Aus APROPOS Audiothek" (1980), reflects an auditory landscape where sound is both material and message. The magazine "Audio Art Exhibition Catalogue 1978" stands as a testament to the label’s commitment not only to sound but to its contextual framing within the broader discourse of art.