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War Damaged Instruments

WAR DAMAGED INSTRUMENTS IN LONDON, UK

War Damaged Instruments is a project created by artist Susan Philipsz in 2015 to commemorate the centennial of World War I. It features recordings of wind instruments damaged in various conflicts, including those from World War I, emitting sounds ranging from wheezes to deep resonances. The installation has been exhibited around the world, including at Tate Britain in London. Initiators include Susan Philipsz and Tate Britain.

Susan Philipsz: War Damaged Musical Instruments. Installation view, Tate Britain (2015-2016). Photo courtesy of J. Fernandes, Tate Photography. Photo credit: Susan Philipsz [1].
Susan Philipsz: War Damaged Musical Instruments. Installation view, Tate Britain (2015-2016). Photo courtesy of J. Fernandes, Tate Photography. Photo credit: Susan Philipsz [1].
War damaged musical instrument. Photo credit: Susan Philipsz [2].
War damaged musical instrument. Photo credit: Susan Philipsz [2].
War damaged musical instrument. Photo credit: Susan Philipsz [2].
War damaged musical instrument. Photo credit: Susan Philipsz [2].
War damaged musical instrument. Photo credit: Susan Philipsz [2].
War damaged musical instrument. Photo credit: Susan Philipsz [2].
War damaged musical instrument. Photo credit: Susan Philipsz [2].
War damaged musical instrument. Photo credit: Susan Philipsz [2].
November 21, 2015
November 21, 2015

CONTEXT

The project War Damaged Instruments commemorates World War I by featuring music played on damaged brass and wind instruments from various armed conflicts. Susan Philipsz's War Damaged Musical Instruments installation includes recordings of 14 instruments from British and German battlefields spanning 200 years, offering a poetic and introspective exploration of political and social issues [1].
April 3, 2016
April 3, 2016

INTERVENTION STRATEGIES

The instruments were in a state of disrepair emitting sounds ranging from barely discernible wheezes to deep, unsteady resonances. The notes emanate from simple white megaphones positioned high on the pillars, creating a sculptural presence that permeates and spills into adjacent galleries, following the listener incessantly [1]. In general, the approach for the project's soundscape was to integrate the historical sounds within the venue's setting, with the aim of establishing a more engaging and contemplative ambiance concerning the war.

References

[1] Sarah Kelleher. Susan Philipsz: War Damaged Instruments. Retrieved 13th March 2023, from http://enclavereview.org/susan-philipsz-war-damaged-instruments-fabio-mauri-oscuramento/

[2] Susan Philipsz: War Damaged Instruments. Retrieved 13th March 2023, from https://www.tate.org.uk/whats-on/tate-britain/susan-philipsz-war-damaged-musical-instruments

Entry submitted by: Xiaochao Chen