2007
Eybesfeld 2007

Image: Max Neuhaus, Eybesfeld 2007, Courtesy, The Estate of Bertran and Christine Conrad-Eybesfelf

This portion of the path can be perceived as a passage in the park but it also creates a place of its own in the landscape. Here “place” and “passage”—a distinction made in 1998 by Michael Tarantino in reference to Max Neuhaus—coincide. The path is transition and transit and, as such, a highly energized zone. While entrance and exit follow a linear logic, physical and mental movement in the sharply contoured chamber of sound can move in any direction. The sound generates this contradiction between two settings of Euclidean space—directional and nondirectional. And it is not self-sufficient; it is neither the subject matter nor the medium of the message. Instead, it introduces and transmits; it functions as a liaison, ultimately leading to a sensually all-embracing inner and outer perception of landscape. “A fundamental of these works is that their sound is not the work; it’s what I use to build the work out of its site with.” (Max Neuhaus 2007) 

Text from: Hans Rudolf Reust, While Walking, 2007