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‘The Interests Are At Stake’ explores sounds and imagery of money

French-German artist duo Timo Kreuser and Guillaume Cailleau explore the hidden inner imagery and sounds of money in their latest transdisciplinary project.

Isabelle Harris (The Jakarta Post)
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Jakarta
Thu, February 13, 2020

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‘The Interests Are At Stake’ explores sounds and imagery of money Sounds of money: A live projection of nonexistent 3 euro coin on a turntable becomes increasingly distorted as the performance “The Interests Are At Stake” is staged in Jakarta. (Courtesy of Goethe-Insitut Indonesien/-)

A

fascinating and intense audio-visual performance, titled “The Interests Are At Stake”, uses a mix of projections, turntables and experimental music in exploring the hidden inner imagery and sounds of money.

Developed by German composer and experimental musician Timo Kreuser alongside French visual artist and filmmaker Guillaume Cailleau, the production explores value in both artistic expression and monetary exchange.

The two are touring Southeast Asia in January and February, hosting a series of workshops, exhibitions and performances in four cities, including Bandung, Surakarta in Central Java and Yogyakarta.

The performance in Jakarta on Jan. 31 was hosted by the German cultural center Goethe-Insitut Indonesien, which calls it an exploration of “the sounds and imagery of money”. Goethe also collaborated with French cultural center Institut Français d’Indonésie, nonprofit art space Studio Plesungan and music education space Ethnictro for the event.

Director of the Goethe Institut Indonesien, Stefan Dreyer, called the production a performance of experimental music and noise. “It’s an intense evening” he said, explaining the performance was designed to explore who and what defines change and exchange, especially in value.

On a mission: German experimental musician and composerTimo Kreuser uses his music to comment on art, music and society.
On a mission: German experimental musician and composerTimo Kreuser uses his music to comment on art, music and society. (Courtesy of Goethe-Insitut Indonesien/-)

Kreuser said he would not call the performance expression – but communication. “We have no real input from our instruments,” he says, adding that they were trying to launch a mechanism that you could only change in its pace.

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