Akio Suzuki: stones, Analapos (voice-type) and Kyurukyuttsu (glass plate).

Recorded at Ichinomiya City Memorial Art Museum of Setsuko Migishi,
August 17, 2008 by Kiyoharu Kuwayama.

This is a limited edition of 150 copies.

Special thanks to the following people for making this release possible:
Kiyoharu Kuwayama, Faizal Hirji, Brian Lavelle, Sean O'Brien, HK Kahng,
Nancy Novotny, Michael Quinn, Laurent Wermenlinger, Christopher
DeLaurenti, Robert Szkolnicki, Jonathon Brown, Gary Simmons, James
Zachary, Craig Colorusso, Hideo Makihara and everyone else who
generously contributed to the fund raising campaign for this release via
Kickstarter. The other contributors names can be found at the bottom of
and/OAR News page and archived at the Kickstarter campaign web

Akio Suzuki is known as a pioneer of sound art, but the breadth of his
activities and the form of his works far exceeds the normal boundaries of
sound art. It is perhaps more as a "quester after sound and space" that
he has received the most attention from artists in many fields. Suzuki's
journey as an artist began in 1963 with a performance at Nagoya station
in Japan, in which he threw a bucket full of junk down a staircase. The
inspiration behind this performance was the idea that if one were to hurl
an object down a well-balanced stairway, a pleasant rhythm might be the
result. Since that time, a playful yet deep desire to not only hear, but truly
listen has remained the one constant in Suzuki's approach as a sound

During the sixties, Suzuki's sense of playfulness led him to undertake a
series of Self-Study Events, where he explored the processes of "throwing"
and "following", taking the natural world as his collaborator. The
experiences he gained in these events led him in the seventies to invent
an echo instrument he named Analapos. The instrument's structure
resembles that of two mirrors facing each other, reflecting into infinity. As
an extension of the principles underlying Analapos, Suzuki constructed the
Hinatabokko No Kukan (Space In The Sun) in 1988. This space consists of
two huge parallel walls, in between which the artist can sit all day and
purify his hearing by listening to the reflected sounds of nature. This
space leads the artist to discover a new method of listening. Suzuki
himself comments, "Sound, which had been conceptually imprisoned in
various spaces, is freed to circle the world."

From the late seventies and through the eighties, Suzuki also developed
a form of performance he refers to as Conceptual Soundwork. Applying a
number of self-imposed, simple and austere rules, he uses objects close
at hand in a mode of "intellectual play". While these events do on the one
hand express a critique of meaningless improvised performance, at the
same time Suzuki is constantly aware of the audience's process of
listening and he attempts to create contemporaneous connections with the
site of performance. It was around this time that Suzuki began to travel
frequently to the US and Europe, and his performances at leading music
festivals, Festival d'Automne (Paris, 1978) and Documenta 8 (Kassel,
1987) were rapturously received.

As sound art enjoyed a period of prosperity in the nineties, Suzuki was
given the chance to create many installations, particularly in Berlin. Worthy
of special note were his soundless installations, such as Otodate (Echo
point, 1996) in Berlin, Enghien-les-Bains (since 1997,
http://www.insitu-enghien.org/) and Strasbourg; Hana (Flower, 1997) at
the Stadtgalarie Saarbrucken; and Pyramid (1999) which involved people
excavating sounds. These soundless pieces were not designed to critique
the old perceptual theories of music, rather they questioned the very
location of music. Through their encounter with these works, the past
experiences and memories of viewers were reconstructed as new
experiences. This process was fundamental to the action of "listening" to
the works.

In recent years, the insights he gained from the Turbridge (1999-2000)
installation at the Daad Gallery in Berlin have opened up new avenues of
development for his future work. By recording and creating sound sources
himself, and by using electric amplification with Suzuki's own self-designed
output devices, he was able to reconstruct sounds and experiment with
listening to the "factors of place". These experiments were followed up by
the sound-drawing Mowe (Seagull, 2002) for the Berlin radio station SFB,
and Nagekake & Tadori (Throwing and Following, 2002) which included
some suggestions towards the construction of place. Visitors to the latter
were able to experience a "place established by the artist as a wholly
different space and time axis."

To run simultaneously with these experiments, Suzuki has started the
Mogari series since 2002 at the Brunei Gallery at the School of Oriental &
African Studies in London. This series centres around unbelievably
powerful performances on iwabue - ancient and naturally-sculpted stone
flutes which have been handed down in Suzuki's family. Using these
ancient instruments Suzuki sculpts time and place, and through their
music he searches for his own end.
catalog number: either/9
title: Rub Music
format: CD EP (21+ minutes)
status: sold out