Wir alle vermissen die D-Mark oder Clara Schumann´s DNA Konzert, 2008

Part 01

https://archive.org/details/WirAlleVermissenDieD-markOderClaraSchumannsDnaKonzert

Part 02

https://archive.org/details/WirAlleVermissenDieD-markOderClaraSchumannsDnaKonzertPart02

Part 03

https://archive.org/details/WirAlleVermissenDieD-markOderClaraSchumannsDnaKonzertPart03

Part 04

https://archive.org/details/WirAlleVermissenDieD-markOderClaraSchumannsDnaKonzertPart04

Wir alle vermissen die D-Mark oder Clara Schumann’s DNA Konzert (2008) is a work that unfolds across bio-material, sound, and performative circulation. The piece originates from a gesture of extraction: DNA obtained from flowers collected at the grave of Clara Schumann is translated into musical material and reinserted into the exhibition space through an unstable, mobile apparatus.

Rather than functioning as a biographical homage, the work approaches DNA as an informational residue—an archive detached from identity and authorship. The genetic material does not stand for Clara Schumann as a subject, but as a carrier of latent data subjected to processes of abstraction, sonification, and displacement. Music here is not composed in the traditional sense; it is derived, transduced, and rendered operational.

The sonic output is physically coupled to a toy helicopter to which the DNA sample is attached. As the device moves through the gallery space, sound is spatialized, fragmented, and destabilized. Composition becomes contingent on motion, air currents, mechanical noise, and gravity. The concert is not staged frontally but dispersed, its structure continuously reconfigured by circulation and chance.

By binding genetic matter to a low-tech flying object, the work deliberately collapses hierarchies between high culture and improvised machinery, historical canon and contemporary media debris. The title—invoking both economic nostalgia and musical lineage—signals a broader inquiry into systems of value: cultural, biological, and technological. What is preserved, what circulates, and what is allowed to decompose.

Wir alle vermissen die D-Mark oder Clara Schumann’s DNA Konzert operates within a field where bioart, sound art, and media archaeology intersect. It does not seek to visualize life at a molecular level, but to expose how life, history, and culture are continuously translated into data, noise, and movement. The work insists on instability as a condition of transmission, proposing a concert without fixed score, a body without stable archive, and a history that survives only through mutation and drift.