Jonáš Gruska

The installation draws inspiration from various bell-related phenomena. Throughout history, bells have been a coveted target for invading armies, leading to the unfortunate fate of countless bells being seized, melted down, and repurposed during conflicts. The toll on these cultural artefacts was particularly evident in the world wars, where an estimated over 150,000 bells were lost. What once symbolised tranquility underwent a historical transformation into weapons of destructions and bell founders turned into weapon smiths. The urgency to compensate for missing bells resulted in the creation of handmade replacements, crafted from scrap metal or even defused bombs. Another fascinating aspect explored in the installation is rooted in Slovakian legends that attribute a form of "speech" to bells. According to these tales, bells possessed the ability to communicate or comment through specific messages, whispering about their origin or singing about their fate.

Zvon unfolds in three layers, each intricately delving into these bell-related phenomena. The first tier features handmade bells crafted by shepherd Mr. Kubizna, using metal scraps, primarily sourced from pressurised tanks. In other section of the sound sculpture, the author's design manifests a bell cast from brass bullet shells, symbolising the metal's journey from ores to bells, then to ammunition, and back. Thirdly, a hastily casted bell from impure cast iron, originating from an unknown foundry, initially mimicking a ship bell, undergoes transformation into more proper bell thanks to physical decontextualisation and addition of hand crafted yoke. Utilising transducers, solenoids, and motors, the bells are algorithmically excited, resonating with their historical narratives immersed in their physical constitution.

For more detailed description of the piece, see Zvon (behind the scenes).

Curated by Shilla Strelka for Klangraum Krems in 2024

Special thanks: Matúš Cepka, Matej Gavula, Jozef Hobor, Mr. Kubizna, Ester Mládenková, Miro Mládenek, Martin Potaš