TONundTON 1997

Theres Stämpfli enhanced the uniqueness of the space in the gigantic water reservoir with its sacral appearance and very long reverberation time (approx. twenty seconds) with a couple of deliberate, precise interventions. Her whisper-thin porcelain plaques accentuated the play of light and shade from the columns.
The whole time the former reservoir was open, Peter K Frey played installative music on the double bass, which made the space resound in a haunting manner due to the above-mentioned reverberation time. Visitors also contributed substantially to the sound of the space through their movements – climbing down a metal staircase, walking about in the space, whispering, etc.

	TONundTON 1997 Spuren
	Wasserreservoir Schlössli Zürich



	Im riesigen, Sakral anmutenden Wasserreservoir mit seiner sehr langen Nachhallzeit haben die Künstler die Einzigartigkeit dieses Raums mit ein paar gezielten, präzisen Eingriffen visueller und akustischer Art verstärkt. Mittels hauchdünner Porzellanplatten hat Theres Stämpfli das Licht/Schattenspiel der Säulen akzentuiert. Peter K Frey spielte während der gesamten Öffnungszeit eine sparsame Musik auf dem Kontrabass, welche den Raum auf eine sehr spezielle Art zum Erklingen brachte.
	Theres Stämpfli enhanced the uniqueness of the space in the gigantic water reservoir with its sacral appearance and very long reverberation time (approx. twenty seconds) with a couple of deliberate, precise interventions. Her whisper-thin porcelain plaques accentuated the play of light and shade from the columns. The whole time the former reservoir was open, Peter K Frey played installative music on the double bass, which made the space resound in a haunting manner due to the above-mentioned reverberation time. Visitors also contributed substantially to the sound of the space through their movements – climbing down a metal staircase, walking about in the space, whispering, etc.
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TONundTON 1997 Spuren