Art installation in public space, sound installation and relief object
Sound ~50min loop, relief object, corten steel, ~70×22,7×2 cm

Commissioned by Werksviertel Mitte Kunst

The work ALL DAYS TOMORROW is an art installation in public space that engages with existing local systems and subverts everyday life. The acoustic part of the installation is played in public space in a half-open underground car park. The existing sound system is hacked; instead of birdsong, three current sounds from marketplaces in Ukraine (Kharkiv), Iraq (Erbil) and Afghanistan (Kabul) are now played. The sound recordings were made shortly before the opening by three local residents for the project, roaming a selected local marketplace.

The five languages German, Ukrainian, Arabic, Dari/Farsi and Kurdish are merged to create an interlocking relief object. The respective type faces are literally pushed into each other, layered, wedged and interwoven. Laser-cut from Corten steel, the object protects and preserves itself from the weather by slowly developing a patina of rust. Next to a narrow hidden alcove passageway, attached to a silver aluminum wall of a hotel and YouthHostel, the script object ignores competition with gigantic clutter of construction sites, Ferris wheel and skyscrapers and instead creates a poetic irritation through its small, fragile and yet sharp, robust presence.

ALLER TAGE MORGEN addresses simultaneity and complexity in the context of everyday life in a globalized, networked, information-exchanging, digitally accessible, complexly experienced world. The installation deals with changing perceptions of public space through sound and visual signals and illuminates the change of perception through information intake. Everyday life, the moment of the everyday, the everyday living world and its changes and various connotations are re-experienced and questioned by infiltrating into an–other everyday life. Cautiously subversive and at the same time drastic, the work clinches itself into the local world – into existing spaces, existing (sound) systems, existing paths, infrastructures, places. On various levels, boundaries and their extensions open up, shift and become entangled. The sensory (acoustic and visual) and content (context) information does not open up a coherent, homogeneous picture, but rather disrupts, fragments and breaks up what is experienced. The art work initially harmlessly and casually seeps into the subconscious then unfolds in an increasingly complex way, irritating the sense of time, space and locality. The acoustic playback of everyday situations associated with human exchange, diversity, gathering, food intake, vitality and liveliness is influenced in its perception as soon as the information of their origin from war and crisis zones is understood.

One of the most important parts of the work, also because of difficult local conditions, is the cooperation with the local people who have recorded the sound in the respective countries and areas.

Photo credits: Process documentations for Lia Sáile © respective photographers:Mohammad Hassani (Kabul/Afghanistan), Oleksandr Raiev (Kharkiv/Ukraine), Ma

gdalena Nauderer (Erbil/Iraq), Christoph Weisshaar

Team & Support

Christoph Weisshaar – technical consulting, CAD, implementation
Marcel Zaes – audio editing, sound design, sound mastering
Oleksandr Raiev – sound, photos, Ukraine
Magdalena Nauderer – sound, photos and mediator, Iraq
Mohammad Hassani – sound, photos, AfghanistanGholam Hussain – Support, Afghanistan
Olga Komarova – mediator, Ukraine


Dr. Martina Taubenberger, Angela Stauber, Dagmar, Jochen, Michael