The sculptural installation as accompaniment to the performance emereged as a reflex to the musicans electronicsound world. Ice suitcases and iceboxes is not an illustration of a cool musical but an investigation of the transfer of objects into the system of a performance. it is an attempt, in ist production highly complicated and fragile, without guaranteed sccess. A leap into cold water. The selection of the objects stands in a close relaion to the claim of the ensemble thilges3 not to choose conventional locations for their performance, but to make use of highly frequented public venues, if possible. Corresponding to the embedding of music into acoustic context of a train station, CM plays with the conditions and asssociations of the environment. the train station as a transitory zone, a station on the way – not the destination – people come into view and disapper again. Every-day objects are positioned, in which typical embodiments of the scene can be recognized. items one would expect, suitcases and bags; with which expectations are connected. relocation as a possibility of change. Music can´t be held, it remains. Are endless loops objects? Only once the train departs we can hear it, unless we are on it, but that doesn´t take us closer to our desires. C.M.´s suitcases and iceboxes fade away with the duration of the musical performance. They melt during the performance, content included. Objects on the move, staged objects. Perfect Disappearance. Static movement. Many relations are stimulated, some of it is explained, by music, but not all.
Reiner Zettl 2000