Sound is an essen­tial part of contem­po­rary art. Yet musical instru­ments, which are simul­ta­ne­ously sculp­tures, repre­sent a recent devel­op­ment in contem­po­rary art that is still rela­tively unknown. In a group exhi­bi­tion featuring inter­na­tional artists the SCHIRN KUNSTHALLE FRANK­FURT will be presenting artworks that also perform as musical instru­ments by Doug Aitken, Nevin Aladağ, Jennifer Allora & Guillermo Calzadilla, Carlos Amorales, Tarek Atoui, Guillermo Galindo, Hans van Kool­wijk, Constantin Luser, Chris­tian Marclay, Caro­line Mesquita, Rie Naka­jima, Carsten Nicolai, Pedro Reyes, Naama Tsabar, and David Zink Yi. The focus of the exhi­bi­tion, a concept that is itself in a state of flux, is the playing of these sculp­tural instru­ments. For the dura­tion of the show, the Schirn will become a tempo­rary concert hall in which the works are acti­vated and visi­tors can expe­ri­ence their sound live. Mobile display archi­tec­ture will create space for work­shops in which the sound of the instru­ments will be explored by musi­cians in changing ensem­bles and subse­quently presented in concerts. The artists will demon­strate their own works in perfor­mances. The exhi­bi­tion presents various aspects of sound in rela­tion to spir­i­tual and reli­gious issues as well as to tech­nology, posthu­manism, and poli­tics, and even to the emotions of the artwork. The starting point for the concept is the exten­sion of the defi­n­i­tion of art and music by the Fluxus move­ment of the 1960s: happen­ings or actions were under­stood as “concerts,” because they were struc­tured in a similar fashion to compo­si­tions and combined different media and mate­rials with one another.