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Hans Peter Kuhn’s artistic journey began in the 1960s when he founded a rock band at just 14 years old. Without formal training in art school, Kuhn developed his craft independently. His professional career took off in 1975 as a sound designer at the renowned Schaubühne am Halleschen Ufer in Germany. It was there that he met American theater artist Robert Wilson, with whom he collaborated for over 20 years on more than 30 productions. His work in these productions revolved around creating “sound environments”—a term he coined in relation to the 1970s art form of environmental installations. This approach allowed him to shape immersive auditory experiences that transcended conventional sound design, blending abstraction with an almost Dadaist sensibility.
Expanding the Artistic Horizon
Over the years, Kuhn expanded his practice beyond sound, incorporating lighting in 1987 and video in the early 2000s. His passion for installation and dance has led him to create more than 200 large-scale outdoor works and over 50 dance performances in collaboration with renowned choreographers such as Dana Reitz, Steve Paxton, and Lucinda Childs. From 2012 to 2020, he also served as a visiting professor at the master’s program “Sound Studies and Sonic Arts” at the Universität der Künste Berlin, sharing his deep knowledge of sound and perception with the next generation of artists.
The Role of Space and Perception in Art
At the core of Kuhn’s work is a fascination with space and environment. His art is intentionally abstract, avoiding direct narratives or political statements. While he is politically engaged as a citizen, he prefers not to impose specific viewpoints on his audience. Instead, he encourages viewers to craft their own interpretations, often finding their stories more compelling than anything he could dictate. His primary artistic theme revolves around enhancing perception—inviting audiences to engage with their surroundings in new and unexpected ways. He relishes the opportunity to surprise people by introducing art into places where they least expect it, fostering a deeper appreciation for the unfamiliar.
“Undefined Landscape” - Hans Peter Kuhn 2007. 64-channel light and sound installation displayed in the Tokushima Museum of Modern Art, Tokushima, Japan. 30 x 20 m constructed with loudspeakers, lamps, yellow carpet, and electronics. Photo credits: Tadasu Yamamoto.
AI and the Future of Art
In the contemporary discourse on AI-generated art, Kuhn holds a skeptical stance. He does not perceive AI as a threat to human creativity but rather as something lifeless and unoriginal. Just as the prevalence of fake news has blurred the lines between reality and misinformation, he believes AI-generated art risks diluting the authenticity of artistic expression. However, he remains confident that as the novelty fades, people will once again crave the irreplaceable essence of human-made art—work that carries emotion, depth, and a tangible connection to the artist.
Technology as a Tool, Not a Master
Kuhn is not opposed to the integration of technology in art—he uses it extensively in his own practice. However, he emphasizes the importance of artists mastering their tools, rather than letting technology dictate the creative process. He compares contemporary tools to traditional artistic instruments like brushes, paint, and canvas, noting that proficiency and intentionality remain crucial regardless of the medium. For Kuhn, meaningful art emerges when artists push the boundaries of technology rather than allowing mass production and automation to define artistic output.
The Changing Role of Galleries
Despite the shifting landscape of the art world, Kuhn has only been represented by a gallery once for a short period of time. The scale and nature of his installations make them challenging to market through traditional gallery models, which typically rely on commercial sales. Instead, he has built a career through public installations and collaborations, sidestepping the conventional art market structures. He acknowledges the difficulties faced by traditional galleries today, especially in a digital era where accessibility and distribution are rapidly evolving. While established names continue to thrive, he sees challenges ahead for smaller galleries adapting to these changes.
“ÜBERGANG - TRANSITION” - Hans Peter Kuhn 2017. Installation at Martin-Gropius-Bau, Berlin, Germany commissioned by the Deutsches Historisches Museum, Berlin. 20 x 30 x 60 constructed with aluminum pipes, steel, glass, spotlights, loudspeakers, and electronics. Photo Credits: Gerhard Kassner.
Cultivating Artistic Awareness in Future Generations
When reflecting on the future of art, Kuhn advocates for fostering curiosity and sensory awareness from a young age. He believes that if children are taught to observe and appreciate the world around them, they will naturally develop an affinity for art. This doesn’t require advanced technology—just an openness to seeing, hearing, touching, and feeling with greater sensitivity.
Embracing the Unexpected in Art
For Kuhn, art remains an open field—an invitation to explore the unexpected without fear. His work challenges audiences to embrace ambiguity, engage with their surroundings, and discover their own narratives within his immersive installations. As he continues to push artistic boundaries, his vision reminds us that art is not about providing answers but about inspiring questions and new perspectives.