| SOUND ART INSTALLATION AND VIDEO |
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| Written by Administrator | |
| Monday, 26 February 2007 | |
 Sonic Self Participating artists include: - DAVID MARCUS ABIR “TEKRAR: NORTH EAST COLUMN” (2007-2008). STAINLESS STEEL, POWDER COATED Q-TRAN WHITE, CLEAR COAT, CUSTOM LED SYSTEM, ROSCO GELS, SELF POWERED SPEAKER SYSTEM, MUSIC COMPOSITIONS, 2 IPODS. COURTESY OF JOHN AND SUSAN TREMAINE. THIS SCULPTURE IS A REPLICA OF THE ONE THAT STANDS IN THE ENTRANCE HALLWAY OF TEKRAR, A FREE STANDING PYRAMIDAL STRUCTURE WHICH HOUSES THE PREVIOUS EIGHT STUDIES IN THE TEKRAR SERIES. THE WORK IS COMPRISED OF FOUR SECTIONS, EACH REPRESENTATIVE OF THEIR CORRESPONDING INSTALLATIONS. STATIC LIGHT EMANATES FROM EACH UNIT PRESENTING EACH LEVEL AT A VARIABLE POINT IN TIME. TWO INDEPENDENT MUSIC SYSTEMS, LOCATE AT THE POLAR ENDS OF THE TOTEM, REPLICATE THE ECHOED SOUND PATTERNS OF THE GREAT HALL. THEY ALLUDE TO THE SONIC IMPRINT OF THE MUSIC WHICH PERMEATE THE SPACE, REFLECTED OFF THE COLUMN ITSELF. - MIKHAEL ACREST “ +bragaphone |expirator 273|" Audio installation of crisscross pneumo-hydrodynamic effects bragaphone is a pneumatic device of sound extraction based on the expediency of hydraulic seal (air separation) in the process of alcohol fermentation under anaerobic conditions. The period of the bragophone's active functions is about five days, after which yeast fungi gradually lose activity and die on the thirteenth day due to the inability to exist in the alcohol that they had produced the reservoir with water solution of sugar and yeast (“home-brew“ or “braga“) is equipped with a module for throttling of streams of carbon dioxide in ducts towards terminals that are located in two hydro acoustical resonators. The terminals that emit bubbles of carbon dioxide by batches into the water create an underwater and above water acoustic resonance that is registered by the microphones. - Paul Amlehn/Robert Fripp. Paul Amlehn in collaboration with English musician Robert Fripp (King Crimson, David Bowie, Brian Eno). The sound art project consists of three compositions of spoken word by Paul Amlehn and soundscapes by Fripp: 1. Untitled / Queer Space Symmetrical 2. Kriya / At the End of Time 3. Ophiuchus Improvisation / Queer Reflection Harmonic Minor. The duration of the work is 23 minutes in total. - DAMIAN CATERA “deComposition 1+Eroica” (2006). In this 5.1 surround sound listening environment, the expanded sonata form of Beethoven’s’s 1st and 3rd symphonies is systematically disassembled via processes of chance and randomization. A new “deComposed” version is transformatively realized. My objective in this piece was to unravel this nineteenth century structure with the tools and paradigms of twentieth and post twentieth century music. Utilizing randomization algorithms, which I wrote in the MAX/MSP programming environment, the original recordings are cut up, altered and randomly re-assembled. The resulting soundscape is an immersive environment, which engulfs the listener in a multi-sensory way. Nineteenth century order-based music reinterpreted through twenty first century chaos. The dialectic of order and chaos is the very essence of being. deComposition 1+ Eroica appears in the Sonic Self courtesy of The Hogar Collection Gallery in Brooklyn, NY. - PHIL DADSON INCANTATION (2 x 7’ looped videos), 2006. Courtesy of the artist and Starkwhite, Auckland, NZ. To incant is to sing, to chant and to enchant. This work was made in late 2006, not long after Pope Benedict XVI’s controversial criticism of Islam. Incantation was a tangential response, a personal work with whimsy as a guise of sorts for an underlying outcry. The mask-like instruments – Ekoakio and Sprong – have resonance with many things but primarily function as resonantors for the voice and its harmonics. Incantation proposes a triadic relationship between the two interacting screens, and the viewing space between them. - Fiorentina De Biasi “The Rose” - THE POETRY OF TUPAC SHAKUR . HIP HOP CULTURE REACHES INTO THE WORLD OF FINE ART; THE SUBJECT MATTER OF THIS SOUND and visual INSTALLATION IS THE POETRY AND image OF TUPAC AMARU SHAKUR, PERHAPS THE BEST KNOWN FOUNDER OF THE MOVEMENT. IN HER SENSITIVE TREATMENT OF HIS WORK, MS. DE BIASI HAS COMPOSED A SERIES OF IMAGES OF Tupac manipulated WITH his poetry and tied to HIS LIFE AND urban culture. IN PARTICULAR, THE ARTIST SEEKS THROUGH THIS WORK TO HONOR THOSE WHO STAND UP FOR THE POLITICAL IDEAL OF THE POWER OF THE INDIVIDUAL AND HIS OR HER ABILITY TO SHAPE SOCIETY BY THE SHEER STRENGTH OF THEIR OWN CREATIVITY; AN IDEAL EXEMPLIFIED BY THE LIFE AND WORDS OF TUPAC AMARU SHAKUR. The installation will focus on a specially designed audiovisual experience incorporating Tupac’s music and poetry so as to provide a sound environment for viewing the artist’s work. - ANNA FRANTS “Drum Painting”. An interactive audio-video installation using specially designed software for non-traditional methods of visual artistic expression. Written by the Cyland Lab, the software makes it possible to see sounds and hear colors through algorithmic means. While the mechanics of the approach are totally different from those of traditional painting, the creative processes share a lot in common, and one often cannot tell which approach has been used. The “paintings in motion” created from musical expression are projected on two large stretched canvasses. At the same time the software sends images to print on a special paper canvas. - Ivan Govorkov/Elena Gubanova “Vanya, Come Home” , 2008. In the artists’ installation, the viewer seems to be situated near the radio telescope’s antenna. There is a chair on the floor (a most common object, known to everyone). The viewer sits down. Behind his back, there is a picture of a huge dish of the radio telescope that is open to the outer space. He puts on the video helmet and prepares to perceive sounds and images of the unknown, but finds himself in the realm of the real. Sound in the ear phones appears to be intercepted by the antenna itself. However, this is not an abstract noise of the outer space, but rather, unexpectedly, a real voice of the woman that keeps repeating the phrase “Vanya, come home”. - Timur Kuyanov “Daylight”, 2008. An isolated space all internal surfaces of which are covered with daylight lamps, preferably old ones or slightly defective, blinking and humming. Having found himself in such a room, the visitor will most likely be compelled to close his eyes and activate his hearing, and believe me, that which he will hear will be interesting, one can expect God knows what from one such lamp, and here there are dozens of them... Basically, this is, in fact, the substitution of notions (I, of course, call it so conditionally; it is hard to express my idea more precisely): a person who came to see daylight listens instead to strange buzzing and humming and tries by touch to find his way out of this room (much like out of this state). - Lisa Moren "Récord, recórd, recollection (II)". A viewer approaches a series of large, brown-printed portraits and is invited to draw on them. Like the magnetic head of a tape recorder reading a cassette tape, the viewer's gesture will enable the voice of the person whose image they are drawing on. The voice is difficult to hear clearly; therefore, the viewer will either be content with random "voicelike" sounds, or they will draw more consciously to hear what the portrait is saying clearly. However, the more the viewer draws audio from the portrait, the more the viewers both erase the person's image of whom they are listening and graffiti the fading photograph. Eventually the portraits will completely fade, leaving only an archive documenting the listeners. - Shelby Voice “The Concessions” - an interactive video/installation piece designed to provoke the participant to see themselves in a more objective 'third person' perspective than he/she might be familiar with. The project features a 'Concessional booth'- a structure made entirely out of two-way mirrors, modeled after a confessional. Voice has replaced the priest, or the anonymous party sitting in to talk to visitors, with a surveillance camera and T.V. screen. As the participant enters the booth, they may lock the door behind them and speak freely to their own image on the T.V. screen, which is recorded live and played back to them in real time. The two-way mirrors that make up the walls of the booth are positioned in such a way that, as one approaches the booth, they see only their own reflection, and once inside the booth, one can see through the mirrors to the people outside, who might unwittingly be checking themselves out in the mirrors while they think no one is watching. - Virgil Wong “Womb of the Pregnant Man”, 2007 Multimedia installation, 10' X 10' X 10', Image: http://www.rythospital.com/print/malepregnancy-4X6.jpg "Immerse yourself into the artificial womb of the world's first pregnant man. See, hear, and smell the gestation of this historic pregnancy." Descriptions of the video/multimedia projects: - Rome Alaeff, “The trouble with being right” & “Crybaby”. Romeo Alaeff's work varies in execution, but as a whole "explores the experience of inhabiting liminal zones, those architectural spaces, psychological and physical states in which contradictions collide. In these unlikely spaces and fleeting situations, dissonant perspectives, beliefs, emotions, sounds and rhythms briefly coexist. For Alaeff, such unsettling ‘in-between’ states, where synthesis and separation are only infinitesimally differentiated, contain the potential for both terror and beauty. In practices that include documentary, video/ film installation, photography, drawing and music, Alaeff pirouettes on the thin line between fusion and confusion, gently pulling at the seams that hold the fictional fabric of reality in check." (From "Mobilizing Difference" by Nuit Banai) - Natalie Bewernitz / Marek Goldowski, “Life at the witch trails“. The project „Life at the witch trails“ is based on the idea of creating „living“ structures through sound. Video material from x/y-stereo displays will be used. These displays visualize the phase changing from 2 channel audio signals. As the sound source a especially visual composed composition will be used, which cannot be made without its direct visualization. It contains the full on sound dependent motion dynamics. Complex „cathode ray objects“ will be formed, which are allowing a direct (not delayed) visual access to smallest details of the composition. The conversion of an electrical current in deflection of the stereo displays cathode ray happens on an analogue way consequently without a perceptible delay. The representation is not limited by a pictures-persecond time frame usually used in the TV and computer technology. The interconnection of the aural and visual senses arises in an immediate way and the visualization of sound obtains a new meaning. Three at a time successively tuned sound compositions and their visualizations will be produced in full HD resolution video warranting the highest possible detail richness. - DennyDaniel. Artist uses art, history and literature as inspiration for his work. His film style emulates the consistency and flow of oil paint by using the video medium as his canvas. His images are less documentary and more energetic and expressive. The influence of dance and music add rhythm and emotion to his videos. Instead of simple dialogue to convey a tale, he employs music, body movements and color to tell the story. His current work is inspired by the tale of Anastasia and Russia during the Czars. By drawing on strong personal influences (he was born in New York City and is of Russian descent) and by creatively using antique Asian marionettes, he is able to uniquely convey this classic story of the last Czar of Russia. - Hasan Elahi, "Tracking Transience”. Artist is creating a multi-layered, multimedia art work with an unusual “collaborator:” the Federal Bureau of Investigation. The impetus for Elahi’s complex Creative Capital project, Tracking Transience: The Orwell Project, was an incident in 2002—just months after the September 11, 2001 attacks on the United States. After FBI authorities were falsely tipped that Elahi, who is of South Asian descent, could possibly be a terrorist, he was subjected to a lengthy investigation and repeated interrogation between June and November 2002. After nine consecutive polygraph tests, he was deemed unthreatening. Now that he’s no longer under immediate suspicion, Elahi is willingly documenting his every move, via digital photographs and related textual archives, posted on his website, http://www.trackingtransience.net. “I share everything with the FBI—and everyone,” he says. “Their currency is secrecy and access to information. Making information public devalues their currency.” - Andrea Juan, “Antarctica III”. Upon receiving the John Simon Guggenheim Memorial Foundation Fellowship in 2005, Andrea Juan traveled to Antarctica four times to create the Antarctica Project. This multi-media work consists of photography, video and performance art produced from her recordings of images and sounds of the terrain, projections onto glacial walls and performances on ice shelves during storms. Antarctica III, Methane created by Juan during her third trip, to the snow-covered plateau of Marambio gives the artist's perception of the fog, inaccessibility and loneliness of the frozen geography where toxic gases slowly invade its surface. Juan studied scientists' research on the effects of climate change on ice shelves and the appearance of methane gas, which increases the greenhouse effect. - Katka Konecna, Jarret Egan & Jarek Zajac “One Dance on Earth (Un Baile, Una Tierra)” - Dance as Global Language, 2008. This video piece explores parallels among graceful moves of ballet dancers, ritual jumpers of African tribes and wild flamingos in constant motion on water surface. It is a travel journey between two continents and different species, yet there is no language barrier at all. We chose to celebrate the beauty of this planet through overlay of these three groups representing entirely different milieus and uniting them with one musical score. - Eugene Rodriguez, FLOOD SERIES, Fallout, 2006. Eugene Rodriguez has a way with words: cutting to the chase, revealing what has been hidden, and interrupting conventional practices and belief systems. From the start, his focus has been on the Latino family, but in a way that stands out from other Latino visual and media artists, whose work often locates political resistance within cultural traditions. In Straight, No Chaser (1995), for example, Rodriguez combines the American avant-garde film (and Warhol in particular) with the Mexican telenovela in order to produce a stylistic hybrid suitable to his subject: redefining the traditional notion of the Latino family in order to account for gay desire, sexuality, and relationships. - Amy Cohen Banker/Amy Kool and Nigel Dickie. The video work will demonstrate this universal will to create musical and visual beauty out of chaos and optimistically directs us to rejoice in the downtown artistic revival. Amy Kool and Amy Banker direct you to look at their visual art and Nigel accompanies with sounds of NYC and a new composition. Cai Guo-Qiang says that forces of destruction are dialectically linked with creation and the only constant is change itself. The wisdom that art can impart to those living in turbulent times may be this perspective. Benign and terrifying eternity. We all search for this deliberately and unconsciously. Cai Guo-Qiang says that forces of destruction are dialectically linked with creation and the only constant is change itself. The wisdom that art can impart to those living in. - Scotto Mycklebust Political Machine, 2008. New York artist Scotto Mycklebust, who has a reputation for severing up provocative artworks which challenges the senses of a political being in today's world delivers a thought provoking and dead-on point of view on contemporary American politics and the Iraq war with his new video work entitled Political Machine. Throughout the creative process, Mycklebust makes a conscious effort to exclude the "future viewer" in realizing his inspirations, preserving the novice of his original concept. He brazenly admits that human beings are often incapable of interpreting anything but that which we perceive in our blind subjectivity, and, humbled before this realization, the artist believes that the true mystical allure of visual art is a joint experience, encompassing not only what an artist may give to a work, but also what the viewer will bring to it. Miroslaw Rogala “NATURE IS LEAVING US” VIDEO. VIDEO THEATRE OPERA, DVD. “Nature Is Leaving Us” Video Opera is an original work of experimental Video Theatre. 65 minutes, ©1989. A live and pre-recorded video/multimedia presentation: 3 Videowalls (6’ x 8’ each), 48 monitors, 3 video channels, 5 surround-sound audio channels, 15 slide projectors, dance, performance art, original electronic score with live piano and vocal music, interactive remote-controlled devices (car/video camera, car/monitor with video playback), 2 neon sculptures. Videotape adaptation; ©1989/1994, 26:40 minutes. Designed, written, composed and directed by Miroslaw Rogala. Vocals, improvisation, and original songs by Urszula Dudziak. Sound design and additional music by Lucien Vector and Richard Woodbury. Synchronized slide projections by John Boesche. Performers include: Urszula Dudziak (live vocals and improvisations); Amy Osgood with sons, Mary Ward, Brian Jeffery (dance); Werner Herterich, Lynn Book (performance); Frank Abbinanti (piano). Produced in cooperation with Swell Pictures, Inc., Chicago. Videowalls and supporting equipment provided by Electrosonic Systems. And more video art by: Christian Austin and Olga M, Daria Marchek, Dmitri Bulnigin, Frankie Hutton, Kit Krash, Alexandra Lerman, Natalia Lyakh, Dmitri Shubin, Maria Sharafutdinova, Kirill Shuvalov, Srinivasan, Pawel Wojtasik and special guests. |
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