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K 21 Museum, Düsseldorf (Ständehaus).
(Leider habe ich mir nicht gemerkt, wie der Künstler heißt, der diese Soundinstallation geschaffen hat)
K 21 Museum, Düsseldorf (Ständehaus).
(Leider habe ich mir nicht gemerkt, wie der Künstler heißt, der diese Soundinstallation geschaffen hat)
Ein Bild für Rosemarie Danke Dir
www.youtube.com/watch?v=0JyMKFbaJTY
leerer Raum eines Museums ...nach mehrjährige Renovierung des Labyrinthes der Insel Hombruch wurde der Raum ohne Exponate für die Öffentlichkeit freigegeben......
ich freute mich einen leeren Museumsraum fotografieren zu können ...
Natur und Raum...
bei der Renovierung ging es in der Hauptsache um thermische Regelungen..die Anpassung des Gebäude an die heutige Zeit ..
Unsere Welt retten....
(Gebäude nach dem Entwurf von Erwin Heerich
Das Labyrinth ist die größte begehbare Skulptur von Erwin Heerich. Nach mehr als dreijähriger Sanierung präsentiert sie sich seit Ende Juni energetisch saniert und in neuer Schönheit. Das eigens für das Gebäude entwickelte Glasdach schafft ein gleichmäßiges, warmes und einzigartiges Lichterlebnis.
Bevor im Herbst die Sammlung mit Werken der europäischen Moderne, fernöstlicher Kunst und archäologischen Fundstücken wieder einzieht, ist das Labyrinth in seiner reinen skulpturalen Form zu erleben. Zusätzlich dient es als inspirierender Ort für kurze künstlerische Beiträge wie Performances, Musik, Soundinstallationen oder überraschende Präsentationen.)von der Website der insel
Zwiegespallten..
.ich hatte mich sehr darauf gefreut.das Gebäude renoviert und pur zu sehen ,ohne Kunst..
aber überall waren noch die Nägel in den Wänden..
.Kabel hingen aus den Wänden...
aber trotzdem war es ein Erlebnis......
Daduch dass ich die Türe öffnete kam Licht und der Ausblick auf die Natur etwas Abwechslung hienein...
IMG_2992.arjpg
"Bass" is one of the most recent works created by Steve McQueen (British artist and filmmaker, born 1969 in London). It is a stunning combination of light, colour and sound.
The installation is presented by "Schaulager" in Basel, Switzerland.
Thank you for your visits / comments / faves!
Humboldt University Berlin
Historic aircraft engine test site (1933 - 35)
The little round objects on the grass are part of a sound installation which simulates various wind noises.
ISO 100, f8 @ 20mm, 30sec, 10:53pm
Ruben D'HERS creator of the work "I still hear the road of a distant crowd" exhibited during the 13th edition of the Interstice festival in Caen.
Thirty guitars are placed on the floor and on the wall to establish a sound dialogue with the architecture of the church and its visitors.
Rainforest V (Variation 1) a sound installation by David Tudor and composers
MoMA (Museum of Modern Art)
Daniel Bisig, Jan Schacher, and Martin Neukom's installation "Flow Space". Milieux Sonores is an exhibition of the Institute for Computer Music and Sound Technology (ICST) of the Zurich University of the Arts, Gray Area Foundation for the Arts (GAFFTA) and swissnex San Francisco. Curated by Marcus Maeder, supported by the Swiss Arts Council Pro Helvetia.
Photo by R. Yau.
one track of the cdr of z\w\a\r\t magazine nr. 23
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Z\w\a\r\t magazine nr. 23 – Secret Bunker issue
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Exhibition\soundinstallation with video\slideshow
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Soundperformance Les Horribles Travailleurs
www.facebook.com/events/560450424742109/
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as part of the groupexhibition on the secret bunker at Omstand - presenation space for contemporary art in Arnhem, The Netherlands.
Omstand, Arnhem,
4 jan t\m 23 feb 2020
‘ondersteund met een bijdrage van het Mondriaan Fonds’
www.facebook.com/events/591397281435459/
www.geheime-bunker.nl/geheime-bunker/
www.facebook.com/StudioOmstand
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z\w\a\r\t Secret Bunker recidency
1 march - 15 april 2018
nl.pinterest.com/geheimebunker/max-kuiper/
zwartsecretbunker.tumblr.com/
How does it feel?
On my way in to the Philharmonie last night I couldn't resist making this panorama of the building at dusk. The lighting combined with the twilight was sublime.
The Rainy Days festival kicked off last night, there was also a "sound installation" in between the columns of the building, a very unique string quartet, but the highlight of the night was the OPL with conductor Gustavo Gimeno and Daniel Barenboim on the piano. A beautiful concert!
A night full of light, photography, music, sounds and fun. It felt great!
If you want to learn more about the Rainy Days Festival www.philharmonie.lu/…/pro…/festivals/rainy-days-2017
sound installation, 2016 (4:30 min)
the viewers are engaged to take a piece of canvas, lie on the ground and cover themselves with the fabric. the sound is a challenge to question the perception of how canvas can be used to influence a situation
Historic aircraft engine test site (1933 - 35) and now a part of the Aerodynamic Park of the Humboldt University in Berlin-Adlershof. Standing there you would experience a site-specific sound art "Air Borne" (Stefan Krüskemper with the collaboration of Karlheinz Essl).
The basis for the sound pieces was provided by authentic audio files from the German radio archive (Deutsche Rundfunkarchiv) in Babelsberg. Together with the Viennese composer Karlheinz Essl, this material was drawn upon to electronically create ‘remembrance images’ of the place and its associations using software specially programmed by Essl. As the sounds last for a short period of time whereas the passages of silence which separate them are long and the spatial distance between the individual positions is large, it will take years to completely experience the composition as a whole. Listen or read more here: www.air-borne.info/english/start.htm
ISO 100, f8 @ 18mm, 30sec.
This staircase is inside the Concertgebouw at Bruges, a concert hall that was completed in 2002 to coincide with the city's tenure as European Capital of Culture. The building was designed by Flemish architects Paul Robbrecht and Hilde Daem.
These suspended objects look like bells but in fact they were once loudspeakers. For further explanation I quote from the Concertgebouw's web site:
After the festival Brugge Centraal 2010, Czech artist Pavel Büchler donated his sound installation Annunciation to the city of Bruges. This installation consists of a series of loudspeakers that originally came from Prague’s Strahov Stadium, a huge stadium complex used for grand sports displays during Czechoslovakia’s communist era. Those loudspeakers are now housed in our stairwell, at the Balcony 2 level, next to Luc Tuymans’ Angel. The installation plays a buzzing sound, which can evoke the hum of insects or the cheering of a crowd. It is simultaneously a reference to the feelings that music and dance can arouse.
The Concertgebouw is a building I enjoyed very much, and for me the guided tour we had of it (for just three people) was possibly the highlight of our visit to Bruges. I found the interior especially memorable and photogenic, and came away with plenty of images, of which this is just one.
Friday 29th November 2019.
performing "BRUINE" (soundinstallation)
@ lab.30 Augsburg, 28.10.2023
something along that lines...
"Krči" -> www.youtube.com/watch?v=ZZzLRPo7fqM
DSC_1761-1csw
Peter Kogler - Videoprojection - Untitled, 2008
Soundinstallation - Franz Pomassl
See the video on youtube
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Z\w\a\r\t magazine nr. 23 – Secret Bunker issue
\
Exhibition\soundinstallation with video\slideshow
\
Soundperformance Les Horribles Travailleurs
www.facebook.com/events/560450424742109/
\
Part of the groupexhibition on the secret bunker at Omstand - presenation space for contemporary art in Arnhem, The Netherlands.
Omstand, Arnhem,
4 jan t\m 23 feb 2020
‘ondersteund met een bijdrage van het Mondriaan Fonds’
www.facebook.com/events/591397281435459/
www.geheime-bunker.nl/geheime-bunker/
www.facebook.com/StudioOmstand
\
z\w\a\r\t Secret Bunker recidency
1 march - 15 april 2018
nl.pinterest.com/geheimebunker/max-kuiper/
zwartsecretbunker.tumblr.com/
sound installation, 2016 (4:30 min)
the viewers are engaged to take a piece of canvas, lie on the ground and cover themselves with the fabric. the sound is a challenge to question the perception of how canvas can be used to influence a situation
David Byrne’s Battery Maritime Building installation . Produced by Creative Time
Licht und Soundinstallation im Rahmen der RUHRTRIIIENALE; zu finden in der Kraftzentrale im Landschaftspark Duisburg Nord www.ruhrtriennale.de/de/produktionen/white-circle
SNO 131, Jasmine Guffond sound installation. This picture is a sweep (multiple frames in-camera stitched together) panorama so it combines time and changes in light into one image - that is shown in the colour banding which you will NOT see in the same way if you are standing in the room; though you will notice the room light changing. The sound instillation responds to cookies from internet searches and is interactive. Unfortunately Jasmine is not in this picture. 8-30 April 2017. www.sno.org.au/contact/
Fujifilm X-Pro1
XF18mmF2 R
ƒ/2.2 18.0 mm 1/500 1250iso
Sweep Panorama.
Zarouhie Abdalian
Hirshhorn Museum & Sculpture Garden
Washington, DC
2021
Signaling bells, modular pipe, and motors
"Made in early 2021, threnody for the unwilling martyrs (threnody refers to a song of wailing or lament) is an expression of what the artist describes as the "protracted grieving" of the losses and injustices of its time. A work of both sculpture and sound, in incorporates five brass bells suspended from modular, prefabricated armatures ranging from child to adult heights. As an artist, Abdalian is especially concerned with the histories of labor, and here the type of bell is significant: signaling bells are functional, producing sound not for musical effect but with communicative intent. Each is set imperceptibly in motion by the percussive action of a small interior motor, which turns rapidly to produce the effect of a sustained sonic roll. Rather than a "strike" and the subsequent reverberating overtone, one hears a perpetual ringing-out of the harmonics that make up the various bells' distinctive timbres. Together these collective vibrations fill the room, sounding a chord that defies tonal resolution. A piece for our moment as well as past and future, threnody … creates space for, and gives shape to, a song of collective mourning."
-from the installation placard
Three of five bells shown in photo.
Today, after getting nearly 11 hours of sleep, I went with my friend Kate to an awesome sound installation located on the lower east side of Manhattan. The sound installation is inside of a huge metal pink taffy like creation. The sounds you hear while inside are mostly soothing and sometimes sounds like the ocean. The space was narrow and I wasn’t sure if tripods were allowed so Kate graciously agreed to be the human tripod for this shot. Special thanks to Kate for both showing me this location and being the human tripod for this shot.
Crown Headpiece from Galliano's Forgotten Innocents, 1986-7
Judy Blame, made by Frick and Frack
Crown Headpiece
Metal, coat hanger, wool, thread, shoelaces and rocks
Spitting Image, 2020
Nylon, hair spray, foam latex, man-made fibres, perspex
Taken in the exhibition
Monster
Opening The Horror Show!, Monster begins by delving into the economic and political turbulence of the 70s and the high octane spectacle and social division of the 80s. Against a backdrop of unrest and loud uprising, it charts the origin story and ascent of the individuals who will go on to disrupt, define and destroy British culture, while exploring the monsters which plague society today.
Punk prophet Jamie Reid opens the show by conjuring his Monster on a Nice Roof (1972), painting a prescient picture of the dark skies gathering over Britain. Chila Burman’s If There is No Struggle, There is no Progress - Uprising (1981) and Helen Chadwick’s Allegory of Misrule (1986) refigure social discontent and anxiety in the image of horror, as the socio-political and monstrous collide. In a jarring dislocation of British cultural identity, Guy Peellaert’s David Bowie, Diamond Dogs (1974) and the otherworldly creatures captured by Derek Ridgers’ nightlife photography point to the emergence of the cultural provocation and rebellion that defined an era. Monster revels in a resoundingly British spirit of nonconformity, with a spectacular display of Pam Hogg’s new Exterminating Angel (2021) and works by Somerset House Studios artist and designer Gareth Pugh and the late visionary Leigh Bowery. Elsewhere, Noel Fielding’s Post-Viral Fatigue (2022) shows how the imagery of horror resonates still in our Covid-ravaged contemporary reality. As the nightmarish and otherworldly fills the gallery, a newly commissioned mural by Matilda Moors sees the walls dramatically clawed at by a monstrous hand.
Contributing artists include Marc Almond, Bauhaus, Judy Blame, Leigh Bowery, Philip Castle, Chila Burman, Helen Chadwick, Monster Chetwynd, Jake & Dinos Chapman, Tim Etchells, Noel Fielding, Mark Moore & Martin Green, Pam Hogg, Dick Jewell, Harminder Judge, Daniel Landin, Jeannette Lee, Andrew Liles, Linder, London Leatherman, Don Letts, Luciana Martinez de la Rosa, Lindsey Mendick, Peter Mitchell, Dennis Morris, Matilda Moors, Tim Noble & Sue Webster, Guy Peellaert, Gareth Pugh, Jamie Reid, Derek Ridgers, Nick Ryan, Steven Stapleton, Ralph Steadman, Ray Stevenson, Poly Styrene, Francis Upritchard and Jenkin van Zyl.
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
Crown Headpiece from Galliano's Forgotten Innocents, 1986-7
Judy Blame, made by Frick and Frack
Crown Headpiece
Metal, coat hanger, wool, thread, shoelaces and rocks
Spitting Image, 2020
Nylon, hair spray, foam latex, man-made fibres, perspex
Taken in the exhibition
Monster
Opening The Horror Show!, Monster begins by delving into the economic and political turbulence of the 70s and the high octane spectacle and social division of the 80s. Against a backdrop of unrest and loud uprising, it charts the origin story and ascent of the individuals who will go on to disrupt, define and destroy British culture, while exploring the monsters which plague society today.
Punk prophet Jamie Reid opens the show by conjuring his Monster on a Nice Roof (1972), painting a prescient picture of the dark skies gathering over Britain. Chila Burman’s If There is No Struggle, There is no Progress - Uprising (1981) and Helen Chadwick’s Allegory of Misrule (1986) refigure social discontent and anxiety in the image of horror, as the socio-political and monstrous collide. In a jarring dislocation of British cultural identity, Guy Peellaert’s David Bowie, Diamond Dogs (1974) and the otherworldly creatures captured by Derek Ridgers’ nightlife photography point to the emergence of the cultural provocation and rebellion that defined an era. Monster revels in a resoundingly British spirit of nonconformity, with a spectacular display of Pam Hogg’s new Exterminating Angel (2021) and works by Somerset House Studios artist and designer Gareth Pugh and the late visionary Leigh Bowery. Elsewhere, Noel Fielding’s Post-Viral Fatigue (2022) shows how the imagery of horror resonates still in our Covid-ravaged contemporary reality. As the nightmarish and otherworldly fills the gallery, a newly commissioned mural by Matilda Moors sees the walls dramatically clawed at by a monstrous hand.
Contributing artists include Marc Almond, Bauhaus, Judy Blame, Leigh Bowery, Philip Castle, Chila Burman, Helen Chadwick, Monster Chetwynd, Jake & Dinos Chapman, Tim Etchells, Noel Fielding, Mark Moore & Martin Green, Pam Hogg, Dick Jewell, Harminder Judge, Daniel Landin, Jeannette Lee, Andrew Liles, Linder, London Leatherman, Don Letts, Luciana Martinez de la Rosa, Lindsey Mendick, Peter Mitchell, Dennis Morris, Matilda Moors, Tim Noble & Sue Webster, Guy Peellaert, Gareth Pugh, Jamie Reid, Derek Ridgers, Nick Ryan, Steven Stapleton, Ralph Steadman, Ray Stevenson, Poly Styrene, Francis Upritchard and Jenkin van Zyl.
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
Leonora Carrington
Cast bronze
Taken in the exhibition
Witch
The exhibition’s final act, Witch, focuses on a Britain spanning 2008’s financial crash until the present day, and celebrates the emergence of a younger generation and their hyper-connected community – a global coven readily embracing a dynamic grounded in integration and equality. Linder’s The Goddess Who has Sky as Hair (2019) and Zadie Xa’s Three Thousand and Thirty High Priestess of Pluto (2016) forgo the patriarchal occult and druidism of old, in favour of a new sorcery rooted in ecology and bodily autonomy.
Among the works on display are newly commissioned works from Somerset House Studios artists Tyreis Holder and Col Self, as well as a new commission from Linda Stupart & Carl Gent. The act’s final scene features a striking presentation of Turner Prize winning-artist Tai Shani’s The Neon Hieroglyph (2021), inspired by the incredible true story of the Maiara, flying witches commemorated on the remote Italian island of Alicudi. The sculpture, seen for the first time in the UK, can be seen alongside an audio installation by Gazelle Twin specially commissioned for The Horror Show!.
Contributing artists include Ackroyd & Harvey, Josh Appignanesi, Jane Arden, Ruth Bayer, Anne Bean, Anna Bunting-Branch, Juno Calypso, Leonora Carrington, Coil, Charlotte Colbert, Cyclobe, Marisa Carnesky, Damselfrau, Jesse Darling, Eccentronic Research Council, Jake Elwes, Tim Etchells, Gazelle Twin, Bert Gilbert, Rose Glass, Miles Glyn, Tyreis Holder, Matthew Holness, Sophy Hollington, Bones Tan Jones, Isaac Julien, Tina Keane, Serena Korda, Linder, Alice Lowe, Hollie Miller & Kate Street, Grace Ndiritu, Col Self, Tai Shani, Oliver Sim, Penny Slinger, Matthew Stone, Linda Stupart & Carl Gent, Suzanne Treister, Cathy Ward, Ben Wheatley, Zoe Williams and Zadie Xa.
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
Henry Moore Sculpture Centre, Art Gallery of Ontario, Toronto
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According to AGO, the installation uses 40 mounted loudspeakers, each outputting a separately recorded voice singing Thomas Tallis’s 1573 choral composition 'Spem in Alium'. The audience can explore choral music as they would a sculpture, by listening to it in parts and as a whole, AGO says. The piece was on special loan from New York’s Museum of Modern Art.
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www.ago.net/ago-presents-renowned-canadian-artists-janet-...
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Bower AE 8mm 1:3.5 Fish-Eye CS manual-focus lens
_DSC2113 Anx2 1200h Q90 0.5k-2k
Disinformation – “Closed Circuit” – architectural + immersive sound installation in “Sounds & Shapes” exhibition at Drawing Matter, Somerset, curated by Matchett & Page, July 2021, poster by Denman & Gould.
“If we sit and talk in a dark room, words suddenly acquire new meanings and different textures. They become richer, even, than architecture, which Le Corbusier rightly says can best be felt at night.” – Marshall McLuhan “Understanding Media” 1964
“Architecture is the simplest means of articulating time and space, of modulating reality and [of] engendering dreams” [1], and, perhaps paradoxically, in the silo at Shatwell, a familiar architectural form is re-purposed to create a kind of strange laboratory, within which, through the manipulation of architectural acoustics, of auditory and haptic sensations, the formal aesthetics and symbolism of pure geometry, interact with (equally primal) tactile resonances and symbolism, to evoke long-forgotten reflexes, sense memories, and (arguably, to some extent) even dreams. Extrapolating the assertion that “architecture in general is frozen music” [2], the installation at Shatwell is created not only within the building, but by the building, with the building itself functioning as a massive loudspeaker, as a kinetic artwork, and as a musical instrument, generating “sound” which is heard through the fingertips, drawing visitors into an amniotic sound world of gently pulsing vibration and breath-like rhythms.
In geometric terms, the curvilinear surface of a cylinder is effectively infinite, while in projective geometry, a cylinder can be defined as a cone whose apex rests at infinity [3] – a grain silo is in effect a giant tin of beans, and every child who’s built a tin-can-telephone is familiar with at least some of the acoustic properties of plate steel. “In every art it is the most elementary and primitive means that achieve the most profound and beautiful effects” [4], and “Closed Circuit” – the sound installation by artist project Disinformation – uses simple microtonal tuning techniques to create a rhythmically active and dynamic sound mass, which oscillates around a core frequency of 40Hz. This is, in neurological terms, the exact frequency of so-called Gamma waves which is most strongly associated with the integration of visual consciousness and dreams [5][6], and is the exact frequency most used in the field of vibro-acoustic therapy [7].
“We move within a closed landscape whose landmarks constantly draw us toward the past. Certain shifting angles, certain receding perspectives, allow us to glimpse original conceptions of space, but this vision remains fragmentary. It must be sought in the magical locales of fairy tales and Surrealist writings: castles, endless walls, little forgotten bars, mammoth caverns, casino mirrors…” [1]
“Arnold began telling Alan about his recurrent childhood dream, or nightmare rather, in which he felt himself suspended in absolutely empty space while a strange noise would start, growing ever louder, until he woke up in a sweat. Alan asked what kind of noise it was, but Arnold could not describe it… Alan imagined the old hangar on the RAF camp… and made up a science fiction story… in which the hangar was itself a brain.” [8]
[1] Ivan Chtcheglov “Formulary for a New Urbanism” October 1953
[2] Friedrich von Schelling “Philosophie der Kunst” 1802
[3] en.wikipedia.org/wiki/Cylinder
[4] Rudolf Arnheim “Radio” 1936
[5] Francis Crick and Christof Koch “Towards a Neurobiological Theory of Consciousness” Seminars in the Neurosciences, vol. 2, 1990
[6] Rodolfo Llinás and Urs Ribary “Coherent 40Hz Oscillation Characterizes Dream State in Humans” PNAS, vol. 90, 1993
[7] en.wikipedia.org/wiki/Vibroacoustic_therapy
[8] Andrew Hodges “Alan Turing, The Enigma” 1983
“Closed Circuit” by Disinformation is commissioned and installed at Shatwell Farm, Somerset as part of the exhibition “Sounds & Shapes”, curated by Matchett & Page. The installation is open by appointment at weekends, 11am to 5pm, Saturday 17th July to Sunday 1st August 2021.
drawingmatter.org/disinformation-closed-circuit/
matchett.page/sounds_and_shapes
Initial site visit 22 Feb 2020, installation date 29 May 2021
Text by Joe Banks, copyright © 2 June 2021
Discover the captivating ART OF NOISE exhibit at SFMOMA, where sound and art merge in a unique sensory experience. This striking installation, housed within one of San Francisco’s most iconic modern art museums, invites visitors to engage with the architecture of sound. Positioned in a minimalist, dimly lit room, the exhibit features two towering, industrial speaker structures flanking a central setup of massive subwoofers. These sculptures are as visually imposing as they are aurally immersive, evoking both a retro aesthetic and cutting-edge sound engineering. The room’s acoustics are finely tuned to deliver a powerful auditory experience that draws inspiration from the evolution of music technology over the decades.
This exhibit is more than just a nod to avant-garde sound systems; it’s an homage to the pioneers of noise art, particularly the Futurist movement of the early 20th century. The clean, geometric shapes of the speakers reflect the utilitarian design ethos of the era, blending form and function in a way that serves both artistic and technical purposes. Inside SFMOMA’s architectural marvel, designed by Mario Botta and expanded by Snøhetta, the contrast between the museum’s modern lines and the raw industrial aesthetics of the exhibit heightens the visitor’s immersion into the world of sound as a tactile and visual experience.
Don’t miss this chance to experience sound like never before, where art, history, and architecture converge at The ART OF NOISE. Whether you're an audiophile or a casual visitor, this exhibit offers a thought-provoking exploration of how we perceive and engage with sound in a museum setting.
Documentary Portraits, 1978-94
Derek Ridgers
Spirit of Ecstasy, 2020
Gareth Pugh
Painted ply
Taken in the exhibition
Monster
Opening The Horror Show!, Monster begins by delving into the economic and political turbulence of the 70s and the high octane spectacle and social division of the 80s. Against a backdrop of unrest and loud uprising, it charts the origin story and ascent of the individuals who will go on to disrupt, define and destroy British culture, while exploring the monsters which plague society today.
Punk prophet Jamie Reid opens the show by conjuring his Monster on a Nice Roof (1972), painting a prescient picture of the dark skies gathering over Britain. Chila Burman’s If There is No Struggle, There is no Progress - Uprising (1981) and Helen Chadwick’s Allegory of Misrule (1986) refigure social discontent and anxiety in the image of horror, as the socio-political and monstrous collide. In a jarring dislocation of British cultural identity, Guy Peellaert’s David Bowie, Diamond Dogs (1974) and the otherworldly creatures captured by Derek Ridgers’ nightlife photography point to the emergence of the cultural provocation and rebellion that defined an era. Monster revels in a resoundingly British spirit of nonconformity, with a spectacular display of Pam Hogg’s new Exterminating Angel (2021) and works by Somerset House Studios artist and designer Gareth Pugh and the late visionary Leigh Bowery. Elsewhere, Noel Fielding’s Post-Viral Fatigue (2022) shows how the imagery of horror resonates still in our Covid-ravaged contemporary reality. As the nightmarish and otherworldly fills the gallery, a newly commissioned mural by Matilda Moors sees the walls dramatically clawed at by a monstrous hand.
Contributing artists include Marc Almond, Bauhaus, Judy Blame, Leigh Bowery, Philip Castle, Chila Burman, Helen Chadwick, Monster Chetwynd, Jake & Dinos Chapman, Tim Etchells, Noel Fielding, Mark Moore & Martin Green, Pam Hogg, Dick Jewell, Harminder Judge, Daniel Landin, Jeannette Lee, Andrew Liles, Linder, London Leatherman, Don Letts, Luciana Martinez de la Rosa, Lindsey Mendick, Peter Mitchell, Dennis Morris, Matilda Moors, Tim Noble & Sue Webster, Guy Peellaert, Gareth Pugh, Jamie Reid, Derek Ridgers, Nick Ryan, Steven Stapleton, Ralph Steadman, Ray Stevenson, Poly Styrene, Francis Upritchard and Jenkin van Zyl.
[Somerset House]
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
performing soundinstallation "BRUINE"
@ lab.30 Augsburg, 28.10.2023
something along that lines...
"Glitch" -> www.youtube.com/watch?v=CymtMMWr7QU
All my multiples are done in camera at the moment.
So placement/zoom is quite instinctive & can´t be "arranged" after the fact.
I think this is in accordance to JAZZ (specifically of the free/experimental kind which i do love), as this music too is improvised on the spot & either isn´t repeatable at will.
DSC_1723-3
Pavillon Hubert-Aquin, UQÀM, Montréal
Dans le cadre du parcours d'art public KM3
« Le mur de brique de l’UQAM se transforme en une interface poreuse et mouvante qui diffuse le savoir hors de l’université. Les éléments de bois se replient sous l’effet des conditions météorologiques et ceux de plastique s’éclairent une fois la nuit tombée. En s’approchant de cet ensemble en dialogue, le passant entendra des voix : des enregistrements de cours et de conférences tirés des archives de l’institution.
L’environnement sonore est disponible à certains moments seulement.
BIOGRAPHIES
Des étudiants du programme d’études supérieures spécialisées en design d’événements à l’UQAM se sont prêtés, lors d’un cours-atelier, à un travail de conception d’un dispositif de partage du savoir reposant sur une compréhension du site, de l’espace urbain, des matières et des matériaux propres au projet de design. Deux des six projets présentés en fin de trimestre ont été retenus, puis intégrés par deux finissantes stagiaires du programme, Anouk Bergeron et Karin Vouillamoz. Le projet d’installation sera réalisé dans les prochains mois sous la direction de Stéphane Pratte, architecte à l’Atelier in situ et chargé de cours à l’UQAM.
Le collectif d'architectes Atelier in situ, formé d’Annie Lebel et de Stéphane Pratte, travaille depuis 1995 à définir une pratique architecturale transdisciplinaire qui élargit les limites traditionnelles d'intervention. Leur travail sur la notion de temporalité en architecture prend notamment forme dans de nombreuses explorations de l’éphémère : installations, muséographie, mise en espace, chorégraphie. Lauréat du prix de Rome en architecture en 2001, l’atelier a aussi réalisé de nombreuses mises en espace d'expositions au Musée d’art contemporain de Montréal, au Musée des beaux-arts de Montréal et au Musée de la civilisation de Québec.
Anouk Bergeron est finissante au DESS en design d’événement à l’UQAM. Ses intérêts, qui vont du phénomène de transition écologique au design appliqué, lui ont permis de développer un regard créatif et ouvert qu’elle porte sur le métabolisme urbain.
Karin Vouillamoz est inscrite au DESS en design d’événements à l’UQAM. Elle s’intéresse à la question du mobilier intégré à l’architecture et, plus précisément, à la façon d’organiser et d’occuper efficacement des espaces exigus.
CRÉDITS
Coordination artistique : Stéphane Pratte, chargé de cours à l'École de design de l’UQAM
Création et réalisation : Anouk Bergeron et Karin Vouillamoz, étudiantes stagiaires au DESS en design d'événements de l'UQAM
Production : JackWorld
Conception sonore : Étienne Gratianette, étudiant au DESS en musique de film »
km3.quartierdesspectacles.com/fr/oeuvre/formation-transfo...
Ausstellung im Museum des Stiftes Admont
Die Sonderausstellung 2015 mit dem Titel FEUER UND FLAMME macht die für das Stift so bedeutenden Ereignisse von damals und deren Konsequenzen wieder nachvollziehbar. Bisher nie gezeigte Exponate lassen eine Vorstellung vom „alten Admont“, von der Dimension der Zerstörung und des Wiederaufbaues gewinnen. Auch stereoskopische Aufnahmen aus der Zeit um 1860 – also 5 Jahre vor dem Stiftsbrand – können in 3D betrachtet werden. Authentizität und Atmosphäre werden von historischen Leihgaben der regionalen Feuerwehren eingebracht.
Wie Phönix aus der Asche haben sich die Betroffenen aus diesem Untergangsszenario heraus in eine neue Zeit erhoben. In der Ausstellung im Museum Gegenwartkunst werden ASPEKTE DES FEUERS in einen spannungsgeladenen Dialog gestellt. Im Kunst- und Naturhistorischen Museum finden Sie weitere feuerspezifische Stationen. Die Ausstellung im Handschriftenraum hat WIR GINGEN DURCH FEUER UND WASSER zum Thema.
In der Ausstellung ASPEKTE DES FEUERS im Museum Gegenwartskunst sind Werke von folgenden Künstlerinnen und Künstlern vertreten:
Yuri Albert, Thomas Baumann, Walter Berger, Erwin Bohatsch, Herbert Brandl, Götz Bury, Pablo Chiereghin/Aldo Gianotti, Gunter Damisch, Johannes Deutsch, Herbert Flois, Jakob Gasteiger, Markus Hofer, Michael Kienzer, Alfred Klinkan, Nikolaus Korab, Kai Kuss, Christoph Lingg, Michael Maier, Alois Mosbacher, Michael Pisk, Dieter Preisl, Wendelin Pressl, Arnulf Rainer, Lois Renner, Gerwald Rockenschaub, Hubert Schmalix, Christoph Schmidberger, Johannes Steidl, Heidrun Widmoser, Erwin Wurm, Robert Zahornicky, Johanes Zechner, Otto Zitko.
Für Überraschung im Kunsthistorischen Museum sorgt die Künstlerische Intervention „Galadiner“ von Götz Bury.
In Kooperation mit dem Nationalpark Gesäuse ist ein neuer Raum im Naturhistorischen Museum zum Thema LEIDENSCHAFT FÜR NATUR mit einer Soundinstallation von Thomas Gorbach entstanden.
Info zu den Ausstellungen:
www.stiftadmont.at/museen/ausstellungen-2015/
Download MUSEUMSZEITUNG 2015:
www.stiftadmont.at/wp-content/uploads/2015/04/Museumszeit...
As part of the “Festival of the Unconscious” exhibition, the Freud Museum presents “The Portrait of Jean Genet” by Disinformation. “The Portrait of Jean Genet” is a potentially infinite sound and video installation, based on the final interview given by the French burglar, prostitute and playwright Jean Genet, shortly before Genet’s own death. As a vivid articulation of the psychoanalytic concepts of Eros and Thanatos, Genet mishears the interviewer Nigel Williams, asking “Vous avez dit, L’Amour?” (“Did you say… Love”), because “J’ai entendu La Mort” (“I heard… Death”). In terms of “Rorschach Audio” type mishearings, the terms “L’Amour” and “La Mort” sound essentially identical, and are disambiguated by understanding their use in context. “The Portrait of Jean Genet” draws an analogy between the way in which listeners disambiguate perceptions of so-called “homophonic” sounds, and the way viewers project contradictory interpretations onto ambiguous visual figures, such as the spontaneously-reversing cube discovered by the Swiss crystallographer and geographer Louis Albert Necker.
“The Portrait of Jean Genet” is based on a static artwork of the same name, first published on Flickr in 2011, then re-published in the book “Rorschach Audio” in 2012. “The Portrait of Jean Genet” video has been screened at PoetryFilm events at The ICA (London, 2014) & CCCB (Barcelona, 2015), and is exhibited with thanks to Alex Hammond, James Register, Claire Craig and MOT International.
The Festival of the Unconscious
24 June to 4 October 2015
The Freud Museum
20 Maresfield Gardens
London NW3 5SX
Pavillon Hubert-Aquin, UQÀM, Montréal
Dans le cadre du parcours d'art public KM3
« Le mur de brique de l’UQAM se transforme en une interface poreuse et mouvante qui diffuse le savoir hors de l’université. Les éléments de bois se replient sous l’effet des conditions météorologiques et ceux de plastique s’éclairent une fois la nuit tombée. En s’approchant de cet ensemble en dialogue, le passant entendra des voix : des enregistrements de cours et de conférences tirés des archives de l’institution.
L’environnement sonore est disponible à certains moments seulement.
BIOGRAPHIES
Des étudiants du programme d’études supérieures spécialisées en design d’événements à l’UQAM se sont prêtés, lors d’un cours-atelier, à un travail de conception d’un dispositif de partage du savoir reposant sur une compréhension du site, de l’espace urbain, des matières et des matériaux propres au projet de design. Deux des six projets présentés en fin de trimestre ont été retenus, puis intégrés par deux finissantes stagiaires du programme, Anouk Bergeron et Karin Vouillamoz. Le projet d’installation sera réalisé dans les prochains mois sous la direction de Stéphane Pratte, architecte à l’Atelier in situ et chargé de cours à l’UQAM.
Le collectif d'architectes Atelier in situ, formé d’Annie Lebel et de Stéphane Pratte, travaille depuis 1995 à définir une pratique architecturale transdisciplinaire qui élargit les limites traditionnelles d'intervention. Leur travail sur la notion de temporalité en architecture prend notamment forme dans de nombreuses explorations de l’éphémère : installations, muséographie, mise en espace, chorégraphie. Lauréat du prix de Rome en architecture en 2001, l’atelier a aussi réalisé de nombreuses mises en espace d'expositions au Musée d’art contemporain de Montréal, au Musée des beaux-arts de Montréal et au Musée de la civilisation de Québec.
Anouk Bergeron est finissante au DESS en design d’événement à l’UQAM. Ses intérêts, qui vont du phénomène de transition écologique au design appliqué, lui ont permis de développer un regard créatif et ouvert qu’elle porte sur le métabolisme urbain.
Karin Vouillamoz est inscrite au DESS en design d’événements à l’UQAM. Elle s’intéresse à la question du mobilier intégré à l’architecture et, plus précisément, à la façon d’organiser et d’occuper efficacement des espaces exigus.
CRÉDITS
Coordination artistique : Stéphane Pratte, chargé de cours à l'École de design de l’UQAM
Création et réalisation : Anouk Bergeron et Karin Vouillamoz, étudiantes stagiaires au DESS en design d'événements de l'UQAM
Production : JackWorld
Conception sonore : Étienne Gratianette, étudiant au DESS en musique de film »
km3.quartierdesspectacles.com/fr/oeuvre/formation-transfo...