Resonanends in Riga (lv)
July 8, 2014 § Leave a comment
The RESONANCE network’s final showcase took place in 2014’s European capital of culture, Riga (Latvia). Organized and curated by Viestarts Gailītis and Skaņu Mežs, his ‘association for adventurous music and related arts’, all works commissioned by the network in its second two year period could be experienced as the first part of the Sound Art Exhibition SKAN II, between May 30th and June 20th of this year.
All artists were assigned their own special spot in Riga’s Botanical Garden, where they re-installed the work they had created for RESONANCE. Except for Pascal Broccolichi, who re-created his Table d’harmonie in the nearby Kalnciema iela Gallery.
Also in Riga Pascal composed the corresponding sound piece with recordings that he made locally, with a hydrophonic sensor. This time they revealed the sonic patterns caused by the streaming waters in different parts of the Daugava river and the Gulf of Riga.
Jitske Blom and Thomas Rutgers profited from the modular construction of their Beaters. They separated the installation into a number of smaller Beater panels, that then occupied an old shed (the Pump House) in the Botanical Gardens.
Peter Bogers’s Untamed Choir and Stefan Roigk’s Bursting Confidence each took up a wing of the Wolfschmidt Estate: a wooden manor-house that – or so we were told – used to be the summer house of Albert Wolfschmidt (Volfsmits in Latvian), once the royal Dutch consul in Riga, and owner of the land on which now the Botanical Gardens stand.
As the pictures suggest, the unusual spaces and surrounding in many cases managed to open up some hitherto hidden dimension of the works. This was definitely the case for the 18th century dome-shaped former wine cellar in which Aernoudt Jacobs set up his Photophon, not in the least because of the domic space’s typical acoustics.
On the first floor of the Palm House one could visit Signe Lidén’s Writings. For this fourth and final of her RESONANCE installments, Signe set up a veritable meta-installation: an installation about her previous three installations; an archive of her Writings, a diorama, photographs, things to look at…
As a work to which the notion and concept of material memory is central, Signe here turned her Writings installation into an archive of itself, which thus in Riga came full circle; like the RESONANCE project as a whole.
Last in the list, but of course not least: David Helbich made a Riga version of his performative soundwalk Tracks, starting from the Botanical Garden. As with the Kortrijk, Bergen and Maastricht versions of the walk, also the Riga version of Tracks is available at David’s web site. Anyone thus will be able to ‘perform’ the walk, at any time, until long after Riga has ceased to be European Capital of Culture, and long after now that the European sound art network RESONANCE became history…
[ Read an interview with SKAN II organizer and curator Viestarts Gailītis on Arterritory. ]
Playing with your ears
May 11, 2013 § 5 Comments
[ david Helbich’s Kortrijk Tracks. A soundwalk. ]
“Louis the Sun King made a number of very strict scores for garden walks. He laid down, in Louis Quatorzian French, how precisely one should walk through his garden in Versailles. Louis walked with his entourage through that garden. And where the Sun King stopped and looked to the left, everyone stopped and looked to the left. So here’s this very complex garden, and it appears to be quite a different one when you are in this place and look to the left, or when you go a bit further and look to the left. There’s different perspectives, other details, other things… This kind of let’s say: absolutism, is something I love to play with. It is the composer, the artist, who decides when and where you will have this, or maybe rather that, experience.”
“The second of my Kortrijk Tracks is called The Garden. It is a track for the Houtmarkt. Which is a square that is called the ‘wood market’, but in fact is just a parking lot. There I put to use Guy Debord’s situationist technique to find your way somewhere, relying on a map from a very different place. Like stubbornly consulting the map of Paris while walking through a German forest. I project part of one of Louis the Great’s garden maps onto that parking lot and ask the users of the guide to move over the Houtmarkt along those lines, as precisely as possible. As a result, already at the outset the audio guide’s absolutism gets undermined. Because the situation there will not allow you to do so, at least not exactly. The place is full of cars. So you are forced to make your own decisions. “
“There is, of course, a touch of irony: ‘this Houtmarkt must have been such a sweet little square, and now they turned it into a parking lot’ … But a parking lot has its own kind of beauty, with its geometrical play of drawn white lines, delimiting the paths and spaces where cars are allowed to ride and stand.”
Which gives it a certain very formal quality.
“Exactly. It is like a score for the movement of cars. And drivers adapt themselves. They might simply ignore the lines. But they hardly ever do. They all stick to the choreography.”
David Helbich was born in Berlin in the early 1970s, and has been living and working in Brussels for more than ten years. Starting out as a composer (he studied composition with Daan Manneke in Amsterdam, and in Freiburg with Matthias Spahlinger), David soon manifested himself also as an installation and performance artist, as a choreographer and as a conceptual artist, while his main field of action gradually moved into public space. All of these interests and disciplines converge in Kortrijk Tracks, an audio guide commissioned by the Flanders Festival in Kortrijk and the RESONANCE Network.
“I started writing for air guitar. This means that as a composer, I left out the instrument. I wrote the piece for a guitar player, but it actually put me right in the middle of movement theater (bewegingstheater) and gave me a link to Fluxus, which I have always felt strongly attracted to. At the same time I remained attached to contemporary music, and in practice I ended up somewhere in between. So I asked myself: what if you would really compose these performative actions, instead of just developing them from movement? What if you’d write them down as scores? So I continued to be a composer, but left out the instruments. Somewhat later I started to do performance theater, with sound and movements. I worked with a dancer, and I let the audience move around: ‘Have a look at her here, and then go have a look at me there’… I was still composing, arranging things in time, putting them in a certain order. But what actually excited me most, was the movement of the audience. As a result, I left out more and more material. All that music. All those media… I was fed up. I didn’t want them anymore. I had already stopped using instruments, and now I also no longer wanted video beamers, no more slides, no loud speakers … I wanted nothing but an empty space, but then had to reflect upon what there was left for me to do. So I walked around with people in a theater. I continued to think of this as composition, because I still strictly organized things. But ultimately this was more about us being our own material, which is something you will also find at the heart of my audio guide. Then finally, at some point, I said to myself: ‘Hey David, you are still working inside a theater! Why not get rid of the theater as well?’ So I stepped outside…”
Like but few others David is aware of the rich history of his field. Between October 2006 and January 2007, he organised in Brussels a series of 12 Walks, each of which related to a different concept taken from the history of walking in the arts.
“What especially mattered to me in the context of those walks, and which also is central to my Kortrijk Tracks, is that you have to be aware that, in a manner of speaking, ‘you never walk alone’. Whatever form you choose, you are never alone with your medium, with your form, with your content. You are always part of this immensely complex world. So you have to find out how much of that world you want to let in, and to which extent you want to lock yourself out in order to do your art. That complex world is the outside, but it also includes the audience. And the agreement – I like to call it a ‘conspiracy’ – to get involved in … well, yeah, in a work of art. In what I sometimes call ‘the offer’. The word ‘soundwalk’ of course is deceptive. For it always is also a walk-walk and a visual walk, it is a traffic walk, an architecture walk and an urbanism walk. And it is a social walk, as in general you will be with a group of people. So you are walking next to who? And how is the group moving?”
A couple of years ago in Brooklyn I participated in a soundwalk where the participants were led through the streets blindfolded.
“I myself have worked with earplugs. Because the more you are shielding off your ears, the more you will be focusing on your hearing. And obviously also when blindfolded you are not walking by your ears alone.”
Touch becomes very important. We were going hand in hand, like a little train.
“I find some form of minimalism to be essential. I offer but little, which makes the experience all the greater. That’s my minimalist principle. The world is chaotic, but what I offer is highly structured. In that sense I am still very much composing. Those walks were usually very strictly timed… ‘and then we go to the left, and then we are here, and then there is another group coming from that side, suddenly crossing our path’ … That’s a score. But there are no ‘offers’. Like actors that suddenly appear and do something. I will not suddenly come out and say something, or show you something… I say nothing. I show nothing. The thing is showing itself. That’s because there is a context, a framework. It makes the audio guide far more than just a piece of sound art. Above anything else, it gives you a context for very different experiences and a very varied focus on a town. And it all starts with the decision to go to the tourist office and pick up a set of headphones, an mp3 player and the book.”
The sounds that we hear in the headphones, are they sounds from Kortrijk? Or do they originate in very different places?
“I want to think of them as functional sounds. There’s a certain number of effects that I like to create. Some of the sounds are field recordings that were made at a number of different places, but there’s also recordings made in Kortrijk. This is related to a basic technique that I already usesd in the very first audio guide that I made, in 2008, together with the Belgian composer Paul Craenen. We recorded the streets in the vicinity of the art workspace (kunstenwerkplaats) in Elsene (Ixelles), with binaural microphones. The idea for the sound walk then was to have people listen to a street while they were walking in that same street, thus effectively doubling the sound scape. It’s a very simple method, but one that creates a fascinating shift.”
You are walking in the street and you hear its sounds. And simultaneously, over the headphones, you are listening to a sonic transposition in time of the very same spots in that very same street.
“You do not know whether the car that you are hearing is real. You think someone is passing by, but when you look, there’s no one there. Or the other way round: you hear somebody walking and think it’s the recording. But then suddenly a real person appears. This corresponds head on to the reduction that I am looking for: the reduction of material, the reduction of composition… You reduce all intervention. And the result no longer is a composition, because you simply are listening to that same street. But again, it is very strictly organized. I then used this principle in an audio guide for the Elsensesteenweg (Chaussée d’Ixelles). This is a busy, quite narrow and sloping street in Brussels. A lot of people get off the bus at the foot of the slope and walk to the tube station at the top. Often that will be quicker. The bus regularly gets stuck in the traffic. This struck me as a particularly funny social phenomenon that I wanted to make use of. The audio guide should, in some way or other, relate to the city. Then, pretty soon, I mix in other field recordings. First these are sounds from the neighborhood, like from inside a shop somewhere along the street. It will give you the impression that you are listening through a wall, because the basic track continues to be a recording of the street’s sounds. This confusion somehow opens up a space. As soon as you are no longer sure about what you are hearing or what you are seeing, as an artist I can do to you whatever I like. I actually prepare you to become receptive to surprises, because you are no longer sure about what is real and what is not. And then I add more exotic field recordings, from Caïro and other Arab cities, which (for example because of the Islamic prayers) have a soundscape very different from that of Brussels. So people start their walk in Elsene, and in the course of some fifteen minutes, via Caïro I lead them back to Elsene.”
It reminds me of your installation Public Sound, which was part of last year’s Flanders Festival in Kortrijk. There you had two loudspeakers mounted at the top of the gate of the Begijnhof, and played back recordings that were made in Nablus and Jerusalem.
“Indeed. One of the Kortrijk Tracks is based on that installation. It uses the same sound material, but in combination with a little choreography that tells you how to listen to the sounds. ‘Walk around the tree, stand still at a certain spot…’ The title of the track is Holodeck, please. You remember that? The Holodeck in Star Trek? It is no more than an empty space, but it will give you the illusion of a virtual reality. It will fool you into thinking that you are somewhere else. This also was the crux of my Public Sound installation. You find yourself standing inside this Begijnhof, but are given the impression that there’s a different city on the other side of the wall. The Beguines that used to live there always stayed within the Begijnhof’s confines. They only heard the city outside. Its sound was all they had.”
“When I started to work on the audio guide, my first idea was to limit myself to this technique of audio doubling and to pick a number of places where this technique would be the most effective. I never wanted to make one continuous walk. It’s more interesting to choose a number of different spots, and make more specific relations with the city. I even thought about sending people outside, to the outskirts. Because an audio guide has to be more than just an mp3 player with a set of headphones and a set of sounds to listen to. It should be a tool for much more than only sound art. It gives you reasons to do certain things, reasons to act. I can send someone somewhere to go. But then what should happen when he or she gets there? This I where I began to radicalize things. And because I found there was still something missing in my idea for an audio guide, I decided to accompany it with a booklet, which to each of the track adds a score, a set of instructions for performative actions at that particular spot. This is how I obtained a very close relation between the Kortrijk Tracks and the rest of my work.”
So what you offer is much more than just the listening to tracks via a set of headphones, at selected spots in Kortrijk. There’s a number of other, very different, activities involved. Each track comes with very explicit instructions on how to listen, how to move, where to stand, what to do…
“There are nine tracks, and nine places. The walk starts at the tourist office. From there it makes a helical movement, which leads you in a number of steps to the center of the city. And each of the nine tracks tries to redefine the meaning and the potential of an audio guide.”
“Three of the tracks – one in the beginning, one in the middle, and one at the end – are exercises. They are called Warm-up, Keep-warm and Cool-down. The first is meant to warm up your ears, the second to keep them warm, and the final one is kind of a finishing off. They emphasize the fact that this is all about your ears; though it remains to be seen whether that indeed always will be the case. For the Warm-up, the beginning of the walk, I composed the gestures of mounting your headphones. You carry them to a small hill in front of the tourist office. It’s a spot where you can look out over the city. There you begin by warming your ears. You’ll need both hands free, so you put the headphones down. You then bring your hands slowly closer to your ears, press you hands against them, and so on. This is of course a highly conceptual way to prepare a soundwalk, leading up to this grand gesture of: now, now it begins! You pick up the headphones, you very slowly put them on, the track starts playing … and then what you hear is the sound of hands that manipulate a set of headphones. It’ll make you very aware of the fact that you are wearing this… thing… this plastic contraption. So here I directly address the materiality of the headphones, and the idea that you have to push buttons, that you will follow instructions. In a way it explains what an audio guide is. I explain the machine, then the audio guide, and finally the situation of you walking through Kortrijk. So this makes for quite a bit of reflection and self-referral. But of course it will not always be as pure as in the first track. After having enjoyed this fine view of the city and the Begijnhof, for the second track you turn around and within seconds will find yourself in the middle of the parked cars on the Houtmarkt. Or maybe it’s the garden of the Sun King’s Versailles. And so you spiral onwards through Kortrijk, from one place to another, through a shopping mall, across the Schouwburgplein, the Grote Markt, the Begijnhof, the parking in the Magdalenastraat, the busstation… There you perform what everyone else is performing: you stand and wait. And like quite a few others that will be listening to music on their iPods, you are wearing headphones. The difference is that you are not waiting for a bus. You wait for nothing. But it is only you who knows. So in fact you are cheating. But then, well, first of all nobody cares, and second nobody will notice. You have become an integral part of that particular situation. It is an act of perfect integration.”
“I had a related experience as a young man in Paris. I was waiting for my father, who was there for work, and I had some free time to spend. I loved Paris. I was from Bremen, it was a beautiful day, there were all these people speaking a language that at the time I did not speak myself, and it was all like… Maybe you know the feeling: you are in a city that fascinates you and, especially when you are still young, you very much want to become someone who’s at home there. You almost envy all those people that know all the unspoken rules and to who all of this is nothing special. So I tried to integrate. For those couple hours I wanted to become a real Parisian. I threw my jacket over my shoulder and began to walk fast, like everyone else. I stood and wobbled impatiently at pedestrian crossings, waiting for the lights to turn green, so that I could rush over to the other side. I was in a hurry, like everyone else. I was going somewhere, and I had to get there as quickly as possible. Well, I was not going anywhere, of course, but this is how I adapted myself to the city, to the situation: this is where I am, there is where I’m going… And during these few hours in Paris, people just kept on stopping me and asking for directions. It was hilarious. Suddenly I was no longer a tourist, I was someone who belonged there, someone who knew his way around. I found myself integrated in Paris… But I was just acting. And the same holds true for the audio guide. When people are walking around wearing headphones and holding a booklet, the world for them has become a theater. But it is also a stage. And they are the actors.”
David Helbich’s Kortrijk Tracks premiered at this year’s Flanders Festival in Kortrijk, as part of Sounding City‘s RESONANCE showcase, and as part of a collection of soundwalks for the city of Kortrijk, curated by the Festival’s director Joost Fonteyne. Currently the collection comprises David’s walk and Christina Kubisch’s ‘Electrical Walk Kortrijk’. It will be extended over the coming years (also see The Art of Soundwalk).
Throughout the year, these soundwalks are made available at Kortrijk’s tourist office to visitors of the Belgian town. David will also adapt his soundwalk for a number of other European cities, where it will be presented as part of upcoming RESONANCE events.
The Kortrijk Tracks make use of ‘pretty generic locations’, and David invites everyone to try the tracks in the city of their choice. You can listen to them and download the full set on Soundcloud, or using the player below. On his web site you can download the accompanying booklet with maps, instructions and scores, as well as a brief manual on how to use the tracks with an mp3 player.
For our Dutch and Flemish readers: this month’s edition (#115) of Gonzo (Circus) Magazine comes with Klankstappen (Soundsteps): a collection of eight downloadable soundwalks in Belgium and the Netherlands, which includes the Kortrijk Tracks and a re-enactment of the first ever Dutch soundwalk. Klankstappen is accompanied by an essay in the magazine on the history and meaning of the soundwalk, written by Danae Bos.
The Art of Soundwalk
April 14, 2013 § 7 Comments
by Joost Fonteyne
(Like in 2011 and 2012, also in 2013 the yearly Sounding City sound art program of the Flanders Festival in Kortrijk (Belgium), will include a fine showcase of RESONANCE works. Between April 21st and May 5th in Kortrijk you can experience Pascal Broccolichi’s Table d’Harmonie, Jitske Blom & Thomas Rutgers’s The Beaters, and Writings, a new work by Norwegian artist Signe Lidén, that will premiere in Kortrijk. Also a RESONANCE premiere in Kortrijk is David Helbich’s Kortrijk Tracks: a soundwalk. David’s work is the second in a collection of soundwalks for the city of Kortrijk, curated by the Festival’s director Joost Fonteyne, and not only available during the Festival weeks to visitors of the Belgium town, but all through the year.
In the following article, Joost provides a historic and artistic evaluation of the soundwalk as a genre. The article previously appeared (in German) as Die Kunst des Soundwalks, in Positionen, number 94, February 2013).
Tourist offices will make any effort to seduce people to visit their cities or regions. The key word is experience. Visiting a city needs added value, we have to feel the city. Hip tools such as tablets and smartphones are thrown in to make it happen. In this context also soundwalks have been discovered. Equiped with smart tools, visitors are sent into the city. Just have a look at soundwalk.com to get the idea. Then take e.g. the walk in romantic Paris Saint Germain des Pres. To quote the website: ‘Virginie Ledoyen saunders through the streets once walked by the likes of Baudelaire, Appolinaire, Prévert and Sartre. These wandering ghosts of French poetry lure around here, creating a dreamy atmosphere as she enlightens us with the richness of Saint Germain des Pres. Strolling the streets aimlessly at first, the young beauty is captivated by the aura of a young man…’ Through the app you become part of a cinematic, augmented reality. You boldly go where fellow app-owners have gone before.
It’s all nicely wrapped up in an ‘infotainment’ package. The apps are made in a professional way and artists collaborate to make your visit unforgettable. Apparently creative entrepreneurs do good business. Soundwalk.com lists already 32 different soundwalks on their website. And they are not the only providers who make money with these touristic apps.
From 2013 onwards, Flanders Festival Kortrijk in Belgium starts a collection of soundwalks for the City of Kortrijk. Also these walks will be quite an experience. And made by artists who will guide people through the city. We start with two walks and in the next years we will add new projects to the collection.
So what’s the difference?
Well, we will not make money with it. But most important, the starting point is the production, presentation and promotion of art projects, the work of interesting sound artists and composers.
Some people are rather sceptic and raise questions. Are soundwalks sound art? Is the effort worthwhile when ‘deep listening’ as a practice is vanishing?
For some academics and professionals sound art relates to the interaction between sound and space and takes ‘installation art’ as a point of departure. This point of view is e.g. deeply rooted in the German tradition of Klangkunst. Personally, this question seems less important. Sound art and consequently soundwalks were revealed to me through musicians who experimented with the boundaries of music. Artists who take music – or let’s call it organised sounds – to another dimension. Out of this grew numerous exhibitions and performances. And a rather childlike definition of sound art: art that makes sound. Not an attempt to make a stirr or to evoke cheap discussion, but a way to not isolate the genre. A way to allow artists who work with sound in a relevant way to be ‘part of the game’.
The loss of the ‘deep listening’-tradition is indeed problematic. But let’s elaborate. Is it not a problem of concentration in general? We can easily make an analogy to e.g. ‘deep looking’. The Metropolitan Museum of Arts (New York) found out that the average time visitors watch one painting is 17 seconds. It is even worse in the Louvre (Paris). Leonardo de Vinci’s ‘Mona Lisa’ is worth an average look of 15 seconds per visitor. Of course the enormity of paintings in display does not help. But still, we are talking about exceptional historical world heritage.
We are told that we live in a world that sends us thousands of visual stimuli per day. But we hardly hear about the equal amount of auditive stimuli. And even no one seems aware anymore of the auditive quality of her or his direct environment. Maybe, just like Steve Roden in his latest exhibition in Singuhr – Hoergalerie (July/August 2012, Berlin), we should do more 4’33”-practice (in reference to John Cage’s so often wrongly called ‘silent’ piece). Becoming aware of what our lives sounds like.
Already, more then a century ago the question about sound awareness was raised. With the industrial revolution from the end of the 19th century onward, our sonic environment has changed drastically. Factories and machinery and its noise were new phenomena. Even to the point where noise pollution and noise itself became a source of inspiration for artists and composers. Next to the experiments of the avant-garde, scientists studied acoustics, psycho-acoustics, techniques of recording and sound analysis. We learned that eye and ear are well connected to perceive our surrounding world. But still today the auditive is underestimated, hence the proverb ‘to see is to believe’. Already in 1916 futurist Luigi Russolo stated that when looking at a landscape painting we miss an important – if not the most important – component: the sound of the landscape.
And this is precisely the point where soundwalks can be helpful. Artists who invest in soundwalks – of course also a relation between sound and space – invite the audience to ‘deep listening’. Each in their own way they use techniques to provide a context for listening, to discover sonic environments. This can be done by filtering sounds, being silent and listening, using compositions with city sounds, via the use of ‘artefacts’, adding comments to the sonic environment or narrative elements.
In 1974 soundwalk-pioneer Hildegard Westerkamp defined it as following: ‘A soundwalk is any excursion whose main purpose is listening to the environment… The intention of soundwalk is listening. Soundwalks can take place in the mall, at the doctor’s office, down a neighbourhood street or at the bus stop. The focus on listening can make this a meditative activity (…)’.
With this quote we plunge in the history of soundwalk. The text ‘Soundwalking: creating moving environmental sound narratives’ by Dr. Andra McCartney (draft for a publication in ‘The Oxford Handbook of Mobile Music Studies’ by Dr. Andra McCartney, Associate Professor, Communication Studies, Concordia University Montréal) is strongly recommended. She brings us to the first use of the term by the World Soundscape Project, under the leadership of composer R. Murray Schafer. Hildegard Westerkamp was a member of this research project that expressed a strong concern about noise pollution. Interestingly enough, her text touches the historical practice of ‘listening while walking (…), as well as practices of walking meditation, in which attention to listening figures prominently’. In the prolongation of this more philosopical approach, it is worthwile to investigate the work of J.F. Augoyard at Cresson (Centre de Recherche sur l’espace sonore et l’environment urbain) founded in 1979. Their research includes ‘acoustic architecture, urban acoustics, anthropology of space, sonic environment, urban sociology, and theories of architectural and urban ambiances. Auguyard is a philosopher and musicologist (…) His doctoral dissertation (…) is a methodogical and theoretical consideration of ways of walking in an urban environment’.
Dr. McCartney guides us through the history via listening walks by Gregg Walgstaff, blind walks by Francisco López, electrical walks by Christina Kubisch, the sound pilgrimage of Olivier Schroer, the shadow walks of Viv Corringham, the audio walks by Janet Cardiff and George Bures Miller and finally – the starting point of this text – soundwalk.com.
Strange enough her text does not mention the LISTEN-project by Max Neuhaus. From 1966 until 1976 he organised some 15 listening walks in Canada and the United States. In the context of the work of Gregg Walgstaff, Mc Cartney defines listening walks as ‘led by a guide with the intention of encouraging active listening among a wide audience to the surrounding sound environment’. Max Neuhaus’s approach was simular, but different. Het did not add sound to the environment, but unless others he did not have a sound ecology point of departure: ‘As a percussionist I had been directly involved in the gradual insertion of everyday sound into the concert hall (…) I became interested in going a step further. Why limit listening to the concert hall? Instead of bringing these sounds into the hall, why not simply take the audience outside – a demonstration in situ?’ (Max Neuhaus, Listen – 1988, 1990, 2004). In this context he should be added to the historic gallery.
But let me take you through a personal history of soundwalks.
Here are four examples of influential projects:
‘Electrical Walk’ by Christina Kubisch.
In 2005 the exhibition ‘Her Noise’ was organised in London (South London Gallery and Goethe Institut London, 10 November – 18 December 2005, by Electra Productions). It presented the work of female sound artists and musicians, a.o. two ‘electrical’ works by Christina Kubisch. One of them was the ‘Electrical Walk London’. Kubisch develops these walks since 2003 as a result of her research on electromagnetic induction as a sound source for her sound installations since the 1970’s. These sounds emerge by the interaction between magnetic fields, such as electrical wires traversing space in which sounds circulates or selfmade headphones with magnetic coils. In her walks you are equipped with one of these headphones. The headphones respond to the electrical fields in the city environment. Or you could say, they unveil hidden sounds. Experiencing this for the first time is quite a treat. A map suggests listening spots chosen by the artist: ATM’s, shops security panels or tubular lights to give a few examples. Each of them has a specific sound, ranging from respectively white noise, to heavy noise and a string-like sustained sound. The fun begins when you take time to explore it yourself. London – but also Kortrijk where it was presented for the first time in 2007 – has a lot of deep listening to offer. To be continued from April 2013 onwards.
‘Peninsula Voices’ by plan b
plan b are Dan Belasco Rogers and Sophia New, who got to know each other in the British theatre company Reckless Sleepers. Not unimportant to understand their work. Dan Belasco Rogers’s strong interest in sound was presented through performance, while Sophia had a strong performance background. This explains the more narrative and performative context of their projects. Peninsula Voices is a sonic walk through the spaces of the Greenwich peninsula area, London. It talks about the huge transformation of this area through personal journeys of the participants, sounds and comments added by plan b. These form a new map, with sound as guide. The GPS-software triggers the sound: entering a certain spot will distribute the connected sound through headphones. For a few hours you are drawn into the history and the present of this London borough: an abstract narration in a non-linear way. From the rise and fall of the East Greenwich Gas Works with its gas holders to the construction of the much debated Millennium Dome.
A similar project was produced by arts centre Buda Kortrijk for the area known as Buda Island under the title Into the Light of the Night (plan b in collaboration with the great Belgian field recording artist Els Viaene).
‘oto-date Na Gi Sa’ by Akio Suzuki.
In the summer of 2008 the Japanese artist Akio Suzuki realised for the Singuhr – Hoergalerie his oto-date in Berlin. oto-date is a series of works in which Suzuki only uses the existing sound of different cities. His walk is very close to the soundwalk definition of Hildegard Westerkamp: ‘…any excursion whose main purpose is listening to the environment…’. In the case of Suzuki we need to add: perceive the environment. The 72 years old artist makes ‘audiovisual slices’ of the city. He creates points of listening and points of – literally – view. On chosen spots he paints ears that resemble feet on the ground. By using these positions you enter his world. Two examples make it clear. Suzuki lets you face the edge of a house. With your left eye you look to the street left to you, with your right eye to the street on your right. The same ‘split’ happens in your ears. Next situation: Suzuki offers a close view in front of a tree trunk. Your left eye looks into a street with a tower at its end, your right eye is focussing on the trunk. Again the same dichotomy happens to your ears. This project seems so simple, yet it is so precise. The perception the environment becomes totally different. Regardless if you live around the corner and you have already walked there many times or if you visit the neighbourhood for the first time.
‘The Walk Book’ by Janet Cardiff.
I never had the occasion to experience a walk by Janet Cardiff myself. But this book totally hooked me up. ‘The Walk Book’ is ‘stricto senso’ an art book. It remembers several art projects – immersive walks – Janet Cardiff and George Bures Miller presented in different cities, a.o. ‘Her Long Black Hair’ for Central Park, New York. This publication is a book, a cd, text of the walks, texts about the walks, drawings and inserted photographs. Of course you do not get the real stuff, but Cardiff makes it happen while you are sitting at your table and you listen to her voice, giving instructions to browse the book in a non-linear way. From the moment you hear her voice a mental soundwalk is commencing: ‘Do your headphones on. You won’t get the full effect of the audio unless you do. This is the right ear. And this is the left ear. (…) I’m in Berlin right now, sitting on my coach with the walk book in front of me on the table. Maybe the book is also on your coffee table. Open it up. Turn to page 233. I took this picture of an arrow the other day. I don’t know why it was in the park, directing me as I walked, pointing at things. Like stones and trees. I’m gonna go back there today and see if it’s still there. Now turn to the last page in the book. (Sneezes) Excuse me. I used to collect these types of photographs from detective magazines (…) Put the book down now and go over to your window (…) I woke up really early this morning, this is what it sounded like then. Sit down again, I want to show you something else in the book. Turn to page 121 (…) I want you to walk with me…’ (The Walk Book, Janet Cardiff – cd, track 1). Please do, I can only recommend it.
These four projects do work with ‘deep listening’. You need to reserve time to discover them. No hurry. These are not projects that have the ambition to promote a city or a region. They grew out of a necessity of artist and their artistic pratice. They do not have a commercial goal. These projects are reflections, contradictions, comments, raised questions, different points of listening, of view in relation to space, in case the city environment. Please continue dear artists. Doing so is a stimulant to not be superficial, to go deeper. To listen deeper. To look deeper. It’s a pleasure to concentrate on your propositions on our daily environment.
On Sunday 21 April 2013 the first two soundwalks for the new collection of sound walks for the city of Kortrijk will be premiered. Christina Kubisch did an update on her ‘Electrical Walk Kortrijk 2007’. The city went through a tremendous change. Blocks of houses were demolished since her first visit in 2007. They made place for a completely new commercial centre. Curious to hear how she will deal with this.
The Brussels based artist David Helbich presents ‘Kortrijk Tracks’. It started 2012 with his installation ‘Public Sound: Kortrijk-Jerusalem’ for last year’s edition of Sounding City. The sounds of two totally different cities merged in a field recording composition and was distributed at the entrance gate of the Kortrijk beguinage. For ‘Kortrijk Tracks’ Helbich prepares several tracks, field recording compositions, for different places in the city. These will form a spiral on the city map. A spiral that leads you out of town, or inverse, that brings you from the outskirts to the centre. To be continued.
Oh yes, these walks will be available in a permanent way from 21 April 2013 onwards. They will be made available to the audience via … the tourist office. I guess nobody’s perfect.
Before, during and after the deluge: Sounding Kortrijk
May 8, 2012 § 2 Comments
In the beautiful, peaceful garden of the Broelmuseum in the Belgium city of Kortrijk, 4 loudspeakers projected the soundscape that renowned British wild life sound recordist Chris Watson composed for this year’s edition of Kortrijk’s Sounding City.
Watson’s piece/installation was inspired by one of the paintings in the museum’s collection: After the Deluge (Na de Zondvloed), an oil-on-panel, relatively small (the painting measures 53 by 91 centimeters), by Kortrijk’s Golden Age master Roelandt Savery (1576-1639).
In view of the image’s scenery, I readily imagined a little Chris Watson wearing top-notch headphones, holding a pricey microphone and carrying state-of-the-art digital sound recording equipment, hidden somewhere behind one of the rocks or trees in Savery’s delicous & fantastic ‘wildscape’. It is a scene that looks ‘unnaturally natural’, not unlike the way in which Watson’s filmic collages of bigger-than-nature recordings sound ‘unnaturally natural’. Linking them, then, is obvious. But it is too much so. Paintings like Savery’s are full of implicit, unhear-able, sound (as David Toop pointed out in a lecture, also in Kortrijk, after having visited last year’s Savery exhibition in the Broelmuseum). But that what is unheard I prefer to imagine, in a non-sequential, in a time-less, way. The imposed explicitation in a sequential soundscape, that re-starts every 30 minutes or so, actually annoys me. On Saturday April 28th, in the Broelmuseum’s garden, during the opening of Sounding City, the sound of Watson’s exotic 4-channel ‘Savery’ nature-scape faded in the presence of the far more modest natural soundscape given by the mere fact of being out in the open, in public space, in the small city of Kortrijk. It was a subtle but forceful pointer to the simple beauty of what this work might have been, without loudspeakers and without exotic wild life sounds: just (a copy of) Savery’s painting installed in the middle of the garden’s lawn together with a small bench to sit on and listen. Nothing more.
Chris Watson’s installation is one of the 11 sound/art works that, as part of the Festival of Flanders in Kortrijk’s Sounding City (Klinkende Stad), can be found at 11 different spots in the old Belgian town. All of them out in the open. Each one of them in ‘public space’. That’s pretty exciting. Though some of the works mainly keep their sounds ‘in a box’, the majority, like Watson’s Savery piece, are sounding out in the open. And whether they were meant to or not: the ‘art(ificial)’ sounds merge with the continuous flux of the ‘real’ small-town-sounds. As for Chris Watson’s installation, these proved to be stiff competition indeed. I was surprised at just how much the sound of each one of the Sounding City pieces made me more aware of the many other, contingent, sounds, that sur/s/ounded them.
David Helbich‘s work Public Sounds from Kortrijk and Jeruzalem thereof made explicit use: two loudspeakers, unobtrusively mounted at the top of the gate of the Begijnhof, played back recordings he made in 2011 in Nablus and Jerusalem, thus combining the sounds from these far away cities with the daily soundings at that particular spot in Belgium. A simple idea, and maybe not overly original, but I found it to be highly effective. A pity, however, that the Palestine city soundscape consisted in static, fixed recordings, repeating, over and over again. I actually had imagined the work to make use of a semi-direct transmission of sound (time-shifted, in order to account for the difference in time zones) from a corresponding spot in Jerusalem…
The best among the ‘outside a box’ pieces at Sounding City, each on their own terms and in their own manner, managed to include & subtly transform the Kortrijk soundscape that they were being inserted in. Like David Helbich’s Kortrijk + Jerusalem piece, like Patricia Portela and Christophe De Boekck’s Hortus or Dawn Scarfe’s Tree Music. And like Evelina Deicmane‘s Becoming a Tree, one of the two Resonance contributions to Sounding City, a sequel to her earlier Resonance piece, A Long Day (that premiered in Kunsthaus Meinblau in Berlin in August 2011, and then went to Riga and Maastricht).
Also for Becoming a Tree Evelina found inspiration in an ancient Latvian tale, that she visually abstracted as three simple, clean, wooden constructions, surrounding three trees on the Vandaele plein, in which from a number of tiny loudspeakers various wood-y sounds, based upon documentary recordings of her father’s working in the woods, un-loudly sprang back and forth between the buildings surrounding the square.
A second Resonance contribution to Sounding City was Stefan Rummel‘s Articulated Chambers, who installed his intricate and solid construction on and off the river traversing Kortrijk, the Leie. Stefan’s work could be found on the other side of the river right opposite the Broelmuseum, where a nice stone stair case invited passers-by to step inside.
Even though the Articulated Chambers are, obviously, boxes, and the visitor, in a way, has to step out of the city to hear the soundscape that Stephan composed for it, once inside, through the open-ness of its construction, the city’s sound naturally mingles with the played back city sounds.
It thus was far less of a retreat than the little wooden garden shed that one discovered when entering, through what looked like a ‘secret corridor’, a most wonderful ancient garden in de Kleine Leiestraat. The cabin was part of and home to Gardening with John (2005), a piece by Alvin Curran, an American composer who has been living and working in Rome since 1965.
This year, 2012, being John Cage’s centenary, it is difficult to avoid the inclusion, in whatever major sound art exhibition, of a tribute to the composer whose work and ideas have proven to be so very influential. Curran’s garden shed, though, is more than ‘an hommage’. The (too little) time I spent, on Saturday April 28th and Sunday April 29th inside this small cabin, looking at the old gardening tools, a couple of browned score pages, and listening to the pretty peculiar, secular & musical, sounds, that every now and then gave way to John Cage’s laughing and yodeling, was definitely among my this year’s most pleasant experiences. (Click here to listen to a short sound impression from inside Alvin Curran’s Gardening with John.)
It were the touches of sudden ‘strangeness’, of slight – sonic, but also visual – alienation, that made strolling through Sounding Kortrijk such an interesting and agreeable experience: suddenly stumbling upon Evelina Deicmane’s brand new wooden packing of the three small trees; Alvin Curran’s garden shed, looking a bit silly and misplaced in the old stately garden; Stefan Rummel’s Articulated Chambers, that also in Kortrijk gave the impression of having been installed at the side of the river for some, practical, industrial reason or other; but it’s just impossible to make up one’s mind as to what precisely that ‘industrial’ reason would be.
Arguably the strangest, as well as the most unobtrusive of them all, were the some couple of tens of meters of long brass ribbon that could be seen dangling across the Tacktoren lawn near the Korte Kapucijnenstraat. Here, there was little or no sound to be heard, other than that of the rustling of the trees’ leaves, birds whistling, footsteps, far-away voices and the occasional car passing…
Leif Brush is a, by now 80 years old, sound art pioneer, living in Duluth, Minnesota, where he transformed his spacious garden into an artist’s studio. The long brass ribbon is one of his terrain instruments: the Wind Ribbon. The long brass ribbon is supplied with contact microphones. To hear the sounds captured, we had to step inside the space on the ground floor of the Budascoop building, where Guy de Bièvre and Sofia von Bustorff (who went to Duluth, to meet up with the artist) furnished a room dedicated to Brush’s work, including (an inside version of) another of his terrain instruments: the Insect Recording Studio.
For the duration of Sounding City, the sounds of Leif Brush’s Wind Ribbon in Kortrijk are streamed live on the web, where you can listen to them continuously. And though Alvin Curran’s Cage piece is a good runner-up, you will probably find, like I did, that few or none of the sound-parts (mostly loop-ing) of the other pieces at Sounding City are able to match the endless variety, sonic wealth and at times – yes – sheer musicality of the Wind Ribbon.
Here are a 13 minutes and 23 seconds of the sounds that I recorded from the ribbon’s ongoing live stream, around 20h on Tuesday, May 8th, while finishing writing this article, catching, as if by magic, the Sounding City’s ribbon at a particularly tumultuous moment in time…
At the end of our rainy inaugurating tour of Sounding Kortrijk on Saturday April 28th, Leif’s story as recounted by Guy and Sofia, felt so wonderfully weird, that Touch label‘s Mike Harding’s suggestion, the next day in the Handboogstraat, where we had a coffee in the Hoochie Coochie cafe, that this ‘Brush artist’ had to be a fiction, ingeniously made up by Guy and Sofia as their Sound City project, for a while seemed plausible enough. We had quite a bit of fun later that Sunday afternoon, in the train from Kortrijk to Lille, making up the possible biography and the possible oeuvre of a female sound art pioneer, eager to cooperate with the fictional Leif on future fictional projects. But, well, also in sound art some truths are stranger than fiction. For, believe me, no one – no one, could ever ‘simply make up’ a web site like Leif Brush’s weblackwhole.net…
The following vimeo clip gives an overview of the opening of the Sounding City: Public Sound sound art exhibition at this year’s Festival of Flanders in Kortrijk, Belgium, followed by an impression of the evening concert, with sound projections by Jana Winderen and Mike Harding, who stood in for Chris Watson. It all sadly will no longer be part of Kortrijk’s Public Sounding space again too soon. The complete set of installations can be viewed and heard in its entirety only two more days, over the coming weekend, on the afternoons of Saturday May 12th and Sunday May 13th.