Ephemeral Sustainability 2 – Curating, Presenting, Writing

January 19, 2013 § 1 Comment

This is the 2nd in a series of reports on Ephemeral Sustainability, a conference about presenting, collecting and archiving sound based contemporary art, co-organized by the RESONANCE Network and the Lydgalleriet in Bergen, Norway, curated by Carsten Seiffarth & Jørgen Larsson. It all happened on the first three days of November 2012…

[ 1st day: Sound Art ]

Ephemeral Sustainability took place only days after Sandy, the hurricane-that-became-a-tropical-storm, hit the American East coast hard. In the after-disaster confusion, with airports closed and thousands of in- and outbound flights being cancelled, some (though not all) of the American participants had, quite understandably, thought it wiser to stay at home instead of to try and embark on a Norwegian adventure.

Was it a coincidence that they were both called Seth?

Friday, November 2nd 2012

In Towards small events – the second lecture of the conference’s second day – Nicole Gingras (a researcher, author and curator from Montreal, Canada) presented two case studies from her practice as a curator: Distance, a 2009 presentation in Montreal of work by Rolf Julius, and the exhibition Raymond Gervais 3 x 1, which provided a comprehensive overview of solo works produced between 1975 and 2001 by the Canadian artist Raymond Gervais, who over the years had been turning from music and sound towards silence.

The picture below shows ’12 + 1 =’, an installation from 1976, in which Gervais played 13 vinyl records on 13 gramophones, simultaneously. It was also part of the 2011 retrospective curated by Nicole, at the Leonard and Bina Ellen Art Gallery in Montreal. There, however, the installation was not ‘re-created’. It was soundlessly represented by this photograph, made by Roland Poulin.

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The flat and soundless representation, thirty-five years after its original creation, of a relatively elaborate, three dimensional and originally probably rather loud sounding work (a look at the impressive ‘Eliminator’ loudspeaker boxes behind the table allows one to imagine its decibel potential) as a photographic black-and-white print, in this case of course is indicative of the particular artist’s development from sound towards silence. But ’12 + 1 =’ also is a fine illustration of one of Ephemeral Sustainability’s major themes and questions: should we re-install such installations, and make them re-sound, again and again? Wouldn’t it be better to just leave them be? Say goodbye to works, that where made for a certain place at a certain time?

There’s the ‘should we or should we not’ (and the better/wiser). But there also is a can we [as in: are able to] or can we not. Whereas the re-creation of a work like Gervais’s ’12 + 1 =’, either with the ‘vintage technology’ seen in the picture, or using contemporary equivalents, in a technical sense (nowadays still) will be relatively straightforward, it is equally clear that coming generations will never be able to experience works of sound art that over the past couple of decades were produced and installed at locations that meanwhile have changed, disappeared or that no longer are accessible. Even in case the location is still available, it may prove undoable to identically re-create a given work at the same location, as producer and curator Carsten Seiffarth knew from experience… It will be impossible to ‘know’ (to experience) these works. It will only be possible to ‘know about’ them, via the available documentation, whether ‘official and intentional’ (in catalogues, textbooks, magazines, monographs, via authorized audio and video recordings) or ‘unofficial and accidental’ (through hear-say, or on the web, in blogs, YouTube clips, et cetera). In such cases, as some argue, it is the col-lected (or se-lected) documentation, that becomes the work. Here Raymond Gervais’s ’12 + 1 =’-as-a-picture may be a case in point.

Soundless.

In her contribution, Nicole showed deep respect for the perceived ‘intentions’ of the artists with whom she collaborated and whose shows she curated. Maybe even too deep? At the end of her talk, some of the conference participants protested vehemently.
– “I find it very strange,” Christina Kubisch said, “to listen to all this talk about Julius, to look at the pictures of his exhibition, but without getting to hear any of the sounds. Why didn’t you let us hear his sounds?”
– “The installation was a very complex installation,” Nicole replied, “there was a lot of silence. It was a composition in itself, that you could hear from different places, approach from different sides and directions. A very quiet work. I don’t think you should ‘play’ such a work in a situation like here at this conference. I think that it is really essential to protect the way in which Julius wished the audience to experience the work.”

Soundless sound art. Tant pis for us, for we are here. In the wrong place at the wrong time. “We should have been there…”

Yes?! Or maybe, of course, not!? Not all were convinced by Nicole’s insistence that, despite the principal role played by their sonic components, only words and images could and should be used to ‘communicate’ works like Julius’s. What makes the words, or images of such works, presented as pictures in a slideshow, ‘more real’ or ‘more faithful’? And would this not mean that, eventually, we are constructing a theory of sound art that rather is a theory of the images of sound art, as Salomé Voegelin remarked?

Parallel to his practice as an artist and researcher, the archiving of sound art related documentation for many years has been a focal point for Seth Cluett. Even though – because of Sandy – he did not make it to Bergen in person, it was Seth that opened the series of lectures and presentations on the second conference day, via a pre-recorded video registration.

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In his lecture (Ephemeral, Immersive, Invasive) he focused on his archive/database of catalogues of sound art group exhibitions since the mid-1960’s. Though ‘sound art’ then was not yet presented and talked about as sound art, the use of sound in art could no longer be considered to be merely incidental.
Art had begun to embrace time, exuberantly.
In 1966 Ralph T. Coe, who then was the curator at the Nelson Gallery of Art in Kansas City, Missouri, saw ‘sound, light and silence’ as the polarities in the art of the late 1960s. As Seth argued, the exhibition that T. Coe organized (Sound, Light, Silence – Art that Performance), is a remarkable example “of the timeliness with which conscientious curators may be able to assess and assemble the work of their era for consumption by the public”.

Here is a vimeo-extract of his talk:

It is an intriguing fact that there is a considerable, growing, body of art that, if it is to ‘survive’, will have to do so almost exclusively as documentation. That is: via a (fragmented) re-presentation in a number of different media. The relative short history of the ‘sound art discipline’ notwithstanding, there already is quite a number of site specific sound art works that many, or even most of us, only ‘know’ like one knows, say, the Battle of Waterloo, or the 2010 world soccer championship final: via its – official and unofficial – documentation, the written (and sometimes highly divergent) reports, the (possibly) audio and video recordings, and from eye & ear witness accounts by those that ‘have been there’ (the ‘survivors’, the ‘lucky few’ … “The blows of the sabres on the cuirasses sounded like braziers at work,” one of the commanders on the Waterloo battlefield observed; even though no sound recordings were being made, this we know until this day.)

In the panel discussion that followed the day’s third presentation (in which Maia Urstad gave an overview of the technical and logistic intricacies and difficulties of re-creating, at a number of very different locations, her installation pieces Sound Barrier and “Meanwhile, in Shanghai…”), Friday’s moderator Christoph Cox observed that “even in really crappy documentation” there will be “some value”. Carsten Seiffarth, on the other hand, admitted to destroying the videos of many of the seminal sound art events that took place in the Berlin Singuhr sound gallery, “because they (the video registrations, not the events) were so bad”. Despite ‘the spatial and the visual’ being essential to most of the work that he curated over the past 16 years, Carsten prefers we do without such impressions. Joost Fonteyne, curator and organizer of the Flanders Festival in Kortrijk, Belgium, had an interesting proposal for a ‘by default’ manner of documenting sound art. It can be applied by curators, artists, producers and organizers alike. Reserve a shoebox for every work, Joost said, and use it to keep material that is related to the piece: photos, flyers, sketches, floor plans, sound recordings, videos, comments, press clippings, et cetera. “I’m convinced that, in a way, such a shoebox,” Joost said, “will reflect on the work!”

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Even within a relatively coherent group of peers (some a bit more, some a bit less), sound art dwells like a beast with many faces; a beast with no country, a beast with no home. Which, as one of the participants (I think it was David Toop) observed, may be seen as the neurosis of sound art: it is constantly trying to justify its origin. Would it not be far more productive to let it break itself open all the time, and feed upon its own contradictions, instead of attempting in vain to talk them away?

[ Meanwhile, it seemed as if it were the sounds that went running… ]

“I cannot hear sound in any of these words around sound art,” I overheard Daniela Cascella say. She and Salomé Voegelin were the sound writers that took to the Ephemeral Sustainability stage on this Friday afternoon in Bergen (before and after Asbjørn Tiller’s Amplification and Composition of Architectural Space, a lecture on two of Norwegian composer Arne Nordheim‘s pieces: ‘The Drop’ and ‘Feast at Gløshaugen’).

Both sound writers are based in London, though neither of them was born on the British – European – island(s): Daniela is of Italian origin and Salomé is Swiss. Both of them are expats. Like sound art.

Daniela recently published En Abîme: Listening, Reading, Writing. An Archival Fiction, a short personal memoir that describes, evokes & investigates a number of key scenes from her past. They all come with a sound track, with music and sounds, in echoing circles, that wave-like emanate from an unattainable (‘past’) center and hit upon the slowly retreating shores of a ‘now’.

Salomé Voegelin’s Listening to Noise and Silence is a more theoretical treatise. The book counts an impressive number of occurrences of the adverbs ‘critical’ and ‘contingent’, amidst Martin Heidegger’s thing of things that go thinging, Frankfurt (Adorno) and Merleau-Ponty… But in the re-calling of very diverse works of music and sound art, for me Salomé’s philosophical meanderings function like romantic metaphor, much like the poetic metaphor that Daniela extracts from her literary roamings, reading and re-reading Melville, Pasolini …. Their books are very different, but they are also very much alike: I is central to all that I remember; the sounds that I hear include the ones that are my own; and I am always at the center, of all that I remember, of all the sounds that I have heard …

Curiously and interestingly, it were the sound writers that during these three days in Bergen continued to speak out against. Against institutionalization, against the archive as a burial place, against whatever canon (in particular against a ‘sound art canon’), against icons getting in the way of us doing, of our listening. Against the comfort of academic encapsulation, against a sound art packed in soundless (senseless) power point and common place, against a wherethereispublicfundingtherewillbe-sound art. Against, against, against against… They were spirited, they were the punks, and their message was loud, their message was clear: stop talking, stop storing, start doing, start listening… In It seemed I’d stepped…, an entry about the conference on her En Abîme sound writing blog, Daniela added: “My  problem  is not  with  [the sound artists’]  works:  it’s  in  how  they  speak  of  them,  the  words they  use,  the  trite  and  worn-­out  expressions  that  say  no  more.”

Listening is at the heart of the sound writers’ mission and concern: now-listening, a very personal and creative act, because it is – almost instantly, and for ever after – being composed with (entangled states of) a then-listening, comprising music and sounds that we recall. It is our brain-as-a-recorder, that enables both the storage and the retrieval (the ‘playing back’) of sound, as part of a very complex network. Let me call it the memory matrix. The sound writers weave tentative grids of words, words-that-are-sounds, grasping for a handle on the matrix that – being the fabric of spacetime itself – is the every essence of ‘that which can not be grasped’. For as soon as we listen, we start to remember.

[ Almost all of us stayed at the Grand Hotel Terminus, opposite the Bergen railway station. “Come and play with us…” ]

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“The shower drains at the Hotel Grand Terminus sound a fluid shape. Timorous and soft it moves apart from the harsh and purposeful stream of the shower. Trickling and rolling it gathers around a metal grid that it holds on to and lets go of to drip, slowly and fast, together and alone, into the gully, dinging and ringing on its way. Not purposeful yet necessary it sounds as a thing thinging the relationship between water, shower, drain and drought without speaking its own name. Autonomous and fanciful, ringing and gurgling after the shower has long stopped. Creating discrete rhythms it hangs on to life in the warmth until as a chorus of its own shape it reaches the end of the shiny metal and falls to its death, below, into the invisible space where all sound ends.”

Salomé Voegelin – SoundWords

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Listen to a chronological collage of pseudo-random snippets of lo-fi audio impressions of the second day of the Ephemeral Sustainability conference in Bergen: }}

Ephemeral Sustainability. A conference about presenting, documenting, collecting and archiving sound based contemporary art, in Bergen, Norway.
Day 2, November 2nd, 2012. [Gimle] (Moderator: Christoph Cox)
Gruenrekorder soundscapes: Lasse-Marc Riek (de).
Video lecture: Seth Cluett (us). Presentations: Nicole Gingras (ca), Maia Urstad (no), [[panel discussion 3]]
Presentations: Daniela Cascella (it), Asbjørn Tiller (no), Salomé Voegelin (ch), [[panel discussion 4]], Joost Fonteyne (be).

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“Meanwhile, in Shanghai … (berlin)”

April 28, 2012 § 1 Comment

Following installments in Kortrijk, Riga, Maastricht and Bergen, Resonance‘s German partner Singuhr is currently hosting the fifth installment of Norwegian artist Maia Urstad‘s “Meanwhile, in Shanghai …”

In the Berlin version of her work, Maia Urstad continues her gathering of sonic details about time and place from local radio stations around the world, which are woven together in a subtle polyphony of voices, tones and white noise, transmitted via local FM-frequencies by a spiraling, labyrinthine collection of some 40 portable radio’s…

“Meanwhile, in Shanghai … (berlin)” opened on Wednesday April 25th in Kunsthaus MEINBLAU, Pfefferberg, Haus 5, Christinenstraße 18/19, Berlin. It can be experienced there each week from Wednesday till Sunday between 14h and 18h, until May 27th.

‘But what about the children?’

February 26, 2012 § 1 Comment

Maia Urstad and Paul Devens at the Lydgalleriet in Bergen


Friday February 24th saw the opening of a second Norwegian Resonance event, staged by the Lydgalleriet in Bergen, one of the network’s associated partners.

City Chase, Bergen

An indoor version of Stefan Rummel’s Resonance piece Articulated Chambers, and Extended Speakers, one of the components of Pierre Berthet’s Extended Drops piece, were part of the sound art exhibition Extensions (curated for the Lydgalleriet by Carsten Seiffarth) that could be seen and heard in Bergen last summer.

The coming five weeks the Norwegian sound art gallery will showcase the Bergen installments of Resonance works by Maia Urstad (“Meanwhile, in Shanghai…”) and Paul Devens (City Chase), in two rooms of the gallery’s temporary premises, at Skostredet 16.

Meanwhile, Bergen

“There were a lot of interested people, a good response and a very nice atmosphere,” Maia Urstad reported about the opening of the exhibition in Bergen, which continued to attract quite decent numbers of visitors during its first days.

A lot of people.
Maybe almost all of the inquisitive art loving people of Bergen.
But what about their children?

There was at least one visitor who wondered why they weren’t at Friday’s opening. In his ‘Wyatting’-blog entry on the event, Sven Sivertsen, who shot the pictures of the opening of Lydgalleriet’s Resonance exhibition, observes that there are hardly ever any children around when he visits Bergen’s Lydgalleriet. Even though, Sven writes, “much of what can be seen and heard there seems to be perfect for inquisitive people of all ages”. I think he raises an interesting point. Children – and maybe even especially children – will surely love to watch the little sounding cars move along the tracks of Paul’s City Chase, and wander through Maia’s suspended forest of old, whispering transistor radio’s… So let them see and let them listen. This is the music of the future, it dearly needs our childrens’ ears.

Maia Urstad and Paul Devens in Bergen

Paul Devens’ and Maia Urstad’s works can be experienced in Bergen every day, from 12h till 18h, until April 1st. If you are in or near Bergen, be sure not to miss them. And do bring your children along…

Resonance in Bergen

Paul Devens and Maia Urstad at the Lydgalleriet, Skostredet 16, Bergen, Norway. February 24th-April 1st, 2012. Open daily from 12h-18h.

‘Is it Music? Is it Art?’

February 4, 2012 § 1 Comment

Resonance & Sound Art at the Jan van Eyck Academy in Maastricht, the Netherlands

The Jan van Eyck Academy is an internationally renowned post-academic art institute, located in the quiet and quite beautiful ancient Latin Quarter of Maastricht.

Jan van Eyck Academy

On its web site, the Jan van Eyck describes its position within the academic art world as being one that, through research and production, is characterized by a profound multidisciplinary approach, and not led by whatever predetermined leitmotivs. Research at the Academy covers a wide range of subjects, from ‘replicas as artistic strategy’ to ‘the publishing practice of the punk movement’; from ‘the transformation of urban areas’ to ‘the crossroads of art and politics’…

Given the decidedly multidisciplinary nature of a great many, if not all, sound art installations, Intro in situ‘s choice to have the second Resonance presentation in Maastricht take place not in a gallery space, but in the Jan van Eyck Academy’s building, thus was both an interesting and a logical one, as it fitted perfectedly with the Jan van Eyck’s aim at encouraging collaboration, also outside the confines of the academy.

In his opening speech, on December 9th last year, Jan van Eyck’s director Lex ter Braak stressed the importance of such cross-fertilization. “I am very glad that, during the period of the setting up of these installations in the Jan van Eyck, there indeed was a quit vivid exchange between the Resonance artists and the researchers and artists working at our institute,” he said.

Lex ter Braak

Three Resonance installations could be seen and heard in the Jan van Eyck Academy building, over the last three weeks of 2011.

At the entrance, at the very beginning of the front hall, looking “as if it had been there forever”, visitors of the Academy building were welcomed by Evelina Deicmane‘s A Long Day.

A Long Day

“When you are walking under Evelina’s work, somehow you think of a cloud that is moving,” Lex ter Braak said about the piece. “But it is not a cloud, it is a lake, that is like a carpet. A carpet that is flying above you. With this work, the artist is referring to an old Latvian tale that says that people are living under a flying lake. And if you talk about it, or even think about it, it will come down, and swallow you completely. For me, this is like thinking about all the bad things in life that can happen. As soon as you think about something bad, it is bound to happen. But if you don’t think about it, then you remain happy…”

A Long Day

This interpretation of her work made Evelina smile. “I like it,” she said. “It indeed is more or less like that, though I’d say that Lex ter Braak’s story is a bit more dramatic than what I had in mind…”

The Maastricht installment of Maia Urstad’s ‘Meanwhile, in Shanghai…’ found a nice and quiet spot in the (old) auditorium of the Academy, where the many radio’s voices softly hummed, far from the Academy’s ongoing to-and-fro.

Meanwhile in Shanghai

“My first impression of Maia’s work,” Lex ter Braak said, “was that I had entered some sort of a bazaar, where you can buy all kinds of different old radio’s. But looking a bit better, I discovered the movement of time. For there are radio’s from the 1950s, from the 1960s, from the 1970s, the 1980s and even contemporary ones. Some of them you might recognize. As a radio that you once had yourself. Or as the radio that was playing in your neigbour’s house…
In that sense, ‘Meanwhile, in Shanghai…’ is a stroll through time. You realize what is happening with yourself, with images, and with the instruments that are part of our world and our lives.”

Meanwhile in Shanghai

Whereas the Resonance presentation in Riga was a homecoming for Evelina’s A Long Day, the Resonance exhibition at the Jan van Eyck Academy in Maastricht meant a homecoming for Paul Devens’ City Chase. A double homecoming even, as not only has Paul been a Maastricht citizen ever since he was born there, in 1965, he also once was a student at the Jan van Eyck Academy. In this version of his City Chase installation, Paul presented the piece that he created from sounds recorded while biking through his hometown, at his former school.

City Chase

The ‘made while moving’ field recordings that he uses for the pieces played back in City Chase (a new one for each city to which the installation travels), have no evident ‘focus’. In City Chase, the origin of sounds always transits from one source to another. One hears these prerecorded sounds only when the speakers move along the four metal rails, with one loudspeaker for each of them. Computer-controlled motors move them according to the ‘choreography’ that Paul devised for them.

“The speakers run like little racecars along their tracks,” Lex ter Braak observed, “where they play back sounds from the everyday life in our city. Together it sums up to more than a city soundscape: it becomes music. Or rather, I’d say, sounds that remind one of music…”

This last remark, brought up an interesting point, a question that continues to recur whenever ‘sound art’ is at stake: is it ‘art’, or is it ‘music’?

In his introduction, Lex ter Braak referred to a discussion he had on the subject with Bart van Dongen, Intro in situ’s artistic director. Lex made it clear that he considers the three Resonance sound art installations mainly as art. “For me,” he said, “this is art, with sounds.” Bart van Dongen, on the other hand, explained that for him the Resonance pieces are primarily about music. The artists are working with sound as a way to deal with, and think about, music. From this point of view, sound art becomes an investigation into new ways for presenting (and making) music.

Bart van Dongen

It is an interesting, and – due to many semantic pitfalls – pretty hard discussion, though at closer inspection many of the differences-at-first-sight, in opinion and interpretation, will turn out to be due to differences in background and focus (in ‘culture’) of the beholder. The director of an art academy will obviously look at the installations with his ‘artistic’ eye, while the director of an institute that mainly focuses on the production of musical works, will hear them with his ‘musical’ ear. It was not in the least place this very difference in culture and focus, that made the meeting of two worlds, last December in Maastricht, such a valuable and fruitful one.

Lex ter Braak and Bart van Dongen both expressed their eagerness to continue these ‘meetings of worlds’ on a more regular basis. Thus, over the weekend of 10-11 February 2012, the Jan van Eyck Academy will host a co-production of Intro in situ and the Rosa Ensemble: Europa 5.1, an interactive performance in image and sound, in which musicians create their ‘own Europe’ …. including ‘all the noise, misunderstandings, brilliant ideas and megalomania’ that come with it.

Will it be ‘music’, or will it be ‘art’?

You best go, hear, see and decide for yourself…

Europa 5.1 can be experienced at the Jan van Eyck Academy in Maastricht, daily from 20h00, on Friday February 10th, Saturday February 11th and Sunday February 12th. The entrance fee is €12,50.

[ The photographs of ‘Resonance at the Jan van Eyck Academy in Maastricht’ were all made by Moniek Wegdam. ]

Sound Forest & Unsound: Resonance in Riga & Krakow

January 22, 2012 § 2 Comments

The old gated building at 58, Miera ielā (Peace street), in the city of Riga, the capital of Latvia, used to be a tobacco factory. It was there that the Latvian company Rīgas Tabakas Fabrikas, and later, as of 1992, British American Tobacco, produced Elita filter cigarettes. For a very long time Rīgas Tabakas Fabrikas, founded in 1887 by Abraham Maikapar, was Latvia’s biggest tabocca plant. It was forced to close down in 2009, apparently due to vast amounts of cigarettes that were being smuggled into the country.

Following its closure, Riga’s tobacco factory became one of those former industrial spaces in which, all over the world, contemporary art can be seen (and heard) to come to blossom.

tobacco factory Riga

Last fall, from mid-October till beginning of November, the Rīgas Tabakas Fabrikas provided stage and scenery for four Resonance sound installations, presented by Resonance’s associated partner Skanu Mesz, as part of the 2011 Riga Sound Forest festival.

The presentation in Riga was a ‘home coming’ for Latvian artist Evelina Deicmane‘s Resonance piece A Long Day, that was conceived last summer in Berlin, and premiered there at the Kunsthaus Meinblau: A Long Day is based upon the ancient myth of a village submerged by a flying lake, that is part of the Latvian folklore that originated in the area around the lake Butnieks, not far from the city of Riga and near the village where Evelina was born and raised.

A Long Day A Long Day

Whereas A Long Day found a small and almost hidden niche in the former tabacco factory, shown in the pictures above, that seems a perfect fit for the sweet mystery of its subject, Esther Venrooy & Ema Bonifacic’s A Shadow of A Wall, compared to the previous installment of the work in Maastricht, and, especially the one in Kortrijk, looked a bit lost within the freshly decorated factory corridor, which, on the other hand, did account for a quite stunning visual effect.

Shadow of a Wall
Shadow of a Wall

And here are some impressions of how Pierre Berthet installed his Extended Drops in Riga’s former tobacco factory:

Extended Drops
Extended Drops

The fourth Resonance piece on show in Riga was Maia Urstad’s “Meanwhile, in Shanghai…”, comprising 80 portable radio’s that took up their temporary residence in what used to be the tobacco factory’s garage. There, in a way, they changed places with the trucks that transported tobacco also to Maia’s home country, Norway, until no more that a few years ago… “I found that former garage space very inspiring,” Maia wrote, “especially for a work like ‘Meanwhile, in Shanghai…’. The garage was like a thin shell to the outside world, with autumn leaves swirling between the radio’s, and with Latvia’s history as part of the former Soviet Union not even a stone’s throw away. It is as Viestarts Gailitis, the exhibition’s curator, said: there was a truly wonderful symbiosis between the installation and its location, it really seemed to belong there…”

Meanwhile, in Shanghai...
Meanwhile, in Shanghai...

[ All the above picture of Resonance installations at the Riga tobacco factory ©Ansis Stark ]

For the fifth Resonance piece on show last fall in Riga, one had to go outside, to the boards of the Daugava river, where Stefan Rummel did the second outdoor installment of the Articulated Chambers installation, that he created last year in Maastricht. Like in Maastricht, Stefan’s piece also in Riga became an intriguing addition to the cityscape, an alien element, that nevertheless looked as if it had been placed there for some mundane, practical reason. But what reason could it have been… ?

In comparison to the Maastricht installment, the sounds were playing back a little louder in Riga. “But the tracks had the same basis as in Maastricht,” Stefan wrote. “They were a little longer, though. Also, I added a couple of recordings that I made in Riga.”

Articulated Chambers
Articulated Chambers

[ There is a detailed online review, in two parts (and in Latvian), of the Resonance sound art show in Riga to be found on the Arterritory web site. ]

From Latvia, Esther Venrooy & Ema Bonifacic’s A Shadow of a wall, travelled on to Poland, where it joined Paul Devens’ City Chase as Resonance’s contributions to the 2011 edition of the Audio Art Festival in Krakow, also one of the network’s associated partners. A Shadow of a wall could be experienced there, November 18th-27th, in Bunkier Sztuki, be it in a far smaller version than that of its previous installments…

Shadow of a Wall
Shadow of a Wall

Paul Devens did a second version of his intricate City Chase installation for the 2011 Krakow Audio Art Festival, which could be seen and heard in Kathedra, from November 19th till 27th, this time re-sounding a piece composed from the fieldrecordings that Paul collected while biking around the city of Krakow.

City Chase
City Chase

On the Audio Art Festival’s web site you will find a telling video documentary on the many things that were going on at the Krakow festival, including short impressions of Paul Devens’ and Esther Venrooy’s installations.

From Riga and Krakow, City Chase, A Long Day and “Meanwhile, in Shanghai…” moved on to Maastricht, for the December Resonance exhibition at the Jan van Eyck Academy.

The next stop is Bergen, Norway, where in February a Resonance showcase will be hosted by Lydgalleriet, yet another of the network’s associated partners.

Resonance in Maastricht – 2nd edition

December 7, 2011 § 2 Comments

Like last year, also this December month in Maastricht Resonance will showcase a selection of the sound art works that were produced for the network. There are three of them, all hosted by the Jan van Eyck Academy, at the Academieplein 1. No more premieres, this time, as all eight works that were planned as part of this phase of the Resonance project, by now have been finalized. Still, for many visitors it will be a first encounter. And those that did see earlier installments of some or all of the works, will be able to investigate and experience how these pieces change and evolve from one space to the other.

The opening of this second edition of Resonance in Maastricht will take place on Friday December 9th, at 16h, at the Jan van Eyck Academy in Maastricht.

VeenendaalOn Sunday December 18th, as part of the Resonance in Maastricht events, Dutch pianist Albert van Veenendaal, who recently released a new solo CD, Minimal Damage, will perform a special prepared piano concert at the Jan Van Eyck Academy, at 17h.
Entrance for the exhibition, as well as for the concert, is free.

The pieces included in the exhibition, are those by Evelina Deicmane, Paul Devens and Maia Urstad.

Evelina Deicmane‘s A long Day premiered in Kunsthaus Meinblau in Berlin, last August, then travelled to Riga, where it was part of this autumn’s presentation of Resonance works by the network’s associated partner Skanu Mesz.

a long day

The second work on show this time in Maastricht, is City Chase, by native Maastricht sound artist Paul Devens. City Chase premiered at the Resonance presentation Sound City (De Klinkende Stad), as part of this year’s Festival of Flanders in Kortrijk, Belgium. Paul did a second presentation of the work in November in Krakow, Poland, at the Audio Art Festival 2011, another of the Resonance network’s associated partners. In this third installment of the work, Paul will chase and map the city of Maastricht, where he was born and raised, and has lived and worked ever since.

city chase

The third work to (re-)discover as part of the December Resonance presentation at the Jan van Eyck Academy in Maastricht, is Maia Urstad’s “Meanwhile, in Shanghai …” which, like Paul Devens’ work, premiered at Sound City (De Klinkende Stad) in Kortrijk, Belgium. Also Maia Urstad did a second installment of her work this autumn in Riga. Here is a visual impression of “Meanwhile, in Shanghai …”, as it could be seen and heard earlier this year in Riga, the capital of Latvia …

city chase

Meanwhile at the Jan van Eyck Academy in Maastricht, another bunch of transistor radio’s is deligently being installed for a third rendition of this fascinating, ethereal work, that, like the pieces by Evelina Deicmane and Paul Devens can be seen, heard and experienced all of this December month as part of the Resonance network’s showcase in Maastricht, the Netherlands.

city chase

This year’s edition of Resonance in Maastricht opens on December 9th, 16h, at the Jan van Eyck Academy, Academieplein 1, Maastricht (the Netherlands).
Albert van Veenendaal will perform a special prepared piano concert, on December 18th, 17h, also at the Jan van Eyck Academy.
The pieces by Evelina Deicmane, Paul Devens and Maia Urstad can be visited there every week from Wednesday until Sunday, between 11h and 17h, until December 30th (except on December 24th and 25th). Entrance is free.

Sound City – De Klinkende Stad

May 16, 2011 § 3 Comments

Resonance at the Festival of Flanders in Kortrijk, Belgium


The Resonance Network celebrates its first anniversary at this year’s Flanders Festival in Kortrijk, Belgium, with Sound City (De Klinkende Stad). It is the network’s biggest showcase to date, bringing together the four sound installations that were realized during the first year of the network’s existence. For those who saw the earlier versions of some of the installations, the exhibition in Kortrijk provides a great opportunity to see and hear how these works evolve and ‘resonate’, when they are re-built and adapted to a different kind of space, which, indeed, is one of the motivating ideas that underly the Resonance project.

Pierre Berthet presents a third version of his Extended Drops. This work was first realized at the Singuhr Hörgalerie in Berlin (Germany). There it could be seen and heard from July till September 2010. Pierre did a second installment of the installation at Intro in situ in Maastricht (December 2010 – February 2011).
Esther Venrooy brings A Shadow of A Wall to Kortrijk, her joint work with Ema Bonifacic that was first realized and shown in Maastricht (December 2010 – February 2011). The installation for Sound City is the work’s second realization.
The remaining two installations are premieres. They were finalized in Kortrijk, in the weeks preceding the opening of Sound City: Maia Urstad spent several weeks in the small Belgian city working on her Meanwhile, in Shanghai…, while Paul Devens was touring the town on a bicycle, recording the sounds for his City Chase.

budatoren budatoren

_It was a hot and very sunny day, when I arrived in Kortrijk on Saturday May 7th for Sound City’s opening. As fas as I can remember (and I can remember pretty far), it was the first time ever that I visited this old Belgian city, which sprang from a Gallo-Roman settlement at a crossroad near the river Leie and two Roman roads. I walked the short distance from the railway station to the Grote Markt, where I dropped my luggage at the hotel, and then walked on to the Buda-eiland, the old part of town (named after the western part of the Hungarian city of Budapest) where the Sound City events are taking place.

The Resonance installations can be found in, and next to, the Buda-toren, the tower of a former brewery, that in the 1990’s was converted into a production house for the arts.

_Maia Urstad installed her “Meanwhile, in Shanghai…” on the tower’s ground floor.

meanwhile

Some 80 radio’s, radio cassette players, and some other radio-like machines are hanging motionless, just slightly off the floor, in long lines stretching across the crepuscular space. They are all facing the (obscured) windows. My first impression was that of a regiment of soldiers, lined up for inspection. When I entered the lines, this curious army seemed to be a silent one, until I became aware of the soft static that, in short bursts, came whirling like a mist, like whisper, along the floor. Every now and then, from this side or other, a voice arose, speaking a short message. But when I turned to try and locate where precisely the voice was coming from, it mostly had gone silent again. Sometimes the language spoken was familiar. Sometimes it was not. Such is the short multilayered piece that Maia Urstad composed. Each of the layers is transmitted via a short range FM transmitter to a corresponding group of radio’s.

The soft, crackling and ghostlike voices soon gave rise to a different image: that of a graveyard, where each of the old and pretty much obsolete machines acts both as a thombstone and an – almost but not quite yet – corpse, ‘speaking in tongues’ … I only wished there would have been quite a bit more of these voices …

The following few minutes of audio give an (of course highly approximative) impression of what I heard when I walked up and down the lines that make up Meanwhile, in Shanghai…

_The fifth floor is the top floor of the Buda-toren. It is where one finds Paul Devens’ new work, City Chase. When I talked to Paul late March in Maastricht, the piece was little more yet than a soundless drawing that resided on his laptop. Meanwhile the drawings had materialized, and four gondolettes were moving small loudspeakers back and forth along a long metal rack with four parallel tracks.

city chase

Shortly before the exhibition’s opening, Paul was still busy adjusting the mechanics and lubricating the tracks. Which was necessary to assure an as smooth as possible movement of the little wagons carrying the speakers, so that none of them will get stuck during the four-part linear choreography of the eight minute dynamic city sound scape that comprises the current, first version, of City Chase.

Here’s is a short sound fragment, that I recorded during one of the City Chase‘s test rides early that Saturday afternoon:

city chase

The soundscape of the city of Kortrijk was very loud and very prominent on the day of Sound City’s opening: these were the final days of the yearly Kortrijkse Paasfoor, a mega-fair that could be seen cramming many of the center’s old squares with blinking lights and metallic constructions, some reaching as high as 52 meters. As the afternoon advanced, the sonic excitement of the fair that came drifting across the river Leie to the Buda-eiland continued to grow. The swooshing, shrieking, clanking, beeping and the mingling of up-tempo bumpings of very deep basses of multiple musics, made for a densely ondulating sonic texture that enveloped the city center of Kortrijk throughout the day, and that was pretty difficult to ignore. For, as you will know, one may shut one’s eyes, but it is a pretty tough task to shut one’s ears…

Also on the fifth floor of the Buda-toren, with its marvelous view on the city, it was hard to lock that day’s “sounding city” out, even when the doors and windows were all closed. And given the fact that in City Chase this very same “sounding city” is framed (it is tamed, in a way), the proximity and presence of the Paasfoor‘s wild, unleashed sounds, made it a rather strange experience to hear the recorded city sound fragments of Kortrijk’s City Chase parade before my ears, watching the gondolettes glide back and forth along the bare metal tracks, at times providing past-time echoes of the fair sounds that meanwhile, outside, continued to rage in real-time random force and abundance. It almost felt as if the “sounding city” was taking revenge …

city chase

It had me wonder whether City Chase should not be taken away from the city, out to the country side. And then, maybe, there be experienced out in the open? Somewhere up in the mountains, where the real-time soundscape is of an entirely different type?

An essential part of City Chase is the idea of a ‘double movement’ of the recorded sound sources: a first movement while recording, and a second one during playback. But most city sounds are highly complex, and in many cases, indeed, the (multiple) sound sources in the recording are themselves also moving, thus severely testing the limits of our ability to perceive and distinguish the different kinds of movement of the sounds that are involved. I’m curious to find out how, over the coming months, City Chase will evolve, and how the work will sound when, in its upcoming installments, the collection of fragments used in its composition has become larger. The range of the current pallette of Kortrijk sounds struck me as being somewhat too limited for a full appreciation of the idea of the work, and of the ingenious construction that underlies its realization.

_Pierre Berthet installed the Kortrijk version of his Extended Drops in a former stable of the brewery, just opposite of the Buda-toren. It is a pretty long, but relatively narrow, space, shaped as a simple rectangular box, quite different from the spaces in Berlin and Maastricht, where the previous versions of the work were made. Pierre told me that he actually would have preferred such a simple space to start with, as it makes the setting up and tuning (of, for example, the intricate network of wires) of the installation quite a bit easier. It is maybe one of the reasons why Extended Drops in the long rectangular Kortrijk stable makes for such an impressively balanced, and very spatial sonic experience.

Here is a short impression of how Extended Drops sounded there on the day of the opening:

extended drops

On the other hand, I also found that the rectangular stable space, enabling one to overlook the entire installation, as it were, in a single glance, made Extended Drops lose some of the visual attraction (and with that some of the mystery) that it had in the Intro in situ space, and in the obscure and almost labyrinthine rooms of the Berlin Singuhr Hörgalerie, a historic waterreservoir in Prenzlauer Berg.

_Esther Venrooy & Ema Bonifacic’s A Shadow of A Wall, a work that premiered in Maastricht and in Kortrijk’s Sound City has its second rendition, can be found on the third floor of the Buda-toren. The original inclined wall, which is the heart of the installation (a patchwork of differently sized rectangular panels), was adjusted: a part of it had to be removed, in order for it to fit into the space. The decision to do so was a very good one. The low and not too large brick room with its wooden ceiling and floor appears to be near to perfect for the work.

shadow of a wall

More than in the very bright and white living room type space in Maastricht, here the inclined surface indeed acts as the ‘architectural intervention’ it was intended to be. Whereas in Maastricht the light, whiteness, and the relative small surface, but bigger height, of the room somehow seemed to keep the slope from thoroughly imposing itself, in the Buda-toren it does succeed to transform the space. Also at Intro in situ the slope was an intruder, very much so, yes; but in the Buda-toren the intruder really manages to, be it ever so gently, take control.

Though the work did not give up on any of its introvert serenity, it seemed to have grown up. I found it to be powerfully self-contained, and an easy match for the outside sounds that, from time to time, in intermittent waves, came drifting in through the door, that Esther had left open. On purpose.

shadow of a wall

_Following the official opening and reception in the Budascoop, around 17h30, visitors were led on a tour of the four installations. Then, after dinner, there were the evening performances, one by each of the participating artists.

Two of the concerts took place inside the artist’s installation, and two were done on stage, in one of the Budascoop’s concert halls.

The evening program began with a very varied, dynamic – and at times also very loud – duo performance by Esther Venrooy (on electronics & laptop) and a young, and equally versatile, Belgian percussionist: Lander Gyselinck.

esther performance

We then walked over to the ground floor of the Buda-toren, where Maia asked each member of the audience to take place behind one of the radio’s. It made for an interesting way of experiencing the short, quiet and reflective radioscape that she presented.

maia performance

Next we moved to the stable, for a performance by Pierre Berthet. Expirateurs et Gouttes is a two-part ‘concerto’. First part for drops, the second for vacuum cleaners. In the manipulation and control of both, Pierre Berthet undeniably is a master. The gradual building up of ever more intricate rhythmic drop patterns, giving way to the forceful swiping of vacuum cleaner tubes, and then onto the grand finale of an ecstatically trumpeting ensemble of Filter Queens, doesn’t cease to intrigue.

pierre performance

For the evening’s final concert, we returned to the Budascoop, where Paul Devens performed his Storm, for live electronics and fieldrecordings, based on John Cage’s Variations VII. At the end of his performance Paul managed to rest sound- and motionless for a very long time, thus forcing all of the audience to hold their breath equally long… until he finally relaxed, and invited applause. It was a forceful and worthy conclusion of a fine evening of music and sound.

paul performance

Especially for those who were not there: the following ten-minute audio track is a succession of four short fragments from the evening’s performances:

_When, after a couple of last drinks, I walked back to the hotel, the Kortrijkse Paasfoor was still going strong. While contemplating all that I had heard and all I had seen that day, I strolled along the Leie and on over the Grote Markt, where I watched with quiet amazement the quite monstrous (but many no less ingenious) machines, that were created to sell mere minutes of adrenaline pumping excitement.
With all windows of my room wide open I fell asleep, listening to the loud, excited and piercing screams of bunches of young fair-goers, that continued to fall from the Kortrijk sky.

Sound is a very funny thing, for I slept like a rose.

Sound City (Klinkende Stad) is the Resonance exhibition (with sound installations by Pierre Berthet, Esther Venrooy, Paul Devens and Maia Urstad) that is part of the Flanders Festival in Kortrijk, Belgium. The exhibition can be visited on the afternoons of Saturdays and Sundays, between May 7th and May 22nd. Entrance is free. On Saturdays at 15h there are guided tours (participation: €2,-).
On May 18th-20th an international symposium (with performances) is taking place, entitled Listen. Perspectives on Auditive Space, curated by Esther Venrooy. Locations are the Witte Zaal, in Gent (Belgium) on May 18th and 19th, and the Budascoop in Kortrijk (Belgium) on May 20th.

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