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.
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.
“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.
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…
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.
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.
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.
“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…”
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.
“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.”
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.
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.
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…
[ The photographs of ‘Resonance at the Jan van Eyck Academy in Maastricht’ were all made by Moniek Wegdam. ]
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.
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.
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.
And here are some impressions of how Pierre Berthet installed his Extended Drops in Riga’s former tobacco factory:
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…”
[ 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.”
[ 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…
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.
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.
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.
On 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.
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.
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 …
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.
October 9, 2010 § 2 Comments
When I was much younger than I am now I often sat under bridges and marveled at the reverberation and the echoes that came whirling back to me from the curved (concrete, metal or other) structures above my head. And I found that while strumming my guitar there definitely was good, screaming, shouting and stamping around were even better.
As far as the screaming and stamping goes, I especially remember one little bridge in the small town of Luxembourg, which crosses the Sauer from the Luxembourg to the German side. Here is a picture:
Part of the reason why I do remember that particular spot so very well is that it was under this Wasserbillig bridge that in the summer of 1973, with a small battery powered portable cassette machine, I made one of my very first outdoors recordings. The resulting five minute soundbite always remained dear to me. Every now and then I listen to it ( † ). And though of course even the best recording would not be able to emulate the physical sensation of being part of that small curved space and its particular acoustics, it does ensure that I will never forget the Wasserbillig bridge.
It therefore is no wonder that I was struck by a Wasserbillig ghost when on Monday October 3th I entered, for the first time, the upper floor of the Wiebengahal on the Avenue Céramique in Maastricht and heard the rattling echoes of my footsteps under the low semicircular concrete shell roof.
The peculiar acoustics of this vast (some 800 m2) space is the subject of Panels, an intricate installation by Dutch sound artist Paul Devens.
Paul molds, transforms and re-shapes the hall’s acoustic ‘matter’ by means of four metal ‘bridges’. These are the panels that the title of the installation refers to. Covered with acoustic foam, and according to a fixed, programmed, scheme, they slowly move along four long metal tubes that on both sides are fixed just above the floor. When they do, they squeak and moan. Softly, like chained and forgotten old Céramique ghosts. And there was a distant crackling, irregular yet rhythmic, as if raindrops were hitting a thin metal roof.
The panels’ ride continuously transforms the space and its acoustic. This ongoing transformation is made audible by means of feedback, generated by 16 loudspeakers on one side and 16 corresponding microphones on the other side, placed in a wedge-like pattern. In order to avoid that the resulting tone field gets dominated by single pure frequencies, a notch filter is applied as soon as these emerge. Here is a short sound file to give you an impression:
A mere recording, though, can do Panels no justice. And neither does the work’s matter-of-factly and prosaic title. (But that is of course a matter of taste. Or of temperament.) The panels are the tools that are applied to reveal what is the true heart of the matter: the ringing wealth of the very special acoustics of this curved surviving trace of Maastricht’s industrial past. The Wiebengahal is one of the few buildings that were spared when, starting in the late 1980s, the industrial park that used to be home to the Société Céramique, was transformed into an office and residential area. Paul’s equally industrial installation fits the Wiebengahal’s attic, almost literally, like a glove. The result is monumental. Panels fills the hall with slowly meandering clouds of almost tangible sound that make the vast empty space seem eerily timeles. I was both surprised and impressed, already then, in broad daylight. But while I wandered back and forth beneath the gliding arcs I wondered. Would the magic not be even bigger were one to come here alone and sit and listen at night, with nothing but the glow of the city lights, maybe along with that of the moon and some lone stars, falling through the roof’s curved glass windows?
It was at this precise moment of reflection that one of the moving panels accidentally set off the Wiebengahal’s burglar alarm. With its painful and penetrating yell it blew up the clouds and chased us away, along with our dreams and all of the Céramique’s ghosts.
[ Panels can be seen and heard daily (except on mondays) until January 16th 2011, at NAiM/Bureau Europa, Avenue Céramique 226, Maastricht (the Netherlands). October 29-30 the installation will be the setting for a two day symposium with a series of performances, centering on the manifold aspects of the relation between space and sound. For a detailed program, see the previous post. ]
[ ( † ) The curious and courageous may find my 1973 Wasserbillig soundbite here. ]