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. ]
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.