[-empyre-] start of week 3
x at 6q.com
Tue Jun 17 06:39:31 EST 2014
hope this is an acceptable method of submission Jim –o
> At a recent conference in London, I heard David Toop suggest that curating a group sound art exhibition was "impossible" given the inevitable sonic conflict between the exhibited works. Such a claim, on its face, seems rather provocative. What are some strategies that curators or artists might employ to overcome the obvious challenges Toop is alluding to? [Note: Toop curated "Sonic Boom" at the Hayward Gallery]
As a participating artist in David Toop’s Sonic Boom i can attest that in that case David endeavoured to do the “impossible”.
I also remember the architect for the exhibit refusing the requests of some of the other artists to have closing doors on their solo rooms, as a way of mediating noise bleed.
In my case i participated under the misapprehension that it was an exhibition of visual work by artists known for sound and music — i had been avoiding sound sculpture shows and such because i also did not want to participate in a “sonic conflict”.
But something happened to change my tune— every day for a week i was on site working on my exclusively visual (but musically related) contribution, and as a result i heard the venue (the Hayward Gallery) gradually fill up with the noise of divergent works. And as i heard more and more of this i began to enjoy the sonic density and complexity— each day i looked forward to entering this noisy interior neighbourhood.
Nonetheless i have not actively participated in any of these phonocopias since…
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