[-empyre-] start of week 3
p.lewis.kaye at gmail.com
Tue Jun 17 15:45:23 EST 2014
Jim: thanks so much for the invitation to participate.
Anna and Andra: the ideas you've suggested, and indeed even the phrases
you've used, are precisely those I've been thinking about of late, and the
ones that made my eyebrow lift a little at David Toop's comment. The idea of
multiple sound works being brought together in conversation is a compelling
one, and a strategy I tried to put into practice at a residency I had at
OBORO in Montreal in 2012. What I find so interesting about it is how it is
not only a technical and aesthetic strategy, but a social one as well. The
notion of conversation, I believe, shouldn't be just about the works
speaking to each other, so to speak, but should extend to the artists
themselves. Why not bring the artists together to talk about how their works
will coexist in an exhibition context? Does curation in this sense become
about facilitating this conversation?
This notion of curating I'm alluding here speaks tangentially to the
question raised by Dave and the response by Christoph. Has sound art been
ghettoized, so to speak, because of the unproblematic transference of
curatorial strategies and methods drawn from the visual arts?
Looking forward to hearing how this conversation develops!
From: Anna Friz <anna_friz at yahoo.ca>
Reply-To: Anna Friz <anna_friz at yahoo.ca>, soft_skinned_space
<empyre at lists.cofa.unsw.edu.au>
Date: Monday, June 16, 2014 at 5:20 PM
To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
Subject: Re: [-empyre-] start of week 3
----------empyre- soft-skinned space----------------------
Hello everyone, and thanks to Jim for inviting me to join this stellar group
of discussants for this week.
One strategy for curating multiple sound works is to present them in
conversation with one another, quite physically, rather than trying to
maintain their status as totally discrete pieces. I had a very fruitful
experience last year doing a show in Chicago with the duo Coppice, where we
each installed an audio work at the art and media space TriTriangle, with
the idea that the pieces would function as a kind of ecosystem. My work was
a multi-channel transmission piece using suspended radio receivers and
transmitters, while Coppice's piece used small speakers attached to the
walls near the floor. The works literally and figuratively overlapped,
occupying different strata in the space. It was especially interesting to
experience each work in the context of the other; how they were reframed by
this meeting, which sounds were clearly of one or the other work, which
sounds were composite or could belong to either. Obviously this sort of
solution is not appropriate to every situation, but I see much potential for
this approach both practically and theoretically.
all the best,
radio * art * sound * research
Wavefarm/free103point9.org <http://free103point9.org/> transmission
steering member, Skálar Centre for Sound Art and Experimental Music
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