[-empyre-] start of week 3
mail at salomevoegelin.net
Tue Jun 17 19:10:42 EST 2014
>> 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.
At that very same conference at Goldsmiths College the term that created some currency between myself and David Toop was the notion of ‘uncurating sound’ (http://salomevoegelin.net/public_html/salomevoegelin.net/uncurating_sound.html): the idea not of a noncurating, of anything goes, but rather of a decurating and recurating via a sonic sensibility: the thinking and conceptualizing of space and time through the ephemeral and passing nature of sound, its invisible and continuous demands, rather than the assumed certainty and defined boundaries of visual objects in space. This impuls can infect visual as well as sonic work. To pursue such possible impossibilities I am interested in strategies that perform works in the sense of narrating and presenting them rather than settling them into space. This makes the curator as narrator visible and audible, rather than hidden, and yet so dominantly present in the authority of the white walls; and it prevents sound, as work and as sensibility, to neither be simply coerced into a visual discourse and its conventions of exhibition, nor to be boxed into musical set ups, but to challenge those traditions and implode the expectations and certainties they established. The new and novel ways of curation that might be engendered in this way do not have to isolate or remove sound art from music or the visual arts but in fact could infect those disciplines with the often overlooked ephemerality and transience of their own materiality.
On Jun 16, 2014, at 9:39 PM, john oswald <x at 6q.com> wrote:
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