[-empyre-] Post from Kevin deForest for start of week 3
jim at displaycult.com
Tue Jun 17 23:58:13 EST 2014
Very interesting Kevin, which raises a number of issues for curators. As in Tim's post, the bleed from one work to another can be a positive, meaningful choice in some contexts, while enclaves of "pure" sound may be necessary to preserve the integrity of works in another. It depends on the curatorial vision, and no doubt the buy-in by the participating artists too!
Following up on the idea of mashup, Christof Migone, a sound artist and curator based in Toronto, has just completed a set of sound shows in which he describes the curating as a process of doing a mix in the gallery. Not only is it a matter of adjusting volumes, but also of choosing works according to low, high, and mid-range frequencies, not to mention adjusting for the acoustics of the space itself.
This seems to me to be a quite a sophisticated method -- perhaps only possible by a curator who also happens to be a sound artist him/herself. It's interesting to note that most of the sound art group shows have been curated by sound artists (or in association with a sound artist). Is the sophistication of the trained and practicing ear, then, a prerequisite for curating sound, or have things developed to the point that non-artists (hopefully without a tin ear) can curate well-concieved exhibitions?
On 2014-06-17, at 2:35 AM, Kevin deForest wrote:
> ----------empyre- soft-skinned space----------------------
> First of all I’d like to thank Jim for his moderation and for inviting me. I’m honoured to be able to participate with this distinguished group and will try to keep up with the pace.
> I’m wondering if the inevitable bleeding of sound between sound artists presented adjacent to one another might be considered as a kind of curatorial mashup? If it might be possible to simultaneously focus on one artist’s installed work but following that tune in to the bleeding of the neighbouring work and considering the results of that mix? Curious to know if a curator of a group sound exhibition might organize the space in the same manner that a curator of a visually focused group show would put two artists next to one another in order to dialogue a theme or bring out certain aspects of each artist’s work?
> empyre forum
> empyre at lists.cofa.unsw.edu.au
-------------- next part --------------
An HTML attachment was scrubbed...
More information about the empyre