[-empyre-] Post from Kevin deForest for start of week 3

denise robinson drobinson_2000 at btinternet.com
Wed Jun 18 00:09:15 EST 2014

Many thanks for these posts all on a very interesting subject and  
timely I would say. I would also say that if a curator is interested  
in 'mashing up', it could only be as a result of discussion with the  
artists involved and in complete co-operation with them about their  
work. Two examples: There was an exhibition at Arnolfini, Bristol when  
I was Director/curator in 1998 titled 'voice over' curated by Michael  
Archer and Greg Hilty, part of Hayward touring programe, a first  
really, and beautifully done. this exhibition was conceived with a  
consideration of sound 'bleeding' - in itself an interesting term in  
this context - it included work by artists that did not include sound  
but referenced/worked with sound through visual work, eg Tacita Dean,   
Jeremy Deller on the Manic Street Preachers etc. as well as work with  
sound eg Stan Douglas' Hors–champs, Lucy Gunning, Bethan Hews etc. In  
this instance where there was sound spill its a central consideration  
and thick with meaning. The current exhibition at Whitechapel gallery  
of the work of Chris Marker - the first major exhibition of his  
extraodinary work in England – is a very worrying example of mixing up  
sounds, spilling them, bleeding them –  Impossible to encounter his  
work here, other than fragmented, distracted and 'displayed', so its  
very limited encounter, if not impossible. I can find no value in this  
approach in this instance, ie it is not to do with the potential in  
an  'excess of meaning' (Baudrillard) etc..
Denise Robinson

On 17 Jun 2014, at 07:35, 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?
> _______________________________________________
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