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

Lewis Kaye p.lewis.kaye at gmail.com
Wed Jun 18 00:59:39 EST 2014

The mashup is an interesting metaphor to use, but I'd also suggest some
caution with it. It comes primarily from the realm of popular culture, where
it refers to taking fixed, pre-existing (and typically copyrighted) works
are mixing them together without the knowledge or consent of the original

For one, I think curation has to have a more open and transparent
relationship with the artist. Second, I think sound artworks have a
different ontological status, with the artists recognizing and and often
working with the variable spatial and technological conditions of the work's
presentation. Pop music is usually created, fixed to a medium, and cast off
into the unknown.

The remix, and Jim's reference to Christoph Migone's ideas on it, is very
interesting to me. I'm not sure of the curator/remixer necessarily needs to
be an artist themselves, but there are certainly some real consonances
between "curation as remixing" and sound installation practices, soundscape
composition, etc.



From:  denise robinson <drobinson_2000 at btinternet.com>
Reply-To:  soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
Date:  Tuesday, June 17, 2014 at 10:09 AM
To:  soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
Subject:  Re: [-empyre-] Post from Kevin deForest for  start of week 3

----------empyre- soft-skinned space----------------------
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' Hors­champs, 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)
Denise Robinson

On 17 Jun 2014, at 07:35, Kevin deForest wrote:

> ----------empyre- soft-skinned space----------------------
> First of all I¹d like to thank Jim for his      moderation and      for
> inviting me. I¹m honoured to be able to participate with this
> distinguished      group and will try to keep up with the pace.
> I¹m 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      artist¹s 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      artist¹s work?
>   _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre

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