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Description Artists Press release Sound

After All, Everything Is Different In The End

Artists


Mike Carremans

lives in Ghent








Peninsula (2009) stages the soundtrack of a painting. With a microphone on the backside of the canvas, Carremans recorded the different rhythms and approaches of painterly gestures onwards the surface. From the recorded material he created a 40-minute soundtrack. In this process the canvas starts to function as a pallet, but instead of being the foundation for a visual chromatic array it becomes the intermediator for an auditive one. By removing the actual canvas itself, the painting loses every indication of size but clearly turns into a form that emphasizes the scale of the work depending on the space where it is shown.

For a colour-blind painter whose work concerns the problematic of colour-use and the truthfulness of appearance, the move from colour to sound so as to reconfigure chromatic systems is intriguing. Experimental and noise music are important influences for Carreman's work, yet they are not manifested directly in its form. Sound and image rather constitute two parallel universes that come together primarily in the artist's mind. Peninsula establishes a stereo situation in the ground floor restroom, with the left channel in one and the right channel in the other toilet both. It is inspired by Japanese restrooms with optional ambient music and by Félix Gonzàlez-Torres' Untitled (Perfect Lovers) (1991), which is installed on the restroom door one floor above.



Gent Clapping Group

members vary








The Gent Clapping Group was founded by Audrey Cottin and varies in members. For the group's Performance at the opening and finissage (2009) André Catalao, Lara Dhondt, Hedwig Houben, Emi Kodama, Carola Muecke, Bas Schevers, Lauren Van Gogh and others compose volumes by clapping. The group is generally open for other people, specialists or not, to participate and as such it incessantly reconstitutes itself, redesigns its amateurism and privileges enthusiasm. "We feel local vernacular but we are also very much vehiculaire...".

Dates: September 25, 20.00 and October 18, 18.00 at the HISK.



Nate Harrison

lives in New York








The (quick) Time Machine (2003) is a re-presentation of the 1960 film adaptation of H. G. Wells' The Time Machine. The film was separated into every one of its 'hard' edits, which were then made into video loops. Each loop was subsequently sequenced according to the original storyline across a 40-block grid, read left to right, top to bottom. At any given moment the audio is in sync with one of the grid spaces, until that space starts looping, at which point the adjacent right block begins, with the audio syncing to it, and so on. The two-channel projection, through its structure of exactly 1000 edits over the 103 minutes length of the original film, ends in the bottom right hand corner.



Jeuno JE Kim

lives in Malmö








Paris + English = Parish (2006) is a composition with three elements – color, voice, and text. The piece begins where all three elements are asynchronous in their relationship to each other, and gradually progresses to be finally “in chorus”. The objective is to question the relationship between sight and sound and how voice or voices can be linked to degrees in saturation of a color. The text read aloud by three men draws from Derrida’s Memoirs of The Blind, where he explicates drawing as a memory-act, one where a kind of direct seeing is replaced with a mediated one which is itself blind.

Cheerleading is all about synchronicity, until you fall and hurt yourself (2009) takes an ironic view on the cheerleader drill that synchronizes movements and defines standards for the female body. Famous for 'drilling' erotic fantasies, dreams and desires into the heads of generations of school kids, the cheerleader girl is emblematic for hetero-normative sexual behaviour and success. Keep the rhythm and you are sexy is her dictum, if you're out of sync you're unattractive and actually dangerous for the team. However, if you decide to fall make sure you do it from the top of the pyramid - and hit the young girl team captain.



Brandon LaBelle

lives in Berlin








Concert (2004) is a video work presented on three monitors. The first video consists of finding people in spatial situations: sitting at a café table, waiting in line, walking through an open square, sitting in an open window, going up an escalator. The second and third videos act as translations of the first: LaBelle asked various people to listen to the sounds of the first video, without seeing the corresponding images, and attempt to describe what they are hearing - to tell us the scene, the location, the time and atmosphere. The final work is presented as a "trio", with the first video in the center, bracketed by people's responses. The only sound is that of the second and third videos, which replaces the original soundtrack in favor of people’s vocal descriptions. The work forms a play of place and its aural life by recasting the urban environment with personal portraits.



Raimundas Malašauskas

lives in Paris and New York








"I don't play music, I present my listening practice" Darius Miksys

Radio Dinner (2006 and 2009) functions as a DIY variety-show of parallel worlds. Rai listens to people talking, singing and reading in multiple times and places. One of them, a renowned psychotherapist Eugenijus Laurinaitis, is asked to hypnotise the host of the program wanting to become a radio-receiver for one hour with an intention to record the whole program for Resonance FM under hypnosis. A number of other guests, including Vilnius' artists Juozas Laivys, Vale Kale and Darius Miksys come to a dinner to talk about their practices of listening and to make a contact with an obscure radio conversation from 2003 dedicated to a screw, yet they end up meeting Anne, Ieva and Vesta, their own female avatars on air. The idea of absolute radio archive, where sounds of the 18 August 1975 of Luxembourg radio are playing at the same time as forecasts of June weather in 2026 in Vilnius are unfolding, is crucial to the Radio Dinner. The broadcasts of people mimicking sounds of cell-phones and parrots, Juozas Laivys eating sushi and transmitting sounds of his stomach, Rene Gabri and Aaron Schuster reading and commenting books aloud, PB8 collecting bird sounds from the streets of future, Gintaras Didziapetris installing the idea of the sound in the mind of Rai, an unknown prayer praying to an unknown God, and many other things will be played including the recordings of the infamous gathering at Locals International Restaurant which took place in 1973 and 2000 simultaneously.

During the one hour radio show listeners are invited to feel inspired by artist Jouzas Laivys's sculpture modeled during the first broadcast in 2004. The invisible sculptures created during the show will be part of the exhibition only for the duration of the broadcast. However, any kind of documentation material can be sent to us by email or post and will be kept in an archive for future presentations.

Date: October 10, 02.00-03.00
Radio Urgent FM 105.3 MHz in Ghent and nearer region
Online stream at http://www.urgent.fm/luisteronline



Tisha Mukarji

lives in Berlin








Tisha Mukarji's performance Metronome series #2 (2009) makes reference to and is a variation of Gyorgi Ligeti's Poeme Syphonique, a work which used a hundred metronomes set to different tempos. For a 12-minute performance the metronomes will be substituted for one hundred people who will be "beating" time with their hand. Twenty groups of five people will each have a tempo that they will attempt to follow. For example one group will beat time at adagio which is 45 beats per minute, another group will be at 85 beats per minute, etc. It is a silent commentary on several different aspects of musical performance and synchronisation. Not only do the "time keepers" have to be synchronised but the substitution of metronomes for people is intended to display the primary feature of music which is gesture, although in this case the gestures don't produce any music but an illusion of time.

Date: September 25, 19.00, entrance of the Museum of Fine Arts MSK, Ghent



Sarah Pierce

lives in Dublin








Sonic Pass (2009) is a 14'48'' bootleg recording made in May 2000 of the exhibition "Sonic Boom: The Art of Sound", curated by David Toop at the Hayward Gallery in London. Installed on two speakers on the staircase we can pass through the 'pass'. Its liner notes are mounted on the wall in a way to mimic the exhibition poster. This is to underscore the fact that Pierce's work represents an exhibition in an exhibition, adding the sound of one show to another. The two poster setup also reiterates a third exhibition: Left over from an exhibition in 2008, Félix Gonzàlez-Torres's piece Untitled (Perfect Lovers) (1991) is still hanging above the bathroom door on the first floor. Excerpt from the liner notes:

"'The fourth dimension?! Einstein? Or mysticism? Or a joke? It’s time to stop being frightened of this new knowledge of a fourth dimension.'
Sergei Eisenstein, Film Form, 1929

Sergei Eisenstein’s concept of a filmic fourth dimension, describes “overtonal conflicts, foreseen but unwritten in the score...” In a sonic pass, I move, sounds overlap, I move, I pass, through parents and children, through voices and footsteps, up concrete stairs, through rustling gravel darkened space, rotating neon and vinyl blinks at funny abstract photo sensitive walls. I see, I hear, I move through a fourth dimension. Concrete stares. Outside again, into the open air, through a man whistling as he passes through me passing through his whistle."



Thus & Hence

live in Linz and Vienna








As an artist duo who share and divide their time and space between two different cities, Thus & Hence are used to the efforts and limitations it takes to collaborate over a distance. When invitited to participate in the show, one of the two traveled to Belgium while the other one stayed in Austria. They wanted to find out how it feels to think simultaneously about simultaneity over a long distance. A sign on the floor of the exhibition space marks the position of the traveler during the rendezvous in time. Spatial distance often simultaneously causes and challenges the desire for synchronism: the larger the distance the more challenging it has been in history of mankind to synchronize events in time. Technically speaking, an absolute synchrony can never be reached. Hence, we merely beguile our senses when we reach out for the perfectly synced experience. The ritualistic and fetishizing celebration of synchronized light and sound appears to be nothing else but the performance of a desire, a dream that will never come true.

Secular Rhythm (2009) is an installation in two parts that represents the atomization of one of the most famous and seemingly perfect audiovisual units, the disco club. The artists project the still image of a mirror ball onto a mirror ball hanging in the exhibition space. The wind of a ventilator, sensed by a microphone and translated into electricity, feeds the same ventilator with power. All looping beats and spinning mirror balls of the disco club have stopped, sound and vision are no longer creating an audiovisual whole. Looping within themselves and apart from each other like separate planets, they are split into two entities, one audio whole and one visual whole.



Joris van de Moortel

lives in Antwerp








On entering the exhibition space we are facing a hugely oversized score on the wall, giving guidance on how to interact with the exhibition space, on how to play and arrange its various pieces, installations and events: Un Jeu Graphique Pour Jouer Sans Panique (2009). Partly musical/graphic score, partly architectural plan, the 4 x 1 meter drawing by artist Joris van de Moortel plays with the spatial and temporal dimensions of the exhibition and depicts it as an experience or 'composition'. At the same time, it is a humorous comment on the overstated significance given to artworks in mappings of pedagogical and curatorial gestures, as well as in the interpretation attempts of the audience.



Ultra-red

collective based in various places








With Protocols For In Front, Behind And Beyond (2009) the sound activist collaborative Ultra-red present a site-specific installation conceived for this exhibition. All windows in the exhibition space are covered by walls, letting only a glowing stream of light crown the walls when seen from the inside. Two mono directional microphones are mounted on the outside of the windows facing the yard of the Leopoldskazerne and capture the sound from the part of the building which is used for military drills and medical training. The sound captured by the microphones from the outside is played back into the exhibition space on two speakers mounted to one of the walls. Centered between the speakers, a framed document instructs the visitor on how to interact with the acousmatic listening situation in front, behind and beyond the wall.



Katarina Zdjelar

lives in Rotterdam








The Perfect Sound (2009) is a single-channel video work which explores and investigates notions of producing the ‘perfect sound’ within the English spoken language. The fact that we each have a unique sound and voice whilst sharing the same vocal apparatus intrigues the artist to explore the relatively recent phenomenon of ‘accent removal’, which tries to extract the ‘foreignness’ within a subject’s accent. The video shows the subject repeating vocal exercises with a speech therapist who demonstrates the unique qualities of his accent that are the residual traces of his spoken heritage. The subsequent words take on an abstract and musical quality with their continued repetition rendering them meaningless, transforming the word into a sound. Uttering a word becomes like striking a note on the piano trying to perform a composition. Ultimately with the ‘Perfect Sound’ Zdjelar’s work asks where is an accent an accent, and investigates the notion of acoustic tolerance as being tested between a speech therapist and his client.