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The More Untitled Fadings After All Floteson Imaginaries Archive

Untitled (for resonants)

2010

pso8m.jpg
Untitled (for small ensemble), Ultra-red, 2007 Photo: Nick Brown

Untitled (for resonants)

Henrik Andersson, Bill Burns, Ultra-red, Hong-Kai Wang
Curated by Jens Maier-Rothe

April 3 – 24, 2010
Diapason, 882 3rd Avenue, 10th floor, Brooklyn, NY
www.diapasongallery.org

«Untitled (for resonants)» dedicates its space to those objects and bodies that resonate within it, thus to the four artists themselves as much as to their works and the erratic, therefore untitled, form in which they spill over and resonate with one another.

The two projects «Untitled (for resonants)» and «Fadings» jointly comprise the third volume in a series of group shows investigating the materiality of sound. Following up on two previous inquiries into the notions of recycling and simultaneity, this one focuses on acoustic resonance, stressing the difference between sound resonating in space and light reflecting space. The show brings together various positions on echo-political aesthetics and assess their potential for critical discourse.

Four installations (resonants) overlap with four events (fadings) during four days at the gallery:

Henrik Andersson

For «If it is not love then it is the bomb that will bring us together» Henrik Andersson transformed the seismic recording of a nuclear explosion (Pakistan 1998) into sound.

Bill Burns

In his latest book «Two Boiler Suits and a Playlist: A Primate Guide.» Bill Burns describes the chattels given to prisoners and the music that is played to them at the prison camps in Guantanamo Bay, Cuba. The 52-page guide includes 18 line illustrations and two colour plates.

Ultra-red

«Untitled (for multiple voices)» serves as a preliminary draft for a multiple voice composition. A libretto of demands is assembled from the record of seven performances of SILENT|LISTEN (2005-2006), a series of tactical occupations of major American art institutions to reconnect the art world and AIDS activists with memories of when the arts served as a crucial arena - in some communities, the only public space - for open discussions about the pandemic.

Hong-Kai Wang

The multichannel sound piece «Setting Up the Banquet» by Taiwanese artist Hong-Kai Wang orchestrates a kaleidoscopic soundscape from recordings of Chinese-operated commercial spaces in Madrid, Spain. Through reinserting this imaginary Chinatown into Sunset Park, an area also known as Brooklyn's Chinatown, Wang reflects on the cultural disinformation and disorientation that Chinese hegemonic politics constantly evoke in her own life.