DRAWING TOWARDS SOUND: VISUALISING THE SONIC
Curated by David Ryan (Reader in Fine Art, Anglia Ruskin University)
4th Mar – 2nd Apr 2015 Stephen Lawrence Gallery, Project Space
This exhibition examines the interface between the visual and the aural through notation, documentation, performance and video/moving image. Each of these aspects are currently being explored from many different perspectives by contemporary composers, musicians, visual artists, and film/videographers. Its basic starting point is the historical graphic score/new notational practices of the modernist avant-garde and how sound is captured and communicated. Most famous here, is John Cage and Alison Knowles’ 1968 collection Notations and the recent update Notations 21 (2009) by Theresa Sauer. While the Highlights will include a complete performance of Cornelius Cardew’s 1960s graphic score Treatise, a visit and workshop performance by American experimentalist composer Alvin Curran (b.1938), and a rare chance to see UK performer Anton Lukoszevieze’s drawings and films, as well as Icelandic sound artist Hallveig Agústsdóttir’s drawing performances. It will position ‘classic’ experimental notations – such as Cage and Boulez – with the output of contemporary composers and visual artists. Also featuring, amongst many others, Aura Satz, Jennifer Walshe, Marianthi Paplexandri-Alexandri, Laura Buckley, Helen Pett’s exploration of performances on video, Vicki Bennett’s (People Like Us) collaged films, as well as Richard Hoadley’s interactive notations with dance/live performers, Simon Payne’s abstract exploration of vision and sound, and Neil Henderson’s evocative portrait of Evan Parker.
Hallveig Agústsdóttir / Sam Belinfante / Vicki Bennett / Carl Bergstrom-Nielsen / Pierre Boulez / Earle Brow / George Brecht / James Brooks / Laura Buckley / John Cage / Cornelius Cardew / Alvin Curran / Tom Dale / Morton Feldman / Vinko Globokar / Christophe Guiraud / Roman Haubenstock-Ramati / Neil Henderson / Richard Hoadley / Joan Key / Catherine Konz / John Lely / Michelle Lewis-King / Anestis Logothetis / Onyee Lo / Anton Lukoszevieze / Farah Mulla / Rie Nakajima / Luigi Nono / Marianthi Papalexandri-Alexandri / Michael Parsons / Simon Payne / Helen Petts / Lauren Redhead / Aura Satz / Thomas Smetryns / Jennifer Walshe / John Wollaston / Christian Wolff / Iannis Xenakis
RELATED EVENTS & EXHIBITIONS
EXHIBITION OPENING EVENT: HALLVEIG AGÚSTSDÓTTIR WITH ALISON BLUNT
3rd March 6 pm Stephen Lawrence Gallery
Hallveig Agustsdotir_ACBperformance-drawing-2 DETAIL
Opening event for the exhibition “Drawing towards Sound: Visualising the Sonic” curated by David Ryan.
Includes drawing performance by Hallveig Agústsdóttir with Alison Blunt.
CURATOR’S LECTURE – DRAWING TOWARDS: SOUND VISUALISING THE SONIC
5th March 6.30 pm Stephen Lawrence Gallery
Photo: Jill Vaux
Drawing Towards Sound curator, David Ryan (photo, left) introduces the themes of the exhibition. This talk takes place in the Tessa Blackstone Lecture Theatre and is part of the Hawksmoor series of public lectures.
ALVIN CURRAN: PERFORMANCE
12th March 7pm Heritage Gallery
Performance: Queen Anne Court, Old Royal Naval College, Room 075.
This event is held in association with the exhibition “Drawing Towards Sound: Visualising the Sonic” curated by David Ryan
Volume 2 of the Ktl live series of cassettes on DEAD ACCENTS.
Letterpressed covers with transparent vellum inserts of Demian Johnston illustrations.
Side A: FIMAV, victoriaville, QC, Canada 17 May 2008
Side B: Barfly, Birmingham, UK 28 May 2007
EDITION OF 100
(Levine on Travis Bean wedge + Prophet 5)
... 1970 pics
ELIANE RADIGUE : Jetsun Mila (1986)par Emmanuel Holterbach
jeudi 19 mars - 20h - 9 € Le BAL6, impasse de la Défense75018 Paris M2/13 Place de Clichy
Sur l’invitation de Maxime Guitton, programmateur musical indépendant, Emmanuel Holterbach interprète dans l’espace du BAL la composition électronique d’Éliane Radigue.
Créée en 1986 sur synthétiseur ARP 2500 au Groupe d’étude et de réalisation musicales (GERM), à Paris, Jetsun Mila est une œuvre en neuf temps inspirée de la vie de Milarepa, grand yogi et poète tibétain du XIe siècle. L’histoire de sa vie telle qu’elle fut racontée à son plus proche disciple, Rechungpa, représente un des ouvrages les plus populaires de la culture tibétaine.
Compositrice pionnière de la musique électroacoustique, Éliane Radigue est une figure singulière dans le paysage des musiques expérimentales actuelles. Si ses méthodes d’écriture puisent dans la musique concrète française, à laquelle elle s’est formée auprès de Pierre Schaeffer puis de Pierre Henry, elle concentre dès le début des années 1970 son œuvre sur les potentialités sonores qu’offre le synthétiseur ARP 2500. Depuis 2004, elle se consacre à la composition d’un répertoire acoustique pour instrumentistes. Sa musique, tressée d’ondes sonores continues et chatoyantes, exalte lentement toutes les propriétés harmoniques et acoustiques pour faire de l’écoute une intense expérience intérieure.
Compositeur de musique concrète et artiste sonore, Emmanuel Holterbach est l’archiviste d’Éliane Radigue, à qui il a consacré une biographie (éditions INA/GRM).
Alan Vega, In prison - The Armory Show, NYC
Galerie Laurent Godin, Booth B913
Feb 20 - March 29, 2015: Alan Vega, Welcome to Wyoming.
Solo exhibition at Invisible Exports, NYC.
Opening: Friday February, 20th, 6-8pm
March 7, 2015: SUICIDE Concert at Webster Hall, NYC.
Galerie Laurent Godin
5, rue du grenier Saint-Lazare
75003 Paris - FR
T : +33 (0)1 42 71 10 66
GAST BOUSCHET & NADINE HILBERT (LUXEMBOURG)
FROM 26 FEBRUARY TO 15 MARCH 2015
EXHIBITION OPENING THURSDAY 26 FEBRUARY 2015
CURATOR: KEVIN MUHLEN
Modernist architecture immersed in a murky haze, threatening abyssal chasms, video images in black and white crossed by perpetual motion flow, and streaming end of the world experimental tones by Stephen O’Malley, UNGROUND, the multi-layered installation curated by Kevin Muhlen, artistic director at Casino Luxembourg, opens our 2015 season, offering visitors an immersive, sensitive and thought-provoking experience.
Gast Bouschet and Nadine Hilbert have been working together since the 90s and have developed a body of work based on photography and the moving image. Their work has been widely shown internationally notably at Cube Space in Taipei, Philharmonie in Luxembourg and Muzeum Sztuki in Lodz. Bouschet and Hilbert represented Luxembourg at the Venice Biennale in 2009. +
GAST BOUSCHET ET NADINE HILBERT (LUXEMBOURG)
DU 26 FÉVRIER AU 15 MARS 2015
VERNISSAGE LE JEUDI 26 FEVRIER 2015
17H À 22H
COMMISSAIRE : KEVIN MUHLEN
Des architectures modernistes plongées dans une brume ténébreuse, des gouffres abyssaux menaçants, des images vidéo en noir et blanc traversées par de perpétuels mouvements de flux défilant sur les tonalités expérimentales de fin du monde de Stephen O'Malley, l’installationUNGROUND présentée par le commissaire Kevin Muhlen, directeur artistique au Casino Luxembourg, ouvre la programmation 2015 en offrant aux visiteurs une expérience immersive, sensible et réflexive.
Gast Bouschet et Nadine Hilbert travaillent collectivement depuis les années 1990 et développent un corpus d’œuvres basées sur la photographie et l’image en mouvement. Leur travail a été largement montré à l’international notamment au Cube Space à Taipei, au Philharmonie à Luxembourg et au Muzeum Sztuki à Lodz. Bouschet et Hilbert ont représenté le Luxembourg lors de la Biennale de Venise en 2009. +
745 RUE OTTAWA
QUÉBEC H3C 1R8
A roar to shake the world's foundations
Art Exhibition Unground Explores the Excesses of Capitalist Consumerism
by Mattha Busby @itsmattha
Prepare to be immersed in a land which you had thought to be inconceivable: a world without capitalism. This exhibition will whisk you away from the conservative grounding most of us are long-familiar with.
From Feb. 27 to March 15, Montrealers can take in Unground, a multi-dimensional, multichannel video installation containing references to what the press release describes as “mineral understructures of the modern metropolis, financial meltdowns, thawing glaciers, archaic caves and volcanic, arctic wastelands at the border of the inhabitable world.” The exhibition presented at Darling Foundry, a contemporary visual arts centre in the Old Port, will display the work of Gast Bouschet and Nadine Hilbert, Luxembourg artists who have collaborated for more than 30 years. By juxtaposing images of modern cities and the Arctic tundra, the show suggests an alternative to capitalist realism—a term describing the ubiquitous influence of capitalism on virtually all aspects of life.
“Offering an alternative to capitalist realism is certainly a challenge isn’t it?” mused Bouschet. “Despite all rational and pragmatic arguments in favour of capitalism as the lesser evil,” he continued, “The fact that it is easier for us nowadays to imagine the end of the world than the end of capitalism shows how effective its spell is.” The content featured in the latter stages of the video installation, when the exhibition showed in Luxembourg in 2012, includes volcanic ash smeared over images of the backdrop of the modern landmarks in London’s financial centre, such as The Gherkin. These shots are juxtaposed with footage shot in Iceland, slowed down so as to give the audience a glimpse of eternity. Expect something similar in Montreal this year to what was on display in Luxembourg.
The Darling Foundry is a former metal works factory that is now a post-industrial reappropriated space. The parallels between the exhibition space and the exhibition’s content itself are inescapable. “We didn’t add anything; we just tried to take out all the things that were not usable anymore, like the heating system and poles all over the space,” said Caroline Andrieux, founder and artistic director at the Darling Foundry, in a 2013 interview with The Link. “It was more a work of purification. We’re happy because we saved the building as it was.” Capitalism is a ruthless economic system; it forgets and it never forgives. It sheds the disposable and retains only what it considers invaluable.
This exhibition challenges its audience to consider alternatives to the economic system political scientist Francis Fukuyama famously argued would mark “the end of history”—the neoliberal structure we live in today. The artists invite their audience to “feel, think and meditate the forces which have cut off human beings from the rest of nature,” as explained on the Darling Foundry’s website. Seeking to empower themselves and the audience by opening up the world to underground currents through the installation, the artists seek to create a zone where physical and mental experiences become accessible to the public. As the ozone layer exposes further holes, like when you wear one of your grandmother’s sweatshirts for too long, our globe becomes further enveloped by the worldwide division of labour which the invisible hand of capitalism tends to demand.
The exhibition’s intention is to transform “these feelings of alienation and cultural estrangement into sorcerous gestures of insurrection.” Bouschet explained that he and Hilbert aim to promote the “liberation and redistribution of power” in creating a space where one ponders “the right to develop one’s own world view and create one’s own values.” The exhibition features multiple installations on different platforms, which are as important as the tangible matter in the space. There’s an ironic parallel between the comprehensive submergence of the installation and the comprehensive experience of capitalism.
“The sound of the installation, developed by Stephen O’Malley, is as important as the visual noise that we are feeding into it,” Bouschet said. Stephen O’Malley is one of two founding members of drone metal pioneers Sunn O))). The long-duration tones of drone and doom metal facilitate a meditative experience where one can become enveloped in sound in mere seconds.
Along with writers Bataille, Nietzsche and Artaud, the artists are profoundly influenced by black metal theory and have previously collaborated with Amelia Ishmael, editor of black metal theory journal Helvete. The artists are “excited to see what our work can do inside that huge industrial building,” according to Bouschet. “We have only seen images, and we can’t wait to experience the physicality of the space.” Bouschet describes the exhibition, which opens next week, as where “today’s incredibly hectic world gets to meet something where time is stretched out and where various time zones [deep or geological time] run in parallel to each other.”
Unground // Feb. 26 to March 15 // Foundery Darling (745 Ottawa St.) // Free admission
Friday Feb 13 was the 45th anniversary of the release of "Back Sabbath", the debut of the greatest band in the world. Sabbath officially posted their 1970 PAris concert at Olympia as a present for us in celebration. WE LOVE YOU BLACK SABBATH
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