Stephen O’Malley

Soundings: A Contemporary Score exhibition @ MOMA, NYC, with Marco Fusinato artwork (and on the main poster!)

Posted: Jul 30, 2013

Soundings: A Contemporary Score exhibition @ MOMA, NYC, with Marco Fusinato artwork (and on the main poster!)
Soundings: A Contemporary Score exhibition @ MOMA, NYC, with Marco Fusinato artwork (and on the main poster!)


Soundings: A Contemporary Score
August 10–November 3, 2013

Special Exhibitions Gallery, third floor
This exhibition is accompanied by a film series.
MoMA's first major exhibition of sound art presents work by 16 of the most innovative contemporary artists working with sound. While these artists approach sound from a variety of disciplinary angles—the visual arts, architecture, performance, computer programming, and music—they share an interest in working with, rather than against or independent of, material realities and environments. These artistic responses range from architectural interventions, to visualizations of otherwise inaudible sound, to an exploration of how sound ricochets within a gallery, to a range of field recordings—including echolocating bats, abandoned buildings in Chernobyl, 59 bells in New York City, and a sugar factory in Taiwan.
The diversity of these works reflects a complex and nuanced field. Yet the exhibition posits something specific: that how we listen determines what we hear. Indeed, the works provoke and evoke—both in the maker and the museumgoer—modes of active listening, and a heightened relationship between interior and exterior space. At a time when personal listening devices and tailored playlists have become ubiquitous, shared aural spaces are increasingly rare. Many of the artists in the exhibition aim for such realities, and the sound they create is decidedly social, immersing visitors and connecting them in space. In many of the works, links are drawn between disparate topographies and subjects, giving rise to new understanding and experiences.
The artists in the exhibition are Luke Fowler (Scottish, b. 1978), Toshiya Tsunoda (Japanese, b. 1964), Marco Fusinato (Australian, b. 1964), Richard Garet (Uruguayan, b. 1972), Florian Hecker (German, b. 1975), Christine Sun Kim (American, b. 1980), Jacob Kirkegaard (Danish, b. 1975), Haroon Mirza (British, b. 1977), Carsten Nicolai (German, b. 1965), Camille Norment (American, b. 1970), Tristan Perich (American, b. 1982), Susan Philipsz (Scottish, b. 1965), Sergei Tcherepnin (American, b. 1981), Hong-Kai Wang (Taiwanese, b. 1971), Jana Winderen (Norwegian, b. 1965), and Stephen Vitiello (American, b. 1964).
Organized by Barbara London, Associate Curator, with Leora Morinis, Curatorial Assistant, Department of Media and Performance Art.
The exhibition is made possible by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.
Major support is provided by Jerry I. Speyer and Katherine G. Farley, The International Council of The Museum of Modern Art, The Junior Associates of The Museum of Modern Art, Office for Contemporary Art Norway (OCA), Richard J. Massey Foundation for Arts and Sciences, and the Danish Arts Council Committee for International Visual Arts.
Additional funding is provided by the MoMA Annual Exhibition Fund.
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MoMA Nights with Pauline Oliveros

Tonight’s Music Performance: Pauline Oliveros: What’s the Score?
Pauline Oliveros, accordion
Playing the Roland V-Accordion, Pauline Oliveros will improviseWhat’s the Score? elaborating the play-on-words of her title into an array of volatile, gestural, changing sounds and sound qualities. Oliveros invites the audience to score a sound from her improvisation during the performance by representing it on a card with pencil or pen. A sound might consist of a single note, chord, cluster, or noise heard at any time during the piece, and represented by a drawing, graphic, or word. The cards with the audience scoring of the sounds will be collected and organized into a new score for a future performance.Oliveros (b. 1932) has influenced American music decisively in a career spanning more than 60 years as a composer, performer, author, and philosopher. She pioneered the concept of Deep Listening, her practice based on principles of improvisation, electronic music, ritual, teaching, and meditation, designed to inspire both trained and untrained musicians to practice the art of listening and responding to environmental conditions in solo and ensemble situations.

Thursday, August 1, 2013, 5:30 p.m.

photo: Hong-Kai Wang. Still from Music While We Work. 2011. Multichannel sound and two-channel video installation