Showing posts with label Soundscape. Show all posts
Showing posts with label Soundscape. Show all posts

Friday, 17 October 2014

Gordon Shrigley: Heaven’s Gate

Gordon Shrigley
Heaven’s Gate
IMT Gallery
The Brazilian architect Oscar Niemeyer (1907 – 2012) once said something along these lines: for me beauty is valued more than anything – the beauty that is manifest in a curved line or in an act of creativity. It is on the sensual and liberated curves that we perceive life’s soundscape, not on straight, hard and inflexible lines created by man.

Some time ago in a passionate conversation about religion and deliberate choices, while dinning at a restaurant lost in the midst of the countryside, someone (non-European) expressed that the previous Pope, Benedict XVI, was a Nazi, because he was conscripted into the Hitler Youth. However, this idea clearly aroused the indignation of almost all of the people at the table not for religion’ or political’ reasons, but, instead, for a lack of cultural knowledge and understanding and it was also obnoxious how people from a particular region in the world perceive the history of the world and cultural difference. Most of the people at the table, under 50-years-old, were from European countries that until the 1970s had been under a fascist regime, and perceived that commentary as a rude vision on how other people might perceive world history and bring their local different perceptions of the world.

Life is made of curves, not of straights lines, and when Ratzinger joined the Hitler Youth, in 1941, membership was require by law for all 14-years-old German boys after March 1939. Being part of a nationalist youth organization, until the 1970s, is like, presently, all of us having to have an email account and a mobile phone, even if not required by law, or we like it or wanted it or not! It is demanded by society at large.

The dissemination of totalitarian ideologies, believes and modes of behavior led by the propagation machine in the XX century, is, today, communicated by those informational channels being demanded by society. Non-places where the political corrects breeds! For the matter, it would be useful to think about which images circulate by and in the social sphere! So, my point here is that if what he had seen is that straight line (and imperialist view imposed over the world multitude), what curves given us by is what goes beyond over those fatalistic imagery conditions defining Democracy, State, Freedom, Islam, Terrorism, etc.

It is on those moments that sound start to emerge. I’m thinking about Gordon Shrigley work (presently at IMT Gallery in London) Heaven’s Gate comprising 14 slabs of straight small lines of chalk on painted board as musical compositions. An endless vocabulary of things describing that that was and is around us, with each slab resonating different soundscapes and compositions. It sprouts from the most inconvenient places and moments.

Thursday, 12 June 2014

Bridget Riley: The Stripe Paintings 1961-2014

Bridget Riley
The Stripe Paintings 1961-2014
David Zwirner

Bridget Riley, Prairie (acrylic on linen, two panels, 196.9 x 786.2 cm), 2003/1971
Occasionally, I spent my night with the computer or the iPod at my side. With the headphones over my head. Laying down in silence listening to music. It could be an opera from a classic composer, or a set of albums by a particular band, or, even, have the shuffle bottom on and let the music came to me randomly and surprisingly. Which is my favourite way: a classic followed by industrial followed by pop followed by world music or a ranchera followed by dark-metal...

All throughout the night I have the deep pleasure of revising places and experiences begone. Answers to questions asked. A particular song, the singer's voice, a sentence trigger a set of stimulus. Create rhizomorph connections and relational structures. The beat, the silences, the melody spring like poems after a wine drinking evening in the company of close and intense companions, new and old friends around a dinning table until dark turn light. 

This comes about Bridget Riley's Stripe paintings on show at David Zwirner gallery in Mayfair. Variations, patterns, compositions and modulations, explorations on movement, perception emerging from each painted line. Sound escapes from each different panel and flows constantly through each room, submerging in a given time our presence.
Bridget Riley,  Après Midi (oil on linen, 231 x 197.5 cm), 1981
Bridget Riley,  Après Midi, 1981 [detail]
«David Zwirner is pleased to present an exhibition by British artist Bridget Riley organized in collaboration with Karsten Schubert. Featuring paintings and studies selected from all periods of her career, from 1961 to 2014, the show will be installed throughout the three floors of the gallery, making it the artist’s first major survey in London since her 2003 retrospective at Tate Britain.» [...MORE...]
Bridget Riley,  Horizontal Vibration (emulsion on board, 44.5 x 141 cm), 1961
Bridget Riley,  Tocatta (Green) (oil on linen, 150 x 258.2 cm), 2014-2013 [detail]
Bridget Riley,  Lilac Painting 5 (oil on linen, 171.5 x 140.3 cm), 2008/1983
Bridget Riley,  Red Modulation (Yellow and Orange)
(oil on linen, two panels 154.7 x 266.3 cm [L] and 154.8 x 266.2 cm [R]),
2014-2013 [detail]
«Riley’s dedication to the interaction of form and colour has led to a continued exploration of perception. From the early 1960s, she has used elementary shapes such as lines, circles, curves, and squares to create visual experiences that actively engage the viewer, at times triggering optical sensations of vibration and movement.» [...]
Bridget Riley,  Elysium (acrylic on linen, 261 x 236 cm), 2003/1973
 

Saturday, 15 March 2014

... all silent but for the buzzing ...

Curating Contemporary Art
... all silent but for the buzzing ...
Royal College of Arts


«I love his use of light» [© 2014 Beth Fox]

What I do most love in the fact of living in London is the inherent and perceptual idea surrounding of what is a traditional London Spring/Summer day: Sun, Parks, Greens, Reds, Yellows, Rainbow of Colours, Sound, Silence, Noise, Pleasure, Satisfaction, Enjoyment, Intercourse, Happiness, Relaxing, Activity, Entertainment, Reading, Openness, Pasture, Action, Born, Reborn, etc. It is like eating an Häagen-Dazs' Strawberry Cheesecake ice cream accompanied by a sweet and rich Riesling while inserting my penis into a female's vagina. Feel and taste an intense, elegant and lavish golden composition arranged for three pieces, through her warm and wet vertical lips.

On the other hand, being inclosed, inside a building on a such day is like having a classic composition being compose, arrange and democratically decide on which pieces to use by an international group of mindless and wannabe individuals that want to be the next big classic music composer. Way to late my friend! At least some centuries way to late! It becomes a cacophony of information. Not music or any other alternative form of auditory communication structured in a particular manner and with a particular intention, but, instead, an incomprehensibility resulting from meaningless and what could have been relevant remarks. It is all silent but for the buzzing.

Presently, being a composer is more of a professional that wants to be able to trendily fit in with a particular group of people, particularly those with years or knowledge (two or three within an academic framework), but with a reduce of experience (from a couple of months to some outside without any relevance project). The more I know them, the less I want to know and will know. It is just like with the Internet: the more time we spend navigating through the net, the less we see and know. I do have/know some people who compose as a profession. And, believe me, those are really pleasant and enjoyable people to be with.

So, in midst all the confusion of an democratically choosing classic piece for 18 instruments the only real choice is to get inside a cubic and drink to forget. To remind me that I'm inside a dreary villa, on a sunny spring day on the South coast of France, that I'm an unzipped zipped file, or an unbuttoned shirt on a delightful Spring/Summer day in London. In there, I will just forget what was meant to be discus; what is concerned with raw states and disappearances, taken from within everyday life sounds and silence - Ryoji Ikeda concerns, by the way.

A traditional Spring day in London is an indistinct space that lies between chatter and silence. Not a bleak visual condition playing on the lighting level ascertain selection of sound compositions working as possible conditions for visual interventions and installations. These days, instead, are hypothetical descriptions of complex structures and dynamics through resonances and reverberations! It is a celebration of life.

Thursday, 1 November 2012

Mark Peter Wright

"30 Minutes of Listening is an exhibition by award-winning UK artist Mark Peter Wright. Reimagining how we listen to and perceive place..." [IMT]

Mark Peter Wright

"30 Minutes of Listening is an exhibition by award-winning UK artist Mark Peter Wright. Reimagining how we listen to and perceive place..." [IMT]

Friday, 27 May 2011

newsfromlabiennale201105

Libia Castro and Ólafur Ólafsson (Málaga (SP) in 1970 and Reykjavik, Iceland, in 1973) are representing Iceland at the 54 La Biennale di Venezia, in 2011


«The official Icelandic representation at the 54th International Art Exhibition — La Biennale di Venezia will be the Spanish-Icelandic duo of Libia Castro and Ólafur Ólafsson, whose collaborations explore the political, socio-economic, and personal forces that affect life in the present day. Their work, which has taken them to cities around the world, and often develops out of their personal interactions with people and places, can be characterized as an artistic interpretation of culture and the complex relationships that compose it. Castro and Ólafsson’s exhibition for Venice, Under Deconstruction, will explore current socio-political issues in Iceland and elsewhere, using video, performance, sculpture, sound, and music interventions. The 2011 exhibition is organized by the Icelandic Art Center in Reykjavík, Iceland, under the commissionership of Dorothée Kirch, and is curated by Ellen Blumenstein [...