1,721,002 research outputs found
A Fine Toothed Comb
No full textThe publication includes: essays by Lubaina Himid, Lauren Elkin, author of Art Monsters: Unruly Bodies in Feminist Art, Flaneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, and Clarissa Corfe.
Edited by Beth Hughes. Designed by Pony Ltd, London.
A Fine Toothed Comb was an exhibition curated by Turner Prize-winning artist Lubaina Himid. Bringing together new commissions by Himid as well as artists Magda Stawarska, Rebecca Chesney and Tracy Hill, the exhibition focussed on unearthing hidden layers within the city of Manchester.
Through four unique installations spanning painting on found objects, multi-screen moving image, site-specific drawing and sound compositions, the artists’ work uncovered invisible geological, historical, environmental and political layers of the city. From hidden waterways and disappearing wildlife, to lost music and communities hidden in plain sight, A Fine Toothed Comb invited us to look closer at what surrounds us. This is the first time all four artists’ work was presented together, following many years of discussion and collaboration.
The publication includes: essays by Lubaina Himid, Lauren Elkin, author of Art Monsters: Unruly Bodies in Feminist Art, Flaneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, and Clarissa Corfe
Before Sound
No full text018 / Screenprint / 0.9 x 24 metre
Before Sound is a development from my previous work Day Born. Electroacoustic, new, experimental music, and sound art practices seem to resolve any distinctions between music and sound but I've never been quite convinced. Music always felt like something in time and sound in space. I could point to a kind of perception, listening or an intentional engagement as a way of understanding a separation but I can listen to sound both as and as not music, but not music without intentional and unintentional sound.
Day Born is impossible. None of the chord's pitches oscillate quickly enough to exist between 0'00" and Planck Time. Through music notation, I was trying to find some way of fracturing music from sound. Whilst presenting my idea, the impossibility of Day Born as either music or sound seemed to lessen the point.
Before Sound uses music notation and Planck Time, but instead it depicts the pitch that does oscillate quickly enough to exist within the same time period. Between G# and A, 466 ledger lines above the stave, the pitch is too high to hear and conditions for the pitch existing as anything audible or sonic are non-existent. Without or before sound there is still a musical idea.
Produced in collaboration with Magda Stawarska-Beavan for Lubaina Himid's Into a Better Shape
TONSPUR 59 'Krakow to Venice in 12 Hours' presented at the exhibition: Sounding, Resonating and Vibrating, Ostrava, Czech Republic
No full textTONSPUR 59 'Krakow to Venice in 12 Hours' presented as part of group exhibition (12 Artist) curated by Jakub Frank, Matěj Frank, Martin Klimeš, Jozef Cseres
Organizing institution: Bludný kámen, z.s. www.bludnykamen.cz
With cooperation: The Exhibition Hall Sokolská street no. 26, The Photo Gallery of Fiducia, Gallery Dole, Gallery Lauby and The Centre of New Music in Ostrava
The exhibition is co-financed by the Ministry of Culture of the Czech Republic
The exhibition named Sounding, resonating and vibrating, which is prepared by the association of Bludný Kámen at various venues in Ostrava and Opava, enables its spectators to appreciate the autonomy of various sound surrounds. Nevertheless, the main aim is to discover for the spectators the possibility to hear old sounds in silence or appreciate the unknown silence in the noise.8-channel sound instalation, 720’, series of posters, clock
Voices: Aneta Bendakova, Jozef Cseres, Roberto De Gregori, Aneta Krzemień, Julia Neubauer, Tao G. Vrhovec Sambolec
Sound recordings: Magda Stawarska-Beavan
Commissioned by: TONSPUR Kunstverein Wien
Galerie Lauby, Ostrava
“Kraków to Venice in 12 hours” maps a journey across Poland, the Czech Republic, Slovakia, Austria and Slovenia to Italy, visiting Krakow, Katowice, Bielsko-Biala, Ostrava, Brno, Bratislava, Vienna, Graz, Maribor, Ljubljana, Trieste and Venice.
Using the binaural microphones worn in her ears, the artist subjectively captures the unique sonic identities of the 12 cities travelled through searching for similarities and differences and she moves on blurred borders of the private and public. Apart from the unique sounds of each city, the language and random conservations are an important element of the piece; marking the transition from one country to another, it serves as a spatial and temporal reference for the traveler in a borderless Schengen Europe. In the composition, the times of the recordings are synchronous with the real time of the installation’s location.
“50.06465,19.94498 to 45.441058,12.320845” is a visual record of the artist’s movement through the locations where the field recordings took place. The artist is looking for key points within the urban space, but the city imposes its structure and creates a unique pattern for each of the drawings denoting the walks. The printed record of latitude and longitude allows the viewer to discover exact locations where audio material was recorded
Who/Wer (video installation) in Sounds Like Her exhibition at New Art Exchange [curated by Christine Eyene]
No full textSounds Like Her challenges restrictive social constructs of female voices. The Arts Council England funded exhibition curated by Christine Eyene represents new perspectives; re-framing how we experience the dynamic of sound as practiced by women from diverse cultures and gender identities.
The split-screen video Who/Wer, 2017 (‘wer’ meaning ‘who’ in German) is a new development into Stawarska-Beavan’s exploration of the relationship between image, text, language, voice, and urban soundscape. The departure point for this piece is the familiarity and strangeness of a city’s soundscape, as experienced both by an insider and a stranger to the city. In this video, the artist takes on the role of a ‘benevolent stalker’, following Austrian playwright Wolfgang Kindermann wandering across the streets of Vienna. As the two protagonists walk ‘together’ and apart (within a five to fifteen-meter distance), they share a sonic and visual experience mostly familiar to the playwright and foreign to the artist.
The video places this this urban journey against two narratives. On the left screen: black and white slides of Kindermann seen at a distance. The images flicker to the rhythm of his own narration in German. Simultaneously, on the right screen: a fixed shot colour video of the places discussed in the narrative. These seem to be associated the flow of the artist’s voice, telling the same story in English, therefore adding a sense of familiarity to the English-speaking auditor.
The different characteristics of the images emphasize the duality of experiences and perspectives – that of the stranger/follower, and the city’s insider being followed. This duality is also present within the accompanying text, told by a male voice in German and a female voice in English. The language, gender, the tone and the rhythm of voices are different. Interwoven together, they create a vocal sonic ‘tapestry’.
However, the interrupted narrative from one language to the other and sometimes overlaid voices do not always allow for a clear understanding of the narratives in either of the languages. In this respect, like her works on paper, the installation for Sounds Like Her conveys a similar idea of visual or sonic utterance combined with, or obstructed by, a required effort of decoding. As an ensemble, this installation acted as a polyphony, a simultaneous combination of two voices, soundscapes and visual elements, to be experienced through both auditory and visual senses
Crossing the Borders - Overview of recent projects Kraków to Venice in 12 Hours and East {hyphen} West, Sound Impressions of Istanbul in context of collaboration with individuals and overseas institutions
No full textKraków to Venice in 12 Hours and East {hyphen} West, Sound Impressions of Istanbul, explore the shifting sonic and visual identities of cities, which not only reveal intimate glimpses of the singular urban soundscapes of these places but also interrogate their cultural complexities, exploring the blurred boundaries between public and private and probing the notion of physical and political borders as points of connection and signifiers of separation. The presentation will focus on collaborations with artists, writers and institutions who provided support and guidance throughout the project
International Print Triennial, Bunkier Sztuki, Kraków, Poland - Hamelin Polska Award for Krakow to Venice in 12 hours
No full textInternational Print Triennial in Kraków, awarded Hamelin Polska Prize for “Kraków to Venice in 12 Hours.”
The international Jury of the Print Triennial Kraków 2015 (Stephen Hoskins,Uk; Alicia Candiani, Argentina; Vladimiro Elvieri, Italy; Krystyna Piotrowska, Poland and Lars Yeudakimchikov-Malmquist, Sweden) selected 105 finalists from 1105 submission from all over the world. From the UK only two artists were selected: our colleague from UCLAn Peter Clarke and myself.
“Kraków to Venice in 12 hours” maps a journey across Poland, the Czech Republic, Slovakia, Austria and Slovenia to Italy, visiting Krakow, Katowice, Bielsko-Biala, Ostrava, Brno, Bratislava, Vienna, Graz, Maribor, Ljubljana, Trieste and Venice. The journey was undertaken on a railway connecting Eastern and Western Europe that was built during the reign of the Austro-Hungarian Empire.
The project attempts to captures the unique sonic identities of the 12 cities travelled through, searching for similarities and differences. It acts as a personal and subjective audio travel guide and a clock for the journey, mapping the movement through geographical locations over the passage of time. The artist captures the city with binaural microphones; two microphones are worn in her ears as she moves through the city giving a personal time space perspective of the city soundscape. The unobtrusive microphones also bring the artist passing snippets of unguarded conversations interwoven with the unique sonic footprint of the city. The language recorded on the streets, stations, town squares and cafes is an important element of the piece; marking the transition from one country to another, it serves as a spatial and temporal reference for the traveler in a borderless Schengen Europe. The structure of a 12-hour clock forms the basis of the immersive multichannel sound installation. In this 12 hour-long composition, the times of the recordings are synchronous with the real time of the installation’s location.
“50.06465,19.94498 to 45.441058,12.320845” (set of 6 prints) is a visual record of the artist’s movement through 12 urban locations where the field recordings took place for the “Kraków to Venice in 12 hours” project. The artist as an outsider is looking for key points within the urban space, but the city imposes its structure and creates a unique pattern for each of the drawings denoting the walks. The coloured dots on the map point to locations where the recordings took place on the hour. The printed record of latitude and longitude allows the viewer to discover exact locations where audio material was recorded.
The project exists on line as an interactive platform, where the listener can move through geographical locations and time listening to the field recordings and compositions on chosen parts of the journey. www.krakowtovenicein12h.co
Bracka 40 in Right About Now exhibition on View At No.9 Cork Street In London, Mayfair, From 3–15 December 2021 part of Arts Council Collection
No full textRight About Now (exhibition)
3 December 2021 – 15 December 2021
Bracka 40, 2020 acquired by Arts Council Collection in 2021, (Installation with paper and wooden structures; silkscreen prints and digital print on Awagami Washi papers 4 channel audio) was shown as part of Right About Now’ on view at No.9 Cork Street in London, Mayfair, from 3–15 December 2021, celebrating its 75th anniversary year. The Exhibition featuring highlights from its recent contemporary art acquisitions, including a number of works presented publicly for the first time.
The exhibition is the most extensive display of Arts Council Collection acquisitions to date. ‘Right About Now’ highlighted a diverse selection of contemporary British art, featuring 18 artists: Edward Allington, Jonathan Baldock, Olivia Bax, Oliver Beer, Shezad Dawood, Adam Farah, Miranda Forrester, Ryan Gander, Patrick Hough, Duncan Newton, Roy Oxlade, Liv Preston, Prem Sahib, Magda Stawarska-Beavan, Rosa-Johan Uddoh, Caroline Walker, Alison Watt and Partou Zia.
From multi-part installations to painting and moving image, the works displayed joined the Collection in 2019–2021 and represent some of the best and most ambitious modern and contemporary British art
International Print Triennial: Horst-Janssen-Museum, Oldenburg, Germany �“Multiple Matters” Kunstler Haus, Vienna, Austria
No full textIn Mother Tongue, a set of three screen-prints with integrated three sound pieces were presented at both the Multiple Matters (Vienna) and Print Without Borders (Oldenburg): part of the International Print Triennial 2010. The work was an investigation of how to represent in two-dimensional form such as print, a passage of time, and the ephemeral moments in the development of a child’s relationship with language.
The three prints depict recognizable visual representations of sound such as waveforms and phonetic symbols. These marks were visual artefacts of temporal sounds, used to archive and preserve transitory events/moments in space and time. The work explored a relationship between two-dimensional works, such as print, and digital sound; how sound can navigate the viewer through the image
'To Follow' exhibition and artist talk at the Academy of Fine Arts in studio 6, Warsaw
No full textIn this project, my enquiry into the processes of inner listening while experiencing the soundscape of the city led to an intense series of creative dialogues which encouraged a questioning of the real and imagined histories of place. To Follow project combines a video projection Who/Wer with a series of handmade silkscreens prints.
The split screen video is an exploration of the power struggle between moving and still image, reported and imagined text, the complexities of European language, the impact of the intimate spoken voice on the listener and how to achieve ‘balance’ between the male and female protagonists. The departure point for this piece is the familiarity and strangeness of a city’s soundscape, as experienced both by an insider and a stranger to the city. The set of silkscreens prints explore the phenomenon of the boundary. Through the experience of the drifter/follower and the person being followed, the prints examine the notion of borders as boundaries: between private and public, as separations and as the outer layers of ourselves
Spaces and Moments – solo exhibition at Yamamoto Keiko Rochaix, Whitechapel, London
Full text linkHow does the trauma of loss, passed from one generation to another translate to the structure, the architecture and absent buildings within a city?
I listened to recordings in the Oral History British Library Sound Archive of first-hand accounts of Polish Jewish women’s lives, informed by field visits collecting audio visual material in the city of Łódź, supported by an exploration of Łódź State Archives to examine street plans, maps and architectural drawings relating to the Jewish community from the late 19th/early 20th century.
Ernest van Alphen states that part of post memory is not remembering and the guilt of this lack. How to hear the subtlety of the influences of languages no longer spoken or convey the impact of architectural details and graphics which have lost their original function; the only evidence of once vibrant communities, key contributors to the economy and culture. Marianne Hirsch examining the concept of post memory, describes the trauma of loss passed from one generation to the next, I investigate how this translates to the structure, the architecture and absent buildings within a city.
I uniquely demonstrate that a void can be filled visually and aurally by a stranger’s ‘aimless wandering’ reactivating lost rituals and ceremonies. My hand printed images re-present rooms where rituals of parting and death once took place. My images of a cemetery accompanied by birdsong and traffic noise, illustrate how an important layer of the cultural fabric was torn from the landscape, never to be replaced or mended. Plans and drawings of houses and synagogues hang, floor to ceiling. Moving images projected on them show that in their place I found empty space; this layering of the city’s unresolved present upon its past, reminds us of the willful destruction of a vibrant community at the heart of an industrial city
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