“How do we speak about sound? Last winter I was wondering what vocabulary I use to describe it. Besides, I was thinking about how what we say or tell is often a misinterpretation, even when it comes to recognizing one’s own feelings.
I wondered if listening to my heart beat, regularly, over a period of time, keeping notes of what I hear, might bring up something I wouldn’t have been able to admit or recognize myself.
Using a stethoscope, I listened to my heart over seven days, three times a day, for five minutes each time. I was surprised to find out that a relationship had developed with this internal organ. Later it became clear that a book is also a body – it has a spine, a paper-skin surface to come in contact with, and it reveals its content gradually”.
“Like many other film works made by British artists in the 1970’s, ‘The Girl Chewing Gum’ was made in ideological opposition to mainstream cinema. A primary aim of the film was to undermine its inherent illusionism, drawing attention to its own artifice (rather than the conventional practice of attempting to disguise it). The film draws attention to the cinematic apparatus by denying its existence, treating representation as an absolute reality in its own right. It achieves this by using a voice-over to subvert the reading of the image, marking the beginnings of my ongoing love/hate relationship with the power of the word.”
John Smith, 2007
The film is published with permission of the artist.
A cross-contamination in commemoration of Algerians drowned in the Seine.Over successive visits I surreptitiously collected water from the public swimming pool.
I collected a similar amount of river-water from the Seine.
I subsequently deposited the water from the river into the swimming pool (over successive visits), and then poured the swimming pool water into the Seine
The series Entities of Dutch artist Ties ten Bosch consists of colour changes on the wall.
The image plays with the memory of an image; the aura and emptiness that it leaves behind, both physically as morally. The two versions in the image shown here are based upon works that have been stolen. The left one is a composition in white and red by Piet Mondriaan, stolen in 2012. The one in the right is based upon the Mona Lisa which was stolen in 1911.
by Chrs Galarreta & Janneke van der Putten
Invisible Architecture explores the acoustic architecture of a tower through its surrounding sounds, subtle acoustic phenomena and the human voice. Resonances and reverberations are emphasized and prolonged through vocal interaction with sound space and not-conventional different microphone techniques.
In this project Galarreta & van der Putten want to make the acoustic reflections audible, more than the direct source that generate it. The frequencies, amplitude, modulation of sound textures, as well as the breathing voice rhythm, the position of the microphones and its types, are responding to the qualities of the chosen site and its acoustic characteristics.
This work was made this winter 2013-14 in the tower of the Centre International d’art et du paysage, Ile de Vassivière, France and was supported by the Mondriaan Fund.
The album Invisible Architecture
The Milena principle Summer School of Walking
brings together walkers, visual artists, writers, performers, musicians, sound artists, new media artists, developers, researchers, teachers to exchange walking practices in a series of walks, walking workshops and talks.
Arts and Literature: Oh Soon-Hwa, Karen McCoy, Floor van de Velde, Elaine Buckholtz, Adonis Volanakis, Phoebe Giannisi, Eleanna Martinou, Lezli Rubin-Kunda, Stefaan van Biesen, Simona Vermeire,
Performance and Dance: Dominique Baron-Bonarjee, Sandra Fruebing, Ienke Kastelein,
New Media and Sound: Nadav Assor, Bill Psarras, Chris Wood, Sinan Bökesoy, Ros Bandt, Vermeire Geert,
Social practices and research: Lydia Matthews, Walis Johnson, Maria Papacharalambous, Spyros Papaioannou
The Milena principle Summer School of Walking
Delphi July 16th – July 24th at Animart 2016
Info on: email@example.com
Full program: https://goo.gl/y1wD00
Performances Invisibles (Invisible Performances) is the third solo exhibition by conceptual artist Steve Giasson.
It is realised as part of the ‘Micro Interventions in public space’-section from the
DARE-DARE Center of Dissemination of Multidisciplinary Art, in Montreal, Canada.
The project consists of 130 performances and is staggered over a full year:
from July 7, 2015 to July 7 2016.
Steve Giasson. Performance invisible No. 127 (To Age).
Photo : Daniel Roy. 24 juin 2016.
Performances Invisibles first took the form of performative statements, ideas of works, recorded in writing. Although they can stand on their own, they call and describe many minimal or enigmatic gestures. Often the statements are taken from everyday life or from the history of art. They can be placed in public or in private space.
Steve Giasson activates the statements. The documents surrounding these activations are available on the website. Everybody is welcome to activate these performative statements at any time (also after July 7) and without prior authorization. If you do so, you are kindly requested to send any form of documentation. It will be added to the corresponding statements.
Steve Giasson. Performance No. 128 (To sweat).