Elastic Reality is an exhibition about the internet, about its ubiquity and ability to permeate physical space, it's about the way permanent connectedness has added layers and complexity to the notion of 'reality'. Elastic Reality is not just reality, nor is it simply virtual reality or augmented reality, it is an expanding, ever-morphing reality.
This ever more complex environment blends the virtual and the real, the dataflow with the landscape. Whereas new terms are regularly coined to describe this state of things, none truly encapsulate the multi layered realm we inhabit. Hence, comes the notion of elastic reality, which was inspired by the works on display in this exhibition. The participating artists not only play with these distortions of the "real", but also pioneer new ways to interact with their work. The formal exploration of new interfaces is as much part of their preoccupation, as is the content of their work, and the kind of commentary on the current state of reality we live in.
Elastic Reality was co-produced with Le Fresnoy, Studio des Arts Contemporains, a post-graduate art school and audio-visual research and production centre, where young artists are invited to produce new work under the mentorship of guest artist-professors. The exhibition is a selection of the works produced in the course of last academic year (ending in June 2012.)
Some of the works are openly political, others are of the 'move around and interact' kind, some invite to introspection, others are made to dazzle. There were good surprises (notably Tarnac, Chaos and Grace.) and a few fresh ideas but I must say that half of the description texts drove me CRA-ZY. Do french-speaking people really have to write in such a convoluted way? Does being arcane equal being smart?
Anyway, here's a couple of works i found particularly interesting:
The Mafia's retaliation was brutal. Bombings, murders, attacks on touristic spots and other demonstrations of violence. Vincent Ciciliato grew up against that background and the game he has developed unfolds in six different locations in Palermo, some of which are the stage of a murder. Players have to re-enact the murders and fire at moving targets inspired by real murders but they don't actually know if the person is an innocent passerby or the specific person who has to be eliminated. The identity of the victim is revealed only after they have been shot (to kill people, players have to do the well-known gesture of holding a handgun up and then aiming and firing with the finger.) The executor becomes the witness when the shot is followed by a series of archives documents that reveal the murder that took place at that exact spot some 30 years ago.
Zahra Poonawala's Tutti installation made me think of Futurist composer Luigi Russolo's magnificent Intonarumori but the reference was actually the acousmonium or loudspeaker orchestra, a set of 80 loudspeakers of various sizes and shapes designed by Francois Bayle for tape playback.
Tutti invites visitors to a dynamic experience of listening by walking around the components of the orchestra. The characters each have their own volume, register and a different personality. In front of this background the soloists stand out, isolated loudspeakers that are mobile because they react to the movement of the spectator who is incited to move to make them react. The different layers of sound intensify this spatial organisation. From a fundamentally complex chord which forms a base, the reaction to the spectators' movements determines the changes of intensity, ignites solos which stand out from the sound mass.
Ryoichi Kurokawa was one of the mentors of the students at Le Fresnoy in 2012 and as such, he was invited to develop his own work during his stay in Northern France. As can be expected from the über-talented artist, the result is jaw-dropping.
Dead End is a charismatic metallic sculpture inspired by abandoned industrial monuments and futurist constructions, the start of fantastic progress of the edification of a modernist mirage; hybrid architecture striving to rise up but also to deconstruct, to gradually deteriorate.
"The void of distance is nowhere else."
Véronique Béland's installation attempts to listen to radio waves that civilizations living on other planets might broadcast. This is exactly what the SETI program has been doing with very little success since the beginning of the 1960s as part of its mission to find intelligent extraterrestrial life.
The young artist, however, proposes to capture «non intelligent» radio broadcasts and process it through an automatic generator of random texts. The data is captured by radio-telescopes from the Paris Observatory, the algorithm turns it into a text and a synthesized voice articulates it in the exhibition space in real time.
More descriptions, details and essays in the press kit.
Previously: Tarnac, Chaos and Grace.
Elastic Reality. Beyond the Exhibition: New Interfaces for Contemporary Art in Europe was curated by Benjamin Weil. The exhibition remains open at LABoral Centro de Arte y Creación Industrial (Art and Industrial Creation Centre) in Gijón, Spain, until 8 September 2013.
The works on show visualise diverse physical occurrences. From the ground floor to the top floor, the installations, videos and photographic pieces investigate phenomena that get further and further away from our daily experience.
The installation on the ground floor, Thermic, screens the usually invisible heat waves floating through space. Hot air produced from a streaming heat source made visible by a spotlight rendering shadows of it onto the wall. Like a mirage, we can see fluctuations of air thus realizing that we are not surrounded by empty space but by physical, flexible matter.
One floor up, the video future past perfect pt. 04 (wolken) shows clouds that appear almost as an optical illusion - the camera zooms in while different shots of clouds are interspersed together. Accompanying prints from the wolken series show clouds that reveal resemblances to both micro and macro structures.
In particle noise on the top floor of the gallery, radioactive particles and magnetic noise are captured in sound, with Geiger counters being the source for a sound installation. The
Carsten Nicolai - Observatory is at Ibid Projects until 20 April 2013.
The Winter Sparks show at FACT Liverpool is small and efficient. Three large-scale installations that experiment with scientific phenomena and pay homage to Nikola Tesla. The works can be experienced without mediation but each of them also conveys several layers of meanings and readings, whether you're intrigued by the technical description or by the sheer beauty of the sparks, lightening bolts, and sonic properties of the works. Each piece in the exhibition also functions as both an art installation and a musical instrument that the artists played during the opening night of Winter Sparks.
I already told you about the Evolving Spark Network installation yesterday so let's move on to Alexandre Burton's Impacts, a work that demonstrates convincingly that you can still stun and amaze the crowd using a technology that was invented around 1891. The installation uses Tesla coil and a quick look at its wikipedia entry taught me that the electrical resonant transformer circuit is so popular that its enthusiasts show off their home-made Tesla coils at "coiling" conventions, that Björk used a Tesla coil as the main instrument in the song Thunderbolt, and that others use coils to play Mario Bros theme song.
Right before we approach the installation, we are advised that it's better not to go too close to the work -actually "Do not to touch!" is a better way to describe the warning, not to enter the room with a pacemaker, nor to let unaccompanied children in. Even mobile phones are not invited to the party as "there is a chance that the electromagnetic field emitted by the tesla coils could corrupt the flash or damage the memory of your mobile device or crash running programs."
The Tesla coils are activate by the presence of the visitors. As you go near, arcs of electricity of variable intensities come crashing against a glass pane. The violent flashes of light and sound are dramatic and fascinating, because of the lightning bolt patterns formed of course but also because you have the feeling of being in close proximity to danger.
With this new work, Alexandre Burton proposes the use of plasma (loosely defined as an electrically neutral medium of positive and negative particles) as matter and medium itself, circumscribed by a defined frame and articulated through unique programming. In this way, IMPACTS serves as a reminder of the danger and muscle of this marvel while capturing its sublime beauty and rhythmic potential.
Part physics experiment and part art work, the installation takes its cue from the Wilberforce pendulum, a spring hung on the ceiling with central and eccentric weights that alternate between two oscillation modes. Once calibrated, vertical and circular movements alternate even without additional external energy. It is an example of a coupled mechanical oscillator.
Bosch & Simons equipped the springs with audiovisual equipment that documents everything around the FACT Atrium. The video camera, microphone and loudspeakers capture sounds in the environment and in turn, generate visual and audio data that visitors can experience on a screen located in a dark room nearby.
A new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present ResonanceFM, will be broadcast today Tuesday 20th November at 4:00 pm. There will be a repeat on Thursday 22nd November 10:30 pm. You can catch it online if you don't live in London.
This week i' talking with Nelly Ben Hayoun about space science technologies, aliens and music. The designer spent a whole Summer in California to direct the International Space Orchestra. The cast of the opera is pretty spectacular. It is performed by space scientists from NASA Ames, Singularity University, International Space University and the SETI Institute. The music was composed by Damon Albarn, Bobby Womack, Maywa Denki and Arthur Jeffes. The lyrics are by Bruce Sterling & Jasmina Tesanovic. Finally, Grammy-Award winner Evan Price was in charge of the musical direction.
One of the next stops for the International Space Orchestra is going to be Space Odyssey 2.0, an exhibition that opens on 17 February 2013 at Z33 Contemporary Art Center in Hasselt.
Another work i discovered at the GAMERZ festival in Aix en Provence a few days ago. And just like yesterday's this one give sound a visual presence. So visual actually that artist Cécile Babiole defines her work as a 'sound sculpture.'
Bzzz! The sound of electricity brings us back to the pre-digital sound, to a time when electric energy was so raw and new, that it buzzed, sparkled and vibrated. The work renders the sound of electricity audible and spread it over the ambient space. Six frequency generators comprising basic electronic components allow the electrical current to be modulated so as to generate slightly amplified sound vibrations.
The soundscape is best experience when walking inside the sculpture, going from one sound to another, seeing how the cables and loudspeakers slightly vibrate as if the electrical current was waking them to an organic life. The sound wave generator itself is at the centre of the circular structure. It was amusing to see how male visitors felt entitled to turn the buttons to control the sound. I guess any artwork that uses electronics is now regarded as being automatically 'interactive.' But this piece wasn't. Cécile Babiole did however use Bzzz! as an instrument for a performance she gave during the opening of the festival
By reinventing an obsolete low-tech sound wave generator in this all-digital age, Bzzz ! serves as a commentary on the history of technology and a tribute to unprocessed, unsampled analog sound : in a word, the raw sound of electricity.
Video showing the installation in action, along with a short interview with the artist (in french):
Also at the last edition of GAMERZ: Macro-videos for musicians in action.
The GAMERZ festival closed a few days ago in Aix en Provence. The first time i visited it was in 2010 and i decided then that it would be my favourite festival of the year. A few editions later, it still is the most exciting event in my calendar. I'll explain the enthusiasm with more details in the upcoming blog reports. In the meantime, i'm going to highlight Eye for Ears , a work i discovered during one of the performance nights.
Jérôme Fino defines these videos as Macro-videos for Musicians in Action.
The short films show what i'm supposed to be fairly familiar with: a documentation of experimental musicians improvising sound works. However, the gestures of the performers, the devices they use are shot from up-close. Fragments, tips of the fingers, knobs about to be turned, strings vibrating, etc.
The idea is ridiculous simple but perfectly executed. Eye for Ears (that's the name of this video series) made me discover new sound artists but also allowed me to see the physicality of their sound performance.
The focus is locked, the environment disappears, the camera is used like a machine to dissect the sound. Eye for Ears propose a music notice, an instinctive music played like a game. Diversion and research take part of this game, which rules are redefined each time.It's almost a physical experience, the sources of sounds and the relation between movement, materials and oscillation become evident. Documentation about improvised music, the project «Eye For Ears» is also an essay on the film and its soundtrack.
A portrait of the machines, manipulated by their invisible creators.
More videos? This way, please!