Anthem Score music notation transcribed from bridge sound recordings
AI Generated Bridge Lyrics
Created by TheseLyricsDoNotExist.com
And the bridge is down A golden bridge Every bridge that was burned and every bridge that was smashed Every train that came to town and every plane that hit the ground On the bridge, you pay our toll The streets are full of memories
So build a bridge to the sun, nobody else to know Plant the wind beneath the earth, wait to destroy the flood Wash the sin from our skin, build a bridge high and high They tell me about the bridge Cause if you build a bridge between you and I Just imagine where it will end up
We hung fifteen balls on the bridge of the Brooklyn Bridge Where are you, girl, where are you? I was on the bridge, on the bridge Yeah, I was on the bridge when they came and took the bridge We break our bodies On this wooden bridge Build me a bridge or maybe two If I do you can mend my heart Danger, darling you make me violent, crazy, I jump off the bridge to tell you Kinda like the moment you took everything I had I was on the bridge, on the bridge, on the bridge Yeah, I was on the bridge when they came and took the bridge We break our bodies On this wooden bridge
After two days in the studio I worked through so many of the conceptual questions that have been bugging me for months. And opened up a stack of new ones.
Basically, I managed to hack my way around the twotone file structure and get my bridge samples into their system, playing as instruments in the data sonification tool.
Trumpets now play the Rama VIII Bridge in Bangkok, and the glockenspiel plays the Golden Gate. Problem is, all of these bridge sounds are already so complex, once you start mapping them to different notes in response to the shifts in data, it’s pure sonic chaos! If I had a system that played a sample and shifted the pitch as the data changes, that would be way more seamless. I am enjoying the ad hoc nature of this process though and the way it is forcing me to consider at a much deeper level, the relationship between the data and the sounds.
As imagined, the one to one parameter mapping of sound sample to dataset is not actually that interesting. In terms of compositional complexity – it gets repetitive very quickly. And, extremely dense sonically if I haven’t chosen the initial samples well.
Something one note, simple, not too much going on, without multiple beats or tones.
I have uploaded composition samples, in the process am still navigating how much of this creative experimentation to share and what to keep private for the eventual ‘outcome’. Although as we discussed in the Publishing as Practice workshop today, having ways to show your artistic process can be both liberating and engaging.
Liberating, because it frees you from the grip of perfectionism + as my dear friend Ernest always says: finished is better than perfect! Engaging because while it may pierce the bubble of mystery around your work, it can also make you more approachable. Since this is a project that relies heavily on collaboration, for me it makes sense to make the process as transparent as possible. This allows potential creative partners to dive into the various threads of creative process, and gives a quick overview for anyone interested in working together. It’s also a little alarming, as nothing is ‘finished’ and I don’t feel nearly ready to make it public. Yet here I am, writing for you – whoever you are, dear reader – to lay my artistic soul bare.
There was something else. Ah yes, the constraints of the TwoTone platform mean that I have to take a very ‘zen’ approach to the work. Like the Tibetan Monks I saw in New York City back in 1989, drawing sand mandalas. So intricate and beautiful, painstaking work that they released into the river once it was finished. You can’t stay attached to the outcome if you keep working through the process, over and over again.
Also that there is no ONE definitive work that will come from this. Many variations will emerge. And I am starting to make peace with that as part of the creative process.
I think perhaps I had envisaged – or ensounded? – a massive, global, all the bridges playing together event. But honestly, that is only possible as a conceptual frame. If you take even the 29 sensors on the ONE bridge and try to make a piece out of them, the sonic chaos resulting is going to be almost unbearable to listen to. So I need to find ways to pin it back into a context or reason for listening, and connecting. That is, the bridges have to relate to each other in some way, and to my own practice and experience. Otherwise it becomes totally random. I am starting to find more interesting questions through this process. And dealing with technical issues that I hadn’t even considered – like the sheer volume of data generated by a bridge sensor. And the compatibility or otherwise of the various types of data with each other and the systems I need to use for creating sound compositions.
As an example, I have figured out that the selected storm data from the Hardanger Bridge structural monitoring sensors is only available in mat format but the csv files I need are massive and broken down by hour, throughout the day. So I needed to find out exactly what time did this storm hit? Hurricane Nina seems like a good place to start. Around 2-8pm on a Saturday, 10th January 2015 – now I have attempted to open those csv files but their compression is not playing nice with my computer. It takes another level of engagement now to connect with the engineers and find out if they are interested in the sonification process, and how possible it is to switch formats.
I am charmed to discover that the accelerometers used are made by Canterbury Seismic Instruments, in Christchurch New Zealand, where my mother and grandmother were born. Which makes complete sense, given the magnitude and frequency of earthquakes NZ needs to monitor. Cusp-3 Series Strong Motion Accelerographs.
That brings us up to date, and my decision now to try selecting more subtle bridge samples as a starting point, and find out how they sound using the two datasets I am already working with. Then I need to get my head around the generative composition tools and work on mapping out the structure of the piece for the Church of Our Lady.
VR Worlds for Pixel Practice, Trondheim Open Digital Exhibition
Art Bacchanale & Diamond Galaxy
Art Bacchanale is a universe of inter-species harmony. The lone human figure is an astronaut who offers a celebratory drink to the animals. Their speech is transfigured by the dynamics of social relations composed for a cargo ship to an imagined island tropical Utopia.
In the second VR world, Diamond Galaxy, the audience are invited to collect symbols of magical powers and through their touch, uplift both the animals and the angel to a new state.
Living in a universe of signs. Trying to decipher the sibylline codes for their meaning. Dreaming of the North and finding ways to open the door into parallel dimensions. Searching for a viable creative Utopia. And remembering how to play!
Expanding the format of creative practice. We all contain universes, multiplicity of identities. Learning to accept messiness and creative play as part of artistic practice.
Letting space for the unknown to take form within the work. Or shape it. Or inform. This is my first experiment in building virtual worlds. How to navigate the terrain, create emotional connection and adventure?
Jodi Rose & Liz Dom
Process based remote collaborative networking digital exhibition team
2020, when the world went www… The plan was to start the fall semester together, the plan was to meet and create, to grow and connect… the plan… did not go according to plan.
Pixel Practice: Follow the Link explores the relativity of space, seemingly unconnected works and remote, collaboration; the link between all three areas. What links us together is this virtual exhibition space. Many of us have never met in person, except in this virtual world we have created. Join our adventure in creative, online, remote and networked collaboration. Join the collaborative conversation, and play with us!
By developing multiple pulls of gravitation such as a collaborative virtual reality platform, a curatorial thread and weekly online communication, the artists were able to increase their general relativity, the culmination of a meeting of minds, instead of bodies.
Mapping out a plan with multiple entry points allows us to guide the viewer through their experience of our combined worlds. The doors of perception open, and the portals between our separate realities converge. We invite you to explore this stream of consciousness as it continues to evolve.
Not knowing. Letting go of the outcome. Making a plan then ignoring it. Riding a new kind of creative surge that moves through her, surfing the waves of elemental energy. Inspired by conversation with friends, colleagues and classmates. Each reveals a new fragment of knowledge, a shift in perspective, a deeper layer of understanding. Her desire is to embed these experiences of connection and bring them into her world.
I’m fascinated to receive an invitation from Artsy about helping to share the work of John Cage. Of course, I’d be delighted! It turns out I learned something – I had no idea that Mr Cage, in addition to being one of the most inspirational and experimental musician/composers also made works on paper and in other forms.
“Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration” said Cage. This concept was a particular inspiration for my 20 year work Singing Bridges, making music with the vibrations of bridge cables. It’s curious to see the plexigram pieces dedicated to Marcel Duchamp, who famously said “The only works of art America has given the world are her plumbing and her bridges.”
There does seem to be a curious synergy between M. Cage, M. Duchamp and the music of bridges.
I’m already a fan of Artsy for their excellent contemporary take on collecting video art and selling art work on instagram, although I have yet to reach these exalted heights in terms of becoming collectable, it’s good to see someone make a living from their work – being a posthumous success as an artist is seriously overrated.
Here’s to vibrations, spirit and new ideas!
“I can’t understand why people are frightened of new ideas. I’m frightened of the old ones.”
Here is the Artsy listing, I’ll be curious to see more of these intriguing works.
“We strive to make all of the world’s art accessible to anyone online. John Cage was not only a revolutionary composer but also an innovative artist, and Artsy aspires to be a leading resource for learning about Cage’s art. Our John Cage page provides visitors with Cage’s bio, over 20 of his artworks, as well as up-to-date Cage exhibition listings. The page even includes related artist & category tags, plus suggested contemporary artists, allowing viewers to continue exploring art beyond our Cage page.”
One of the most influential composers of the 20th century and a leading figure in the post-war avant-garde, John Cage was a music theorist, writer, and artist, as well as a composer. His most famous piece,4’33” (1952), consisted of musicians doing nothing but listening to the sounds in a room for the duration of 4 minutes and 33 seconds. For Cartridge Music (1960), he amplified small household objects in a live performance. Influenced by Indian philosophy, Zen Buddhism, and Duchamp’s readymades, Cage championed chance procedures in music, incorporating found sounds, noise, and alternative instruments into his compositions. Two important early collaborators were the painter Robert Rauschenberg and the dancer Merce Cunningham, who was also his romantic partner for most of their lives. Cage published his first book, Silence, in 1961 and, in the 1970s, began to transform literary works, including those of Joyce and Thoreau, into music.
Omar Kholeif on Shuruq Harb
Vanessa Joan Müller on Özlem Altin
Jens Maier-Rothe on Malak Helmy
Column by Alanna Lockward
The starting point for the current issue was initially summed up with the term “visual agency.” The increase in dissemination channels and the accompanying (at least potential) publicness of visual narratives has resulted in the fact that there is hardly any more control over the contexts in which images circulate and how they are perceived, interpreted, commented on, and exploited. In the (relatively new) mass media euphemistically called “social” networks, images in any case alternate unchecked between the registers of fiction, authenticity and fetish, between evidence and manipulation, criticism and affirmation, and pass through the most varied and contrasting contexts. How do matters therefore stand with respect to the agency of images under these circumstances of the unshackling of the visual? What strategies do artists select to produce a specific context, to occupy the specific site of a visual assertion? How do they react to the routes of appropriation and reinterpretation to which the images lose their title and credits? What is still suppressed so that it cannot become visible? Such questions lead to an idea—of any type whatsoever—of a “site” of images that might be constructed and from which they can be read. Yet, just as what can be seen and what can be said are linked by the boundary that separates them, the contributions in this issue are connected to the idea of their conception in that they oppose or at least, however, shift it.
Shuruq Harb’sThe Keeper—which was published in 2011 as a limited book edition—at the same time also comprises an installation and a performance and makes use of the archive of Mustafa, a street vendor in Ramallah, who prints out images from the Internet and sells them in boxes. In the past, Mustafa’s family still imported images, for instance, from China, Lebanon, or Syria. In 2010, Harb acquired some 2,000 of such unsold images and sifted through and arranged them together for The Keeper. This archive documents a changing access to images and a change in how they circulate. Many of these images were at times officially barely accessible or even banned, which is why the archive traces the history of image regimes—public as well as private—and thus represents a specific form of distribution of the sensible.
The work of Özlem Altin is linked with that of Shuruq Harb by the work on or from an archive. Central motifs in her oeuvre are the human body and the codes that it emits. In this, Vanessa Joan Müller, however, finds a subtle moment of the uncanny in and between her images, in the sense of a relationship between the animate and the inanimate that has become blurred, between the body and its eidetic double, which has solidified into a nature morte. The frozen poses, mute gestures, and motionless individuals subject them- selves to the discriminating gaze as objects and yet escape it again and again. What might seem to be a system of ordering can instead be described better through a type of stream of images and image layouts, an ongoing constructing and deconstructing of meanings, references and aesthetics.
Malak Helmy’s contribution goes back to a co-operation on an exhibition between Camera Austria and Beirut last autumn. Unexpected Encounters focused on the translation errors in political and cultural transfer. Malak Helmy participated in this exhibition with a sound work that took the mimetic abilities of the lyrebird as its starting point for addressing questions of identity and subjectivity. In his text contribution, Jens Maier-Rothe also writes about birds, migratory birds and their navigation skills. They always follow the same routes, in which their flight also seems to be a surveying of historical space. The artist pursues these traces in Egypt, a land of change, in which channels of communication decay like the coordinates of everyday life.
Camera Austria International
published quarterly, 100 pages, German / English
Rampa’s first group exhibition this secret world that exists right there in public brings together the works of Etel Adnan, Hüseyin Bahri Alptekin, Francis Alÿs, Otto Berchem, Attila Csörgő, Ergin Çavuşoğlu, Cengiz Çekil, Nilbar Güreş, Berat Işık, Çağdaş Kahriman, Yasemin Özcan, Funda Özgünaydın, İz Öztat & Zişan, Kiki Smith, and Ali Taptık.
Co-curated by Lara Fresko and Esra Sarıgedik Öktem, the exhibition takes its inception and title from a scene in Noah Baumbach’s 2012 film Frances Ha, in which Frances, talking to strangers in semi-drunken fervor, points out a fleeting moment when the transformative potential of love as well as the miracle of unmediated communication is rendered possible and visible. Focusing on the potentials of interpersonal relations and social movements to envision alternative worlds, the exhibition brings together works from different histories and geographies.
Three central works explore the many facets of travel, crossing borders, creating channels of communication, instituting solidarity, storytelling and imagining utopian and dystopian alternatives through a cartographic approach. In The Loop (1997) Francis Alÿs takes an unexpected route to go from Tijuana to San Diego without crossing the Mexico/United States border. In a similar vein, Hüseyin Bahri Alptekin’s diptych piece Black Sea Map / Kéraban Lé Têtu (1999) follows Jules Verne’s stubborn tobacco merchant in a journey all the way around the Black Sea in order to get to Istanbul’s Asian coast without crossing the Bosphorus. A remnant of what became an unfinished project of the artist to forge networks of communication among the contemporary art scenes of Turkey with its northern neighbors is not only a vision of alternative routes but also a cultural project of solidarity formation. İz Öztat & Zişan’s collaboration consists of a drawing of the Island of Paradise/Possessed (1915–17) by a fin de siecle avant-garde artist Zişan, that takes the form of three letters that spell both Paradise and Possessed in Ottoman script. Within their cross generational relationship, Zişan’s departure point for the map draws İz Öztat into a journey through the absent Island of Adakale on the Danube, which materializes in a publication and a video work titled Constituting an Island (2014).
A preoccupation with space and place are treated formally in two of Etel Adnan’s abstract paintings, which evoke landscapes, Untitled (Beirut) #077 and Untitled (Beirut) #132, and verbally in Ergin Çavuşoğlu’s “Place Series” (2008). Attilla Csörgő’s sketches, Squaring the Circle (2012) are geometric studies evocative of the great architect Sinan’s fascination with placing a circle on top of a square in building a space of community as well as divine communication.
Otto Berchem’s tent-like structure invokes a traditional ritual of community with May Pole (2013), a sculpture piece on which he projects the color abstractions he blocks out from protest signs on black and white photographs of social mobilization across the world through recent history. Cengiz Çekil takes one of the most popular media of the 20th century, and strips it to its bare imagery in his newspaper collage from the series “Unwritten” (1977), opening up alternative readings through images as well as questioning the very credibility of the image itself. Yasemin Özcan’s Soap Opera Synopses, an installation dated 1997, is reconstructed in the back of the gallery space, standing in as a relic from our near history, with a sound that haunts our psyche. Özcan’s intervention into the text, which reflects the socio-political agenda of its time, gives a wonderous contextualization, and a glimpse into the machinations of repetition and change.
The exhibition explores the momentary encounters Frances imagines, in geography, history, and popular media as well as in quotidian and fantastic imaginaries of nature. Ali Taptık’s photographs depicting the urban flora arise from his practice of walking and documenting the minute details of urban landscape. His survey of a variety of frail potted plants scattered throughout the city resonates with Çağdaş Kahriman’s lament for an urban tree in Fenêtre sur cour. Berat Işık’s video duo, Butterfly Effect (2012) and Falling (2013) were produced as two separate pieces. Shown in this exhibition together, the duo explores the transformative potential of breath as the source of human voice. This potential is explored in the breath that is held and let go in Butterfly Effect and the gas filled balloons that are left to roam the skies.
Kiki Smith’s animal drawings from the series “Everywhere” (2010) explore a world which is accessible only through the perception of animals, and remain closed to human beings. Funda Özgünaydın’s human-animal collages depict the hybridization of the species, a strategy that aspires to glimpse into the perceptive range of our co-habitors. Nilbar Güreş’s Spider Woman; Mother (2006), a barely visible piece hanging uncannily from a corner harbors a quiet and unexpected strength, opening up a world not visible to those outside her web.
Bringing together works that twist, open up or change our perception, the exhibition aims to create a space where the secret world that exists right there in public appears as a possibility. The exhibition hails the social movements that will surely leave a mark on the 10s of this century by taking a fresh look at history, geography, architecture, and nature.
The New York School of Visual Arts is pleased to present two innovative summer residencies in public art, which introduce artists to the conceptual and practical considerations of expanding a studio practice into the public realm. Both programs are open to artists interested in moving from the traditional studio, gallery and theatre space into the urban arena. Visual artists, writers, architects, designers, performance artists, urban planners and social activists are invited to apply.
City as Site: Public Art as Social Intervention June 16–27, 2014 City as Site is a nomadic summer residency that explores the diverse communities that define New York City with the aim of creating site-specific public works and brings together artists, scholars and community members to think about the role of art in constructing space for civic dialogue. Participants will develop experimental models for an artistic practice that combine methods from the arts, activism, and other fields in order to cultivate innovative approaches to the construction of social spaces as works of art.
The residency will use New York City’s five boroughs as its classroom, engaging with its communities, histories and stories as materials for final projects. Interventions may take the form of tours, temporal installations, video or sound projections, performances, community involved projects, peer-to-peer platforms, print or online publication, or a one-time street event.
A faculty composed of leading artists and social entrepreneurs will help artists originate projects that reflect current social issues and guide collaborations with local businesses and neighborhoods, as well as cultural and governmental partners.
Faculty and guest lecturers will include Ofri Cnaani (visual artist), Kendal Henry (public art, urban design consultant; visual artist; curator), Ed Woodham (artist, founder and director, Art in Odd Places), Rachel Falcone & Michael Premo (Housing is a Human Right), Tom Finkelpearl (Queens Museum), Lisa Kim (Two Trees), Micaela Martegani (More Art), Jenny Polak (artist and activist), Todd Shalom (Elastic City), Radhika Subramaniam (Parsons The New School for Design), Charlie Todd (Improv Everywhere), Risë Wilson (The Laundromat Project & Robert Rauschenberg Foundation), Caroline Woolard (Our Goods & Trade School).
Reconfiguring Site: Art, Architecture and Activism in the Public Realm July 14–26, 2014 Making art in the public is no longer just placing an object in a public plaza, a monumental sculpture in a park or a memorial sculpture. Public art can be integrated into the landscape or digitally into the fabric of a building. It can be performative, ephemeral, digital or permanent. Many artists would like to make art in the public but feel overwhelmed by its challenges or by what is often seen as a compromise of one’s creative freedom. The restrictions imposed by a commissioning agency, as well as limitations of liability, money and recognition can also be confining for an artist.
This program is structured as a think-tank for public art. Participants will learn how to read from architectural plans and create an ephemeral work in the streets or a temporary work at a site suggested within NYC. Perfecting an existing proposal or developing one that can be realized at a later time will also be fundamental. In acknowledgement of the increasing threat of global warming, this summer’s residency will focus on the waterfront. Art and architecture serve integral functions in the redevelopment of waterfront areas, which have been affected by climate change. Residents will be encouraged to develop professional proposals, which engage a New York City-based waterfront site under the guidance of faculty members and guest lecturers.
Core faculty will include an artist, a public art curator/administrator and an urban planner/architect. Leading public art administrators will be among the guest speakers in the residency. Faculty and lecturers have included Charlotte Cohen, Craig Dykers, Eiko and Koma, Wendy Feuer, Anita Glesta, Kendal Henry, Barry Holden, Meredith Johnson, Anne Pasternak, Lauren Ross, Krzysztof Wodiczko and Nina Yankowitz.
The 12th Bienal de Cuenca is conceived as an open thought process, in which the artworks form a constellation of independent yet deeply interrelated concepts. Informed by Édouard Glissant’s (Martinica, 1928–Paris, 2011) understanding of knowledge as stemming from movement and relation, the Bienal addresses the suspension of the privileged condition of the artist.
In some cases, this results in nomadic artworks, not only because of their physical movement, but also through the outsourcing of creative production to the point of following an almost industrial modus operandi. In other cases, artists recuperate traditional know-how, by working with craftsmen or rescuing fables and forgotten stories, or they reinterpret already existing works and even collaborate with spirits and other-than-human beings. The dissolution of the border between the conceptual and the physical author undermines the bases of economic, geographic and political status quos, often referring, in more or less direct ways, to postcolonial debates and the need to undermine market logic. Problematizing those issues, other artists question the validity of standard and universal measurements of time and space, and point to the impossibility of reducing the world to uniform criteria.
Fundación Municipal Bienal de Cuenca Bolívar 13-89 y Estévez de Toral
T +593 7 2831 778
The title of the exhibition is based on the Ecuadorian expression Ir para volver (Leaving to return), which describes a physical and temporary absence (frequently even without a definite duration). While highlighting the state of movement as the key aspect of many artworks included in the exhibition, this expression also situates the 12th Bienal de Cuenca in the undefined field of speech, emphasizing the importance of dialogue and of the mixture of apparently distant, disparate, and even opposed forms of knowledge. Leaving to Return signals an ongoing dialogue that takes place far away from the rigidity of strict and polished discourses, and ultimately delves into life itself.
Dialogues, the discursive program of Leaving to Return, is structured around four of the main concepts of the exhibition. Nabil Ahmed, Sarah Demeuse, Max Jorge Hinderer and Manuel Segade were invited to organize the four table of discussion. On the final day of the program, architect Paulo Tavares will moderate a session that will explore the relation between the topics and the questions raised in the previous days, and articulate a collective dialogue.
Residency program, September 2013–June 2014: Agency, Helen Mirra, Eduardo Navarro, Julia Rometti and Victor Costales, Jorge Satorre, Marinella Senatore, Sara VanDerBeek
Exhibition, March 28–June 27: Agency, Meriç Algün Ringborg, Armando Andrade Tudela, Julieta Aranda, Martha Araújo, Adrián Balseca, Alessandro Balteo Yazbeck, Néstor Basterretxea, François Bucher, Mauricio Bueno, Saskia Calderón, Pia Camil, Daniel Gustav Cramer, Juan Downey, Patricia Esquivias, Mario García Torres, Ximena Garrido Lecca, José Hidalgo-Anastacio, Runo Lagomarsino, Little Warsaw, Maria Loboda, Claudia Martínez Garay, Benjamin Meyer-Krahmer, Ana Maria Millán, Helen Mirra, Felipe Mujica, Eduardo Navarro, Rivane Neuenschwander, Pedro Neves Marques, Wendelien van Oldenborgh, Juan Pablo Ordóñez, Bernardo Ortiz, Adrian Paci, Rita Ponce de León, Mauro Restiffe, Manuela Ribadeneira, Julia Rometti y Victor Costales, Jorge Satorre, Marinella Senatore, Daniel Steegmann Mangrané, Cecilia Szalkowicz, Sara VanDerBeek
Performances, March 28–30:
Saskia Calderón, Juan Pablo Ordóñez, Marinella Senatore
Dialogues, March 29–31: “Table 1—History, Body, and Aesthetic Condition”: Valeria Coronel, Carles Guerra, Max Jorge Hinderer Cruz
“Table 2—Appropriation”: Pierre Bal-Blanc, Christian León, Manuel Segade
“Table 3—Of Men and Measure”: Sarah Demeuse, Fernanda Laguna, Alexander Provan
“Table 4—Material Movement: Forests”: Nabil Ahmed, Mario Melo, Nancy Lee Peluso;
Discussion: Paulo Tavares
How to do things with[out] words March 22–September 21, 2014
The project, a laboratory situation including installations, workshops, and performances, will explore questions of how art deals with reality in a performative way.
CA2M Centro de Arte Dos de Mayo Av. Constitución, 23
Spain Hours: Tuesday–Sunday 11–21h Intensity days: March 22, May 10, and September 20 www.ca2m.org
Curator: Chantal Pontbriand
With Mathieu Abonnenc, Jennifer Allora & Guillermo Calzadilla, Brad Butler & Karen Mirza, Geneviève Cadieux, Jean-Pierre Cometti, Adrian Dan, Angela Detanico & Rafael Lain, Carole Douillard, Cevdet Erek, Köken Ergun, Esther Ferrer, Chiara Fumai, Ryan Gander, Simon Fujiwara, Dora García, Camille Henrot, Sandra Johnston, Amelia Jones, Latifa Laâbissi, La Ribot, Ines Lechleitner, Franck Leibovici, Cristina Lucas, Haroon Mirza, Antonio Negri, Roman Ondák, Falke Pisano, Chantal Pontbriand, Chloé Quenum, Pedro Reyes, José Antonio Sánchez, Julião Sarmento, Ulla von Brandenburg, Carey Young and Héctor Zamora
Performance and performativity are centre stage at this time. The fact that we are living more and more in an “immaterial” world, dominated by mediatisation, the impact of globalization, the increasing tendency to think of politics as biopolitics, these different factors enhance performance over materiality, or object making. Performativity explores the space in-between, what happens when bodies or objects are left to perform. To perform is to enable oneself or things to work through form. And to let form speak for itself.
Performing and performance are concepts that activate reality. In this sense, performativity (what performing and performance activate) offers resistance against a homogenization of the world. It leads to renewal, change, and expands the potentiality of things and beings.
An exhibition/event This exhibition, conceived as an event, will enhance performativity and the way it works, the way it performs itself. It will include objects, media as well as bodies. It will be “live” at all times, as installations, photography, films, performances, discussions, inhabit the space of the museum.
The subtitle of the exhibition, given by the concept “per / form,” is driven from John Langshaw Austin, the English philosopher who was one of the founders of analytical philosophy and pragmatics. In 1955, he gave a lecture called “How to do Things with Words” in which he explores the relationships between acts and language. The book published in 1962 is often quoted when discussing performance and art. This exhibition further explores that relationship through different situations proposed by the exhibition format itself and by the works presented and activated in its midst.
The project, a laboratory situation including installations, workshops, and performances, will explore these questions of how art deals with reality in a performative way. The project consists of different modes of “display”: the exhibition per se which brings together 16 installation works, some of which include live elements, others which can be activated live in different ways, in situ works, and performative situations which will be concentrated in three days throughout the project. These are the Intensity Days, March 22, May 10 and September 21. During these days, there will be further activation of some of the installations, workshops, talks, discussions, and performances. The Intensity Lab, a space included in the exhibition, will host some of the the later, and archival material corresponding to the whole project and its developments.
Chantal Pontbriand is art critic and curator. Her work is based on the exploration of questions of globalization and artistic heterogeneity. Since 1970, she has curated numerous international contemporary art events: exhibitions, international festivals and international conferences, mainly in photography, video, performance, dance and multimedia installation. She founded PARACHUTE contemporary art magazine in 1975 and acted as publisher/editor until 2007. In 1982 she was president and director of the FIND (Festival International de Nouvelle Danse), in Montreal. She was appointed Head of Exhibition Research and Development at Tate Modern in London in 2010 and since then lives in Paris and has founded PONTBRIAND W.O.R.K.S [We_Others and myself_Research_Knowledge_
Per/Form: the book A book will be published including texts by Jean-Pierre Cometti, Amelia Jones, Antonio Negri, Chantal Pontbriand, and José Antonio Sanchez. The artists will contribute to the book in the form of visual essays. Editor: Chantal Pontbriand. Designer: Agnès Dahan. Publisher: CA2M / Sternberg Press.
Sydney College of the Arts (SCA), The University of Sydney, in partnership with The University of Northern Iowa and University of Auckland and in association with the Australia Council, the Ian Potter Foundation, the Goethe-Institut, Sydney University Press presents:
The conference and exhibition address two key principles of camouflage – concealment and deception – in relation to four themes: surveillance, communities, aesthetics, and animals. The theme of ‘surveillance’ includes war, defence, militaries, and conflict; ‘communities’ embraces society, the everyday, government, and identity; ‘aesthetics’ incorporates art, architecture, film, and popular culture; ‘animals’ includes human and non-human beings, nature, evolution, pattern, and optics.
CAMOUFLAGE CULTURES conference runs from Thursday 8th to Sunday 11th August. The conference and exhibition offer an exciting range of interpretations and understandings, research and investigation into the subject of camouflage and in relation to visual representation and the contemporary world. The event showcases the work of staff from the SCA and other leading national and international artists, academics and writers.
Conference Keynote Speakers:
Roy R. Behrens, Professor of Art and Distinguished Scholar at University of Northern Iowa
Hsuan Hsu, Associate Professor of English at the University of California, Davis
Paul Brock & Jack Hasenpusch, Donna West Brett, Edward Colless, Ann Elias, Ross Gibson, Pam Hansford, Ian Howard, Bernd Hüppauf, Ian McLean, Jacqueline Millner, Jonnie Morris, Nikos Papastergiadis, Tanya Peterson, Linda Tyler, Ben Wadham
Robyn Backen, Maria Fernanda Cardoso, Debra Dawes, Alex Gawronski, Sarah Goffman, Shaun Gladwell, Emma Hack, Ian Howard, Jan Howlin, Jonnie Morris, Justene Williams
Camouflage Cultures Conference
8 August – 11 August 2013
Sydney College of the Arts
Balmain Road, Rozelle
Camouflage Cultures Exhibition
8 August – 31 August 2013
SCA Galleries, Sydney College of the Arts
Balmain Road, Rozelle
Location & Getting to SCA. Wheelchair access: The SCA Galleries are fully accessible venues. Public transport and limited accessible visitor parking is available. Bookings are essential.