Name: Andy Skelton
Location: Nottingham, UK
Title: Fragments and Ruins (excerpt)
Description: In reflecting on the recession, I have applied a reductive and/or recessive technique to my trumpet playing. Rather like the Global Financiers, the consequences of my actions are barely there.
Filed under Sound of Ebb, United Kingdom
Name: Fabio Coruzzi
Location: London
Link: www.fabiocoruzzi.com
[My name is Fabio Coruzzi , London based artist/printmaker, this is the sound of Recession that I want to submit. The only problem, it’s the file, I don’t know how to convert on AIFF or WAV format. The format I submitted plays on quicktime software. It has been recorded from a hidden mobile phone, it was the only available device because I was in the middle of nowhere in South Italy, in a 30 inhabitants village with no internet or phones..]
Title: F…K RECESSION, I’LL TAKE A SHOWER.
Description:
The sound of recession came up in a hot afternoon , in the middle of an Italian summer,.
Outside were 42 degrees and people were trying to relax and think about the nothingness, I was reading a newspaper, it was talking about recession and economic downturn. Just words after words, adding shambles to global chaos.
While I was thinking about in what kind of boat the world will sink,a friend of mine, a carpenter, decided that was it. He said: I don’t give a damn about, I don’t even know what you are talking about, I am just a worker with the a level, nothing more, you know what? I’ll go to have a shower to refresh myself and take a nap afterwards.
So I went to record his “indifference” about this world made of numbers, theories and phobias. He was incarnating the common sense through the hot environment of South Italy. He was singing while taking shower, because singing brings good mood and optimism…..
That was the sound of recession, a big interrupting noise followed by singing songs under a refreshing shower.
Filed under London, Sound of Ebb, United Kingdom
Name: Hugo Filipe Rodrigues Paquete
Location: Porto, Portugal
Link: www.myspace.com/hugopaquete / www.myspace.com/processpoet / www.myspace.com/surdorecords
Bio:
Hugo Paquete laptop sound experimentalist constructing the boundaries of sound and perception with the target of constructing sound experiments in relation with the architectural environment and spacial characteristics. Sound as art. Hugo Paquete has making a research in visual arts and sound installation, exploring the complex relation between the man and the Real and its paradigms of language, perception and technology. Its workmanships carry-in the ones for a language purified and synthesized codes with the objective to portray an aesthetic of mental landscapes, trying a conceptualist relation with the objects. Where from the logic we reach the abstraction. Sound art In general in the sound installation I explore a very minimalist process of representation in some of my work I don’t use any image support, because I want explore the creative power of the sound situation, which I construct for some exact spaces. Exploring with frequencies that are the visual representation of the sound and the waves that are the physic part of the sound constructing the physically and psychological art experience. With this visual emptiness I want manifest a resistance to the free image word of the contemporary media society, making a introspection that goes directly to the perceptive system headed for explore the imaginative dimension of the visual images, exploring the process when the receptor use is visual knowledge to appreciate the work and give a visual and sound suggestion to the represented concept. Following this process I Denney the image in some of my work and I tray raise an ambiance that is propitious to the reflexive process of thinking in the visual interpretation of the sound, is like experimenting a mystic situation of the mental labour. With the objective of demonstrating the multiplicity of interpretation and concepts in art. In my work I explore concepts that go from the reality to the abstractive elements from exploring their symbolic dimension and the form that we recognize them in there spatial and cognitive dimension. The importance of this research is the sound situations that I construct exploring concepts about perception and space knowledge and the boundaries about the human perception and art that are fundamental to the perceptive theories that are important to the understanding of the visual world that surround us with all the divergent information. My sound work is a contribution to the perceptive theories and to the organisation and understanding of the visual and sound phenomenology’s, exploring the human aesthetic, and the contemporary universes of the media.
Title: (in situ)
year: 2009, duration: 00:04:22
Description:
Hugo Paquete is developing a exploration in the visual arts and sound installation, exploring the complex relation between the man and the Reality and there paradigms of language, perception and technology.
Since 2001 I have been working on an expanded concept of sound space and communication not only incorporating space according to its spatial characteristics in the narrow sense (acoustic, architectonic, sculptural, perspective, communicative and ambient).
Beyond this my installation works conceive of space in its site-specificity, usually existing in several layers: a social layer, the communicative between emission and reception, a situational layer exploring the concept of understanding of the reality and perception.
This concept of space is thus not limited to interior spaces and architectonic-formal relationships, a position which naturally also defines my working methods: only subjective, on-site research fields explore from concrete sound the understanding of that sounds out of the spatial contest.
In some installations I explore this concept with several sound speakers and players giving different sound signal to the space to construct a more complex situation according with the conceptual explanation of the communicative space interception and brain selective information.
Filed under Portugal, Sound of Ebb
ArtAsiaPacific
Issue 65
Sept/Oct 2009
The depressed global economy has raised the stakes for government leaders around the world as frustrated citizens cry out for political and social reform. Waves of civil unrest in Asia have dominated the international media in recent months. In mid-June, massive protests in Iran followed the announcement of questionable results for the presidential election. Meanwhile, in western China, simmering tensions between Muslim Uighurs and Han Chinese erupted into bloody riots, resulting in some 200 dead, more than 1,000 injured and many more arrested.
ArtAsiaPacific’s September/October issue focuses on artists whose work engages with politically charged themes and seeks out alternative resolutions to the world’s most deeply entrenched problems.
The horrifying specter of nuclear war remains a sensitive topic in Japan. Features editor Ashley Rawlings examines how the irreverent Japanese collective ChimPom broke one of the country’s touchiest taboos after skywriting the word PIKA (meaning “flash” and an overt reference to the atomic bomb) in white smoke over Hiroshima. Rawlings analyzes why the city’s residents found the group’s action unacceptable, yet were able to embrace other interpretations of the 1945 explosions by artists such as Cai Guo-Qiang.
Turning to Taiwan, AAP’s desk editor in Taipei David Frazier looks at the sexually charged paintings and digital prints of Wu Tien-chang while reflecting on the island’s transition from four decades of martial law to democracy in 1987. Curator and scholar Britta Erickson explores the diverse work of Yang Jiechang, revealing how the artist regularly encounters social and political antagonism when he exhibits, not only in his home country of China but also in France and Poland. From the Middle East, AA contributor and Almanac co-editor Marisa Mazria-Katz considers the ruminative work of Yael Bartana, an Israeli artist who critiques Zionist propaganda in videos that touch on Israeli national identity. Looking north to Lebanon, managing editor HG Masters traces recent developments in the work of conceptualist Walid Raad who, after retiring his project the Atlas Group on the history of the Lebanese Civil War (1975–90), has turned his attention to the development of art and culture in the Middle East, including the massive museum construction projects in Abu Dhabi.
In Profiles, AAP meets instrumental figures in China, Iran and Australia. Vicki and Kent Logan, owners of the largest private collection contemporary Chinese art in the United States, talk about their fascination with Cynical Realism, and how the 1990s movement broadened their understanding of social change in China. AAP’s West Asia desk editor Sara Raza talks to artist, curator, collector and gallerist Fereydoun Ave about developments in the Iranian art scene following the 1979 Islamic Revolution, and his recent mixed-media collages portraying heroic figures from Persian medieval poetry. Michael Young sits down with John Kaldor, Australia’s leading contemporary arts patron, who has commissioned major public artworks in Sydney by Christo, Gregor Schneider and others over the last 40 years.
In Projects, NaoKo TakaHashi, a Japanese performance artist who has worked in Jerusalem, tells AAP about how she transformed her experience as an immigrant in London into performances and installations that record social interactions with unwitting participants. For Where I Work, AAP visited Naiza Khan in her Karachi studio, filled with the artist’s haunting abstractions of the female body and her more recent work about urban decay. Reflecting on the history of the Subcontinent, senior editor Don J. Cohn reviews three recent books on India’s passage to artistic and cultural modernity. In My Eight, artist and biting social critic Ai Weiwei lists his favorite governments, and as a reminder that democracies are not immune to the erosion of civil liberties, independent curator Hyunjin Kim discusses the South Korean government’s regulation of free speech and deep budgetary cuts to the country’s arts infrastructure.
Filed under Art, Article, United States
Workshop:
Self Evacuation for Londoners
w/ Caspar Below (independent artist)
August 28th @ Volume, 8pm
In his presentation and workshop on self-evacuation for Londoners, Caspar Below will try to find out whether there are alternatives to authority-led evacuations in urban emergencies.
In his brief presentation Caspar will give examples of urban evacuations in recent history and outline the current plans for London.
This will be followed by a workshop where we will discuss different scenarios for London, as well as the option to take evacuation into our own hands. Time permitting we will carry out some practical exercises.
Caspar Below is an artist with an explorative interest in local histories, urban fault lines and relationships between communities and hierarchies.
Previous projects have involved audiences in re-enacting crowd control, finding new parent memories for orphaned family photos and answering a multitude of enquiries via text message as the SMS Oracle.
He set up pirate radio broadcasts in a Northern Irish village and used secret filming to map the no-go “aura” of governmental buildings by stepping into its sensitive zones. More recently he collected bad advice and disposed of them in a series of cleansing rituals.
Filed under Exhibition/Event, London
Slack, Taut and Snap: A Report on the Radical Incursions Symposium
27 August, 2009
published in MUTE
by Peter Conlin
“Where the recession opens up ‘slack spaces’ in the city, squatters and artists are sure to follow. Nowadays the apparatchiks of culture-led regen are hard on their heals. But what would a gentrification non-compliant occupation look like? Peter Conlin reports from St. Martin’s Radical Incursions symposium”
http://www.metamute.org/en/content/slack_taut_and_snap_a_report_on_the_radical_incursions_symposium
Name: Katie McMurran
Location: South Pasadena, CA, USA
Title: Still a Difficult Time
This piece is about what we know now in comparison to what we were told then.
credits:
Michael Chick, voice
Bush clips from Reuters News
Wind Sound by audible-edge (http://www.freesound.org/usersViewSingle.php?id=995351)
Winter wind whistling through window.mp3 (http://www.freesound.org/samplesViewSingle.php?id=69512)
TV Static Sound by NoiseCollector (http://www.freesound.org/usersViewSingle.php?id=4948)
tvstatic.wav (http://www.freesound.org/samplesViewSingle.php?id=57025)
Filed under Sound of Ebb, United States
Just wanted to say THANK YOU to all the contributors to the project. We’ve had a wonderful month of archiving, accumulation and workshops.
We will still accept contributions if you have any, but activities will remain primarily online. A compilation for Sound of Ebb is in process and we will keep you informed about the progress. We hope to release it before the end of 2009.
Please feel free to contact us if you have any questions about the archive / project. We will be working on future developments for the archive in the coming months.
Best wishes,
LOUDSPKR + Volume
Contact: teos.project[a]gmail.com
Filed under Uncategorized
The Social Critique: 1993-2005
12 Sep. – 22 Nov. 2009
Kalmar Konstmuseum
Stadsparken, Sweden
http://www.kalmarkonstmuseum.se
Participating artists: Franz Ackermann, Maja Bajevic, Richard Billingham, Angela Bulloch, Heath Bunting, Com&Com, Stefan Constantinescu, Plamen Dejanov & Swetlana Heger, Maria Eichhorn, Sylvie Fleury, Felix Gmelin, Johan Grimonprez, Jens Haaning, Swetlana Heger, Christine Hill, Sabine Hornig, Isaac Julien, Peter Land, Zbigniew Libera, Daniel Joseph Martinez, Rivane Neuenschwander and Cao Guimarães, Anneé Olofsson, Tanja Ostojic, Oliver Ressler, Pipilotti Rist, Annika Ström, Rirkrit Tiravanija, Elin Wikström and Zhang Huan
Curator: Martin Schibli
The social critique 1993-2005 is a contemporary art historical exhibition aimed at giving an introduction and a structure to an important and eventful period in contemporary art. What is characteristic for social criticism is that it presupposes that in art there is a possibility to deal with, highlight and pose questions around social issues. To a large extent the social criticism grew out of the vacuum that the art of the early 1990’s found itself in. A consequence of the fact that Postmodernism during the 1980’s had dismantled Art from its pedestal, and won symbolic power in the world of art. Art had no longer any value in itself. At the same time the status of art was increasingly upheld by the hype that surrounded contemporary art during the economic boom of that decade. With the recession of the early 1990’s the influx of capital into the art world ceased and this in turn led to the disappearance of hype. The art world imploded. In the early 1990´s this lead to a great sense of insecurity about where the contemporary art scene stood, and what was going to happen now, when so to speak everything was possible. Art was in need of a new identity, maybe even a new reason for its existence. The question asked was “What is the purpose of art, when its value as art no longer exists?”
That something had happened became obvious in 1993, at the Venice Biennale. With his Aperto-exhibition the curator Achille Bonito Oliva formulated a number of concurrent artistic positions that together gave a structure for where the contemporary art-scene was heading and what subjects it could deal with. It was in the social field that art had its function. Within the area of art there were a number of possibilities of focusing on various aspects of the social, within the large as well as the small. A few months earlier the Whitney Biennale also had received attention for dealing with political issues. It was within the social that art regained its purpose. The artist Rirkrit Tiravanija now became internationally recognised. Tiravanija had taken as his point of departure an idea pioneered by Joseph Beuys, the idea of the social sculpture, and for a number of years he was touring the art world with his cooking pieces that are based on the social function of art. In an exhibition at a department store ICA Malmborgs, Malmoe, the artist Elin Wikström spend the whole exhibition period on a bed, sometimes sleeping.
The exhibition at Kalmar Art Museum will consist of more than 25 works. Starting from a more humoristic standpoint, social criticism became increasingly hardcore and theoretically formulated and when moving into its end phase it shifted towards an aesthetisised form. The exhibition deals with subjects such as relational aesthetics, art research and post colonial theory. It is interesting to notice that the art of social criticism in reality grew out of the vacuum created from the last economic crash of the 1980’s and that its strength diminished with the influx of capital into the art world during the last decade. Today the situation is partly the same as in the early 1990’s and there is an uncertainty/openness about what is really happening on the contemporary art scene, combined with an economic downturn.
The contribution by Elin Wikström, Hur skulled det gå om alla gjorde så?, 1993, is taking place at the department store ICA Maxi Stormarknad, Verkstadsgatan 6, Kalmar, between 8-14 of October.
For more information, please contact curator Martin Schibli. Tel. + 46 480 42 62 88, E-mail: martin.schibli@kalmarkonstmuseum.se
Filed under Exhibition/Event
The End of Something.. 