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.
[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.
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.
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
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.
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.
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.
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”