Archivi tag: installation

atsuhiro ito / optron / fragments 2007-2019

Atsuhiro Ito Live @ FORESTLIMIT (Tokyo 2019)

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Diamond Version (Byetone & Alva Noto) + Atsuhiro Ito LIVE at EMAF TOKYO 2013 @LIQUIDROOM

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Atsuhiro Ito

: V.R. Specter 
- visible sound, audible light
December 1 – December 16, 2012
@ Snow Contemporary (Tokyo):
https://www.artsy.net/search?artist_ids%5B0%5D=atsuhiro-ito&term=atsuhirohttps://www.artsy.net/partner/snow-contemporary
& https://www.artsy.net/show/snow-contemporary-atsuhiro-ito-vr-specter-visible-sound-audible-light/info

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from SHIFT (a 2011 interview to Atsuhiro Ito by Julie Murikawa, http://www.shift.jp.org/en/archives/2011/03/atsuhiro_ito.html):
Atsuhiro Ito “crafted an instrument called the “OPTRON,” which outputs noise from the electrical discharge of a fluorescent light, when he was working on fluorescent light art exhibits in the 90’s. He plays the OPTRON not only as a solo act but also with other musicians both in Japan and overseas”.

An excerpt from the interview:

Why did you want to be an artist? Could you tell us the process of becoming an artist?

This is a problem of wording, but I have never been wanted to become an “artist.” (To me, it is hard to understand what people in this country want to achieve by becoming artists. It almost seems like the word “artist” itself can impress people. I know that it is a very convenient word to explain what people do though.)

In my case, rather than trying to contribute to the world, I’m more interested in creating things with my own hands and playing and listening to sounds. Since I have never stopped doing this, people started to think that this person might be an “artist” and refer to me as such. I have never really added any meaning or social contributions to my art and performances, and will continue to create and perform just because the visual and audible joy and stimulation keep me excited. By the way, my social positions are ‘an art creator and an OPTRON player.’

[…]

If you were not an artist, what would you be instead?

I don’t even know. Maybe a criminal or something. I bet that I’d be making a little better money than my current situation.

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“asemic sound cycles” by félix-antoine morin [& other/older performances]

Asemic Sound Cycles at Galeri Salihara
April 10, 2022 – April 24, 2022

Asemic Sound Cycles (2022), by Félix-Antoine Morin, is an exhibition specially developed for the Salihara Arts Center (Jakarta, Indonesia). This exhibition consists of a series of graphic scores on polyester film as well as a sound installation in the center of the exhibition space.

Asemic Sound Cycles consists of a series of graphic scores on polyester film as well as a sound installation in the center of the Salihara Gallery.

Félix-Antoine Morin’s graphic scores represent existing musical forms whose basic structures are drawn from his repertoire of compositions. By this process, Morin maps out the metamorphosis of sound phenomena through a rhythmic and poetic graphic expression. He encourages the ambiguity between musical notation and pure pictorial symbolism.

The kinetic sound installation arranged in the center of the space is inspired by the “locked groove” technique, an expression invented by Pierre Schaeffer in the mid 20th century to describe this phenomenon in which the needle of a record player falls indefinitely in the same record groove. In the same way, this sound installation follows a unique circular route. This consists of a microphone that reacts like the needle of a record player on materials and textures arranged throughout the floor.

Asemic Sound Cycles is an exhibition specially developed for the Salihara Arts Center.

(from
https://whatsnewindonesia.com/jakarta/event/asemic-sound-cycles-at-galeri-salihara/)

see also:
https://www.antaranews.com/berita/2816125/pameran-asemic-sound-cycles-hadirkan-kolase-visual-bunyi-dan-gambar

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Félix-Antoine Morin’s graphic scores represent existing musical forms whose basic structures are drawn from his repertoire of compositions. Through a syncopated visual construction, by which he instinctively creates new connections between signs, he shifts the initial writing toward material abstraction. Preserving traces of the sound origin, the accumulation of elements gradually transforms each composition into an autonomous language that no longer references music.
By this process, Morin maps out the … [click to read more]

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First solo exhibition of Félix-Antoin Morin in Turkey: Asemic Sound Mappings (Feb 19th – Mar 12th, 2022):

[…] The graphic language of the artist does not tend to have a fixed meaning, leaving the interpretation of the works free to the viewer, encouraging the ambiguity between musical notation and pure pictorial poetry. The artworks at the “Asemic Sound Mappings” exhibition display layered elements moving in the void, carrying rhythm to the surface by simultaneously expressing Morin’s musical and pictorial sensibilities […]

(from http://www.karsi.com/asemic-sound-mappings-f-lix-antoine-morin)

Continua a leggere

installance #0166: divination

installance n. : # 0166
type : card
size : cm 5 x 7,5
record : highres shot
additional notes : abandoned
date : Mar 16th, 2022
time : 10am
place :  Rome, via Cartoni
footnote : ---
copyright : (CC) 2022 differx

installance #0165: “you’ve found” (card)

installance n. : # 0165
type : card
size : cm 5 x 7,5
record : highres shot
additional notes : abandoned
date : Feb 24th, 2022
time : 6:10pm
place :  Rome, via Edoardo Pantano
footnote : ---
copyright : (CC) 2022 differx

1993 guerrilla marquee by Jenny Holzer

from 23 jan. in kaunas (lithuania): “ex it”, by yoko ono

From 23 January 2022, an installation by the world-renowned artist Yoko Ono, Ex It, will be on display in the main operations room of the Kaunas branch of the Bank of Lithuania, a famous example of interwar Kaunas architecture. The installation consists of 100 wooden coffins of different sizes with fruit trees growing out of them and a sound recording of living nature. It is a powerful image of the aftermath of war or natural disaster, a metaphor for the resilience of life and the vitality of nature. As the artist herself says, “Ex It is life as a continuation

This installation is the precursor to Yoko Ono’s major retrospective, which will be presented at Kaunas Picture Gallery in September this year. The exhibition, titled >>>

https://cac.lt/en/exhibition/yoko-onos-installation-ex-it/

mirror world / elizabeth aro. 2011

(Sandro Ricaldone @ facebook.com/1165115780/posts/10223815695358063/)

letmein / alice edy. 2017

“letmein” [Password Project]: a collection from the top 1000 most common online passwords (from FB, to LinkdIn, to Gmail). These are the words that keep us safe; the language we use to let people in, or keep them out. Painted on the side of the Nelson Mandela Bridge into the Johannesburg CBD, Sept 2017.

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from https://www.playbraamfontein.co.za/playground/alice-edy/ :

The Password Project was painted below the Nelson Mandela Bridge, on the wall opposite Play’s 62 Juta street in 2017, and  is a collection taken from the top 1000 most common online passwords (from Facebook, to LinkdIn, to Gmail –   ‘letmein’ is the 11th most common online password).

Alice says, “‘Let-me-in’ are the words that keep us safe; the language that we use to protect ourselves, and to keep other people at a distance. The bridge, as a primary artery into central Johannesburg is a site of continual human flow. The project raises questions of access control, asking people to consider how historically, and still today, language has been used as a tool in the regulation of human movement. There is also something semi-mystic about the words that hold this kind of power; a contemporary incarnation of the “Open Sesame” myth.

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g. j. de rook. 1973

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source: https://www.theideaofthebook.com/details.php?record=799
(https://www.theideaofthebook.com/pictures/799_06.jpg?v=1620330144)

 

leaning strata / robert smithson. 1968

the feuilleton: i will bear witness, rome, july 6-8, 2021 / jo melvin

The artists interventions represented are:
Alighiero Boetti, Daniel Buren, Victor Cavallo, Anne-James Chaton, Fortunato Depero, Alberto Di Fabio, Isabella Ducrot, Emilio Isgrò, Yves Klein, Richard Long, Renato Mambor, Piero Manzoni, Cristiana Marcinelli, Fabio Mauri, Gastone Novelli, Roman Opalka, Giulio Paolini, Andrea Pazienza, Lamberto Pignotti, Beniamino Placido, Cloti Ricciardi, Mimmo Rotella, Claudio Scalise, Mario Schifano, Luigi Veronesi, Francesco Vezzoli, Luca Vitone
& Rachel Whiteread.

the meaning machine (simplified version) / differx. 2018

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drawing an eye on a stone so it can see the sky / johannes s. h. bjerg. 2021

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“wasting my grammar”: cia rinne in berlin

wasting my grammar is now on view at die raum berlin night+day until 4 july. photograph by alexander schmidt/plaintype”

hush / differx. 2013