SONICA 2023 otvoritvena razstava: Darsha Hewitt / Simon Whetham
Termin
Lokacija
Cankarjev domSONICA 2023 razstava: Darsha Hewitt / Simon Whetham
19. 4.-23.4. 2023 @ Dvorana Alme Karlin, Cankarjev dom, Ljubljana
OTVORITEV/OPENING: 19. 4 2023 @ 20:00
RAZSTAVA: 20 in 23. 4. od 10:00-13:00 in 19:00-22:00
FESTIVAL TICKET: https://tinyurl.com/ykye5j3w
PROGRAM FESTIVALA/ FESTIVAL PROGRAMME: https://sonica.si
Vabljeni na zvočni instalaciji in zvočni perfromans kanadske umetnice Darshe Hewitt in Britanca Simona Whethama, ki nas peljejo v nedrje in zvočnost razpadajočih materialov, skozi katere motrimo vsakdajnost naključnost in cikle potrošnštva in ekologije.
Darsha Hewitt: High Fidelity Wasteland II: The Proto-Plastic Groove
Trilogija High Fidelity Wasteland je serija zvočnih del, ki se prebijajo skozi generacije razpadajočih materialnih odpadkov, ki jih proizvaja svetovna glasbena industrija. "High Fidelity Wasteland II: The Proto-Plastic Groove" je elektromehanska zvočna instalacija, ki z drobljenjem, utekočinjanjem, ponovnim stiskanjem in rezanjem novih sledi v zastarele formate za shranjevanje glasbe ponovno ciklizira zvočni izraz. Šelakova plošča, ki se vrti z 78 vrtljaji na minuto, je bila prva oblika zapisa v obliki diska, ki se je množično zbirala, porabljala in, kot se v glasbeni industriji dogaja, na koncu zavrgla kot opuščen medij v korist cenejšega medija, v tem primeru vinilne plošče. Kot material je šelak videti in se obnaša kot katera koli druga plastika, vendar je ta temna smola organskega izvora. Gre za bioadhezivno snov, ki jo izloča hrošč iz vrste Kerria lacca, ki živi na drevesih, in jo uporablja za ustvarjanje zaščitnega zavetja za svoje potomce. Ker je kemijsko podoben sintetičnim polimerom, velja šelak za naravno obliko plastike. In čeprav je bil šelak v 20. stoletju grobijansko pridobivan in predelan, da bi glasba postala oprijemljiva, predstavlja obdobje plošče iz šelaka edino (in zelo kratko) obdobje, ko je bila industrija snemanja glasbe trajnostno naravnana.
Nastanek tega umetniškega dela je omogočil program European Media Art Platform / EMARE, ki ga sofinancira Evropska unija.
Simon Whetham: Successive Actions
Sukcesivne akcije so del večjega kinetičnega zvočnega performansa "Channelling", v katerem zbirka motornih naprav, ki so bile rešene iz zastarele in zavržene potrošniške tehnologije, aktivira okoljske zvočne posnetke. Pri tem iz naprav nastajajo novi zvoki, ki so ojačani z uporabo različnih mikrofonov in tehnik. Posnetki vključujejo na videz vsakdanje zvočne pojave, ki se v vsakdanjem življenju pojavljajo nepredvidljivo in neredno - mimoidoči promet, veter, zapiranje vrat - in zaradi tega je gibanje naprav naključno, spremenljivo in avtonomno. S tem je odnos med izvajalcem in napravami sodelovanje in ne položaj gospodarja in služabnika. Projekt se še naprej spreminja in prilagaja svojemu okolju. Izvedba in način predstavitve se razvijata in izpopolnjujeta z vsako iteracijo. Naprave se dodajajo v zbirko ali upokojijo, zvoki pa se spreminjajo glede na lokacijo, kar povzroča nove sprožilce in gibanje naprav. Trenutna različica prerformansa omogoča občinstvu dva intimna pogleda na nastopajoče naprave na razdeljenem zaslonu, kar mu omogoča spremljanje performansa in podrobnosti delovanja naprav.
V Kanadi rojena in v Berlinu živeča umetnica Darsha Hewitt uporablja zvok, elektromehansko instalacijo, ročno izdelano elektroniko, video, risbo in fotografijo za kritično raziskovanje materialnosti strojev in tehnoloških praks, ki jih potrošniška družba zavrže. Z medijsko-arheološkim pristopom dekonstruira generacije zastarele tehnologije, da bi izsledila sisteme moči, ekonomije in nadzora, ki so neločljivo povezani s tehnološkimi infrastrukturami. Učinek hkrati demistificira zmedene notranje sisteme, ki so v igri v naši tehnologiji, hkrati pa jo ponovno mistificira, tako da jo preoblikuje v nepričakovana zvočna doživetja, ki sprožajo vprašanja o naši tehnološki vpetosti in njenih posledicah za ljudi in ekologijo. Njeno trenutno delo obravnava ekološke razsežnosti glasbe in tehnologije reprodukcije zvoka.
Zvočni umetnik Simon Whetham raziskuje vidike zvoka kot materiala za ustvarjanje, odkriva prikrite zvočne pojave v okolju, akustiko in resonanco, zvočno energijo in transdukcijo. Njegovi projekti so vse bolj multidisciplinarni, postajajo bolj vizualni, performativni in oprijemljivi, raziskujejo fizične zvočne sledi in transformacijske oblike energije. Objavljena dela so izšla pri založbah Mappa, Kohlhaas, Line, Crónica, Misanthropic Agenda in Falt. Sodeloval je s številnimi zvočnimi umetniki/glasbeniki: Tarab, Gregory Büttner, Scanner, Derek Piotr,, John Grzinich, Alan Courtis, Kate Carr, Rhodri Davies… Whetham sodeluje v različnih mednarodnih umetniških rezidencah, nastopa in razstavlja na mednarodni ravni.
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Darsha Hewitt: High Fidelity Wasteland II: The Proto-Plastic Groove
The High Fidelity Wasteland trilogy is a series of sound-centric works that wade through generations of decomposing material waste produced by the global music industry. “High Fidelity Wasteland II: The Proto-Plastic Groove” is an electromechanical sound installation that up-cycles sonic expression by grinding down, liquifying, re-pressing and cutting new traces into obsolete music storage formats. Spinning at 78 revolutions per minute, the shellac record was the first form of disk-shaped recording produced to be widely collected, consumed and as with the way things go within the music industry – ultimately cast off as an abandoned media in favour of the more cheaply produced medium and in this case, the vinyl record. As a material, shellac looks and behaves like any other plastic; however, this dark resin has organic origins. It is bioadhesive matter excreted by the tree dwelling Lac beetle which is used to create a protective shelter for her offspring. Chemically similar to synthetic polymers, shellac is considered a natural form of plastic. And though shellac was rapaciously harvested and commodified throughout the 20th century to make music tangible, the era of the shellac record represents the only (and very short-lived) period where the music recording industry was sustainable.
The production of this artwork was made possible through the European Media Art Platform / EMARE program, co-funded by European Union.
Simon Whetham: Successive Actions
Successive Actions is part of a larger kinetic sound performance project “Channelling”, in which a collection of motor devices salvaged from obsolete and discarded consumer technology is activated by environmental sound recordings. In turn, this produces new sounds from the devices, which are amplified using various microphones and techniques. The recordings feature seemingly mundane sound phenomena that occur unpredictably and irregularly in everyday life - passing traffic, wind, doors closing - and because of this, the
movement of the devices is random, variable, and autonomous. Through this the relationship between performer and devices is a collaboration rather than a master and servant type situation. The project continues to change and adapt to its environment. The performance and method of presentation evolve and refine with each iteration. Devices are added to the collection or retired, and the sounds change according to the location, causing new triggers and movement of the devices. The current version of the performance gives the audience two intimate views of the performing devices on a split screen allowing them to watch the performance and the detail of the devices actions.
Canadian born, Berlin based artist Darsha Hewitt uses sound, electromechanical installation, handmade electronics, video, drawing and photography to critically investigate the materiality of the machines and practices of technology that consumer society throws away. With a media archeological approach, she deconstructs generations of obsolete technology to trace out systems of power, economy and control inherent throughout technological infrastructures. The effect simultaneously demystifies the confounding inner systems at play within our technology while further re-mystifying it by transforming it into unexpected sonic experiences that raise questions about our technological entanglements and its implications on humans and ecology. Her current work looks into the ecological dimensions of music and sound reproduction technology.
Sound artist Simon Whetham has been exploring aspects of sound as a material for creation, unearthing obscured environmental sonic phenomena, acoustics and resonance, sonic energy and transduction. His projects are increasingly multi-disciplinary, becoming more visual, performative and tangible, exploring physical sound traces and transforming energy forms. Published works have been released through Mappa, Kohlhaas, Line, Crónica, Misanthropic Agenda and Falt. He has collaborated with many sound artists/musicians: Tarab, Gregory Büttner, Scanner, Derek Piotr, John Grzinich, Alan Courtis, Kate Carr, Rhodri Davies… Whetham participates in various international artist residencies, and performs and exhibits internationally.
Produkcija/Production: MoTa- Muzej tranzitorne umetnosti, SONICA, Cankarjev dom & European Media Art Platform / EMARE.
