Monthly Archives: September 2016

Acoustic Infrastructure symposium

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Acoustic Infrastructure

September 24, 2016
Eyebeam
Research

laacaallertor125
An ACA Allertor 125 Civil Defense Siren found in downtown Los Angeles.

5-8PM
RSVP

All are welcome to an intimate conversation and sounding on the concept of “acoustic infrastructure”. How does sound create space, and what are the politics of public address—or of P.A.?

We plan to read and discuss excerpts from the current issue ofcontinent.. Elements, ideas, and interlocutions from visitors and invitees for deviations are more than welcomed.

Guests include contributors to the current issue of continent: Shannon Mattern, Jacob Gaboury, Julie Beth Napolin, Orit Halpern, Jamie Allen, Paul Boshears, Isaac Linder, amongst others.

Suggested Readings

Douglas Kahn, Earth Sound Earth Signal

D. Graham Burnett, The Signing of the Grid

Louise Lawler, Birdcalls

Georgina Born, After Relational Aesthetics (on Jens Hanning’s 1994 “Turkish Jokes”)

Auntie Team - trashDAY

During the symposium, visual artists Kenya (Robinson) and Doreen Garner will bring their radio show #trashDay to the Eyebeam restrooms—a bit of input for your output and an alternative to the screen scroll that now accompanies the daily flush. #trashDay elevates the vernacular of urban fiction, reality television, gossip publications, social dance, and fashion, and uses it as a point of departure for satire and social commentary.

This symposium is the second in a two-part series. The first part was an exhibition. Acoustic Infrastructure is organized by Eyebeam (alum Jamie Allen with Michael Clemow) with DIAS Kunsthal (Morten Søndergaard with Rasmus Vestergaard). Read the accompanying issue of Continent journal.Critical support was provided by the National Endowment for the Arts. 

http://eyebeam.org/events/ai-symposium/ 

Sergei Tcherepnin — Games

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Sergei Tcherepnin exhibit at Murray Guy

For his second solo exhibition at Murray Guy, Sergei Tcherepnin presents Games, a split installation of two interactive sites for playful encounters and introspective stimulation.

TcherepninPhoto credit: Murray Guy

The title of the exhibition is also the title of the life size photo sculptures on view in the gallery’s main space. In Games, a group of young men in futuristic basketball attire reach out at each other’s bodies and for a copper ball. The distinctive and theatrical poses are inspired by Vaslav Nijinsky’s ballet Jeux, as well as representations of athletes in social media, television, and advertising. Each of the photographs has an exterior “limb” that, when touched, triggers a stereo recording. The visitor moves through the game and has the power to activate infinite possibilities of sonic characters and shapes. Games sets the stage for another choreography and a queer body of sound.

Created in 1914 for the Ballets Russes, Jeux portrays a circuitous game of tennis between three dancers. It quickly reveals itself to be a game of desire and seduction between two women and a man. The ballet was radical for its time in its introduction of sport and modern sexuality, and its meshing of straight ballet with curious body configurations and mechanical maneuvers. Later it was discovered that Nijinsky intended the dancers to be three men, representing the homosexual relationships between himself, Sergei Diaghilev, impresario of theBallets Russes, and a third male lover. The complicated composition and veiled narrative of Jeux, is a starting point from which Tcherepnin investigates the body’s potential to alter and to be altered through innumerable combinations of movement and sound.

In the second gallery, the artist sets the stage for an intimate encounter within a domestic tableau. Chairs and lamps with tongues to touch and a bed for two or more bodies furnish what Tcherepnin refers to as the ‘private locker room’ for performer or player. On the wall, posed portraits photographed in a wooded, active gay cruising area on Fire Island known as the Meat Rack, are embedded in a patchwork flag and can also be touched. Here, the players have shed their public, choreographed body and engage through more direct triggers once again activated by the visitor.

The interplay of artist, choreographer, player, cruiser, and visitor, is restructured in haptic fluidity through the public and private space of body and sound.

As Drew Daniel writes in his essay All Sound Is Queer, “Sound, the confusing eruption of the sonic into our life, can reinforce our privacy, our alone-ness. But it is also shared and shareable, and thus makes possible a certain kind of collectivity, or better, a perceptual community that we share by remaining perpetually open to the world beyond that community.”

Acoustic Infrastructure

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Acoustic Infrastructure

August 22, 2016-September 4, 2016
Ace Hotel Lobby
Exhibition3:00-3:10PM daily

Acoustic Infrastructure is a sound art exhibition that examines the sound of the everyday. This exhibition takes sound art outside of museums and gallery spaces, embedding it into the semi-public space of the lobby of the Ace Hotel in Manhattan. By commandeering public address systems that are already in place, used for sonic signage, Acoustic Infrastructure provokes listeners to imagine a city where sound art intermingles with advertisements and muzak. (Read more about this concept in the special issue of Continent Journal.)

These works were the result of summer Project Residencies focused on sound art and the politics of public address.

brian_house_urban_intonation
Urban Intonation, by Brian House, remixes the sounds of New York’s rat citizens.

Still Sleeping, by Meira Asher
This work by Israeli artist Meira Asher revolves around motherly fear in the context of precarity in Palestine. Developed as a reflection on the death of 16-year-old Palestinian boy Mohammed Abu Khdeir, who was burnt alive in July 2014, it draws on her experience of traveling with her children through the South Sinai desert a month later. Her fears for her children as a mother “leak” through her daily experience and impact the way that she hears.

Urban Intonation, by Brian House
“Living under the paving stones, consuming our refuse, and incubating our diseases, the mythos of the NYC rat reflects the underside of global, urban capitalism.”  Brian House gathers snippets of sounds from New York City rats—squeaks, chirrups, and bruxing—edited together and shifted into the human auditory range. This work speculates about whether there is a connection between nonhuman communication and the anxiety of the urban public.

This exhibition is accompanied by a special issue of Continent journal. It will be followed by a symposium at Eyebeam including an installation by#trashDAY in the restrooms. An additional installation of this concept will take place at DIAS Kunsthal in Vallensbaek, Denmark. Acoustic Infrastructure is made possible with the generous support of the National Endowment for the Arts.

Acoustic Infrastructure is organized and curated by Jamie Allen with Michael Clemow in New York, and Morten Søndergaard with Rasmus Vestergaard in Copenhagen.

http://eyebeam.org/events/acoustic-infrastructure/ 

The Order of Sounds: A Sonorous Archipelago — Sept 6

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François J. Bonnet: The Order of Sounds

Tuesday, September 6th 2016 @ 7:00PM
$5 / RSVP Required

Blank Forms is pleased to host a talk with François J. Bonnet in celebration of the English translation of his new book The Order of Sounds: A Sonorous Archipelago.

Bonnet is a composer, visual artist, and artistic director of the Groupe de Recherches Musicales of the National Audiovisual Institute (INA-GRM) in Paris. In addition to The Order of Sounds he is the author ofL’inframonde.

In The Order of Sounds, François J. Bonnet makes a compelling case for the irreducible heterogeneity of ‘sound’, navigating between the physical models constructed by psychophysics and refined through recording technologies, and the synthetic production of what is heard. From primitive vigilance and sonic mythologies to digital sampling and sound installations, he examines the ways in which we make sound speak to us, in an analysis of listening as a plurivocal phenomenon drawing on Foucault, Deleuze and Guattari, Barthes, Nancy, Adorno, and de Certeau, and experimental pioneers such as Tesla, Bell, and Raudive. Stringent critiques of the ‘soundscape’ and ‘reduced listening’ demonstrate that univocal ontologies of sound are always partial and politicized; for listening is always a selective fetishism, a hallucination of sound filtered by desire and convention, territorialized by discourse and its authorities.

Bonnet proposes neither a disciplined listening that targets sound ‘itself’, nor an ‘ocean of sound’ in which we might lose ourselves, but instead maps out a sonorous archipelago—a heterogeneous set of shifting sonic territories shaped and aggregated by the vicissitudes of desire and discourse.

http://blankforms.org/events/francois-j-bonnet-order-sounds/ 

Labor Day parties with Fake Accent, Sasha Go Hard, Princess Nokia

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Labor Day parties with Fake Accent, Sasha Go Hard, Princess Nokia
at Knockdown Center

1. Not Ready! DJ Nights Thurs 9/1 + Fri 9/2
2. Sat 9/3: Fake Accent presents Rude Gyal (MAMI closing)
3. Sun 9/4: Caesar Caeser x NADA: Sasha Go Hard
4. Sun 9/4: Horror Sundays… Motorcycle Mayhem
5. Tues 9/6: Princess Nokia album release show

Details: http://us5.campaign-archive1.com/?u=22ab82820b85efde1965d30d4&id=9d42b8e848&e=a625b5c711 

#dominicanwomengooglesearch at Wave Hill

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#dominicanwomengooglesearch at Wave Hill until Sept 5th

his is the last week to experience #dominicanwomengooglesearch at Wave Hill. If you haven’t seen it yet, come through before it ends! You can see a video of my installation by clicking on the image above, and here’s some press from Whitehot Magazine and ArtDaily.
If you’re staying in NYC for Labor Day, Wave Hill’s relaxing fields, gardens and galleries will make you feel like you’re not in the city, except you are!  Located only 30 minutes from midtown Manhattan, Wave Hill’s free shuttle van transports you to and from their main gate and Metro-North’s Riverdale Station, as well as the 242nd Street stop on the #1 subway line, if you prefer not to walk.
You can also get there on the Bx1, Bx7, Bx9, Bx10, Bx12, BxM1 and BxM2 buses. Here’s more info on how to visit and shuttle schedules. Wave Hill is located at West 249th Street and Independence Avenue in the Riverdale section of the Bronx, New York.

http://www.joiriminaya.com/dominicanwomengooglesearch