Provocating current sound art at Biennale Momentum
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1/3Photo: Eivind Lauritzen
Momentum 13 at Gallery F15 in Moss, Norway
Lundahl & Seitl at Liljevalchs, Stockholm
Artist Duo Lundahl & SeitlThe Christer Lundahl And Martina SeitlIn the summer, his work sets “river biography” on Liljevalchs. Dark, suggestive and with few visual signals, the work is still unmistakably theirs: in three -quarters we move with sound in our handsets, sometimes visibility, sometimes with a damping mask in front of the eyes. It is also, so often with the duo, about trust and cooperation.
We who participate in what a compelling all -artwork is, a good job and a kind of performance must activate us. The story that can be distinguished is about the water, the rivers worldwide and the environment, stones that have been picked up there and that are as props to take care of this. We hold our own chosen stones, discuss the type of nature that is considered death, but that is often treated as alive artistically. Here too there is the living, a call in the handsets to approach the stone, which can be called the soul of the stone. Then the guidance comes tight, interfolied with stories about the river, the one who becomes increasingly unreachable, the water that is not only closed but also sees a future as a scarcity.
However, the majority of the experience is to work together, to follow instructions, to improvise, to surrender. But isn’t it a bit authoritarian? You have to be alert, awake and compassionate. Is it authoritarian, even in sound -based artificials?
I bring The questions to Gallerij F15 in Moss, Norwegian, where the biennial momentum was just opened, the thirteenth in the order. Here is sound the supporting method, the basis of an exploration or the purpose and the shape of artistic. It will be wide: of the soon -classic, conceptual “Calling the Glacier” (2007) of Kalle Aldis LaarUnpleasant Janet Cardiffs And George Bures Millers Sound Works “Forest (for a thousand years …)” Outdoors in the forest direction of the gallery. Surrounded by fragmentary warlike sounds, amid the early summer and in the middle of a contemporary bombed, becomes strong, filthy, provocative current.
That the sound becomes a way to investigate, a method of research or perhaps more for the proximity, it becomes clear in a work that Mélia Rogers “Intimacy of licenses/intimacy of stones”. She comes a foreign nature for her, the rainforest of Brazil, with microphones attached to her hands that feel the case and her movements. It will be a disturbing work: as if the artist takes an environment in an old colonial way – or let them be recorded by it? Who has agents here? The sound that occurs in the encounter with the tropical becomes hard, as it becomes when a mobile call and blows away, and in the other part of the work it is quieter, the home nature that is safely enclosed.
Certainly you can Suppose sound work is a kind of survey, but also that the technology is a bit in the way. That technology becomes the most important thing. In the rather intimate rooms in Gallery F15, the works are replaced, a parade of examples of how different types of sounds can create atmosphere, filling where the visual is not enough, even fooled like in Christian Boltanskis Three -party video works “Menterios” where the wind blows through three huge trumpets and creates a sound that is reminiscent of rolling songs. Indoors, the film medium therefore gets its place, the most intake and poetic fluttering of the many book pages in William Kudahls “The wind is reading”. The work shows a large number of books, open, whose pages flutter in the wind – it sounds crispy, like a soft song. Both works stay with the wind, the sound that can be created by a force that is completely elusive.
There is something with the undivided attention that must be paid on sound compared to images
Many of the works indoors are exciting, but after all it happens more when sounds made, such as when the works are both deforming, strengthening, getting birds and wind.
Jacob Kirkegaard Let us an old recording of Chernobyl noise in the middle of the wooded idyll: water that enters a swimming pool. The drops come slowly, metallic, ominous. “The Gray Zone (Neverwhere)” is a kind of tribute to Tarkovsky And it’s really suggestive. It also requires patience and concentrated attention.
Although I. Doubt to name Momentum 13 for an exhibition for audio art, it might be easier to do that. There is something about the undivided attention that must be paid on sound compared to images. It is not possible to sweep, but must be processed in a more complete way. I notice that the sound is sometimes bursting, it is probably me that hears bad. Especially when instructions have to be followed at Liljevalchs.
While the sound is bursting for me in my ears, the voice is bursting into the gospel choir in HøjlundThe Juhlin & Albrechtsens Sound system “Swan Song”, which is given a bit in Moss Church from F15. We hear the boys singing, giving their performance, singing a little later and so it goes on. The voices hold partially, but for some people are bursting. The goal break means the end of the light voices Angel Songs. Liberation or curse, that is the question. Despite the elusive in a sound -based art, it is finally the body, the stone, the melting glacier that becomes clear. It is probably not that authoritarian anyway.
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