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Here are some recent photos from Beyond Tinted exhibition which took place between the 19th-23rd of November 2014 at the Modern Art Museum, Yerevan MAMY.  These works I created after participating on the ACSL artist residency here in Yerevan.  Through the support from the residency as well as ECF Labs which helped fund my time here in Yerevan.

Beyond Tinted consisted of four series of work incorporating past and present processes and mediums.  The works developed on previous themes and new concepts researched whilst here in Yerevan.

U – DYS – HET
(Audio/Visual Digital Collage)

Watchers
(Digital Prints)

Folded Control
(Mixed Media)

Contained Spaces
(Mixed Media Sculptures)

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I am never really that satisfied with presenting a photograph, as is, maybe because I do not consider myself a photographer or possibly the medium itself feels detached when solely presented.  Seeing Thierry Furgers’ work exhibited in “It was all a Dream” was simple yet effective in bringing the site and location to the image.  I guess for me the images had a feel rather than just being processed.  The photographs became objects and tactile, for me this causes a sense of urgency to engage more with the works.  Like I say simple method but used to great effect.

Here are some images of “It was all a Dream”. Further work and information is available here: http://www.buffedpaintings.com/ and http://www.thierryfurger.ch

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THE SCHOOL OF SOUND INTERNATIONAL SYMPOSIUM 2015

Programme of the SOS 2015

A unique series of masterclasses exploring the art of sound in film, the arts and media


Wednesday – Saturday
8-11 April 2015
Purcell Room, Southbank Centre
London

What is the School of Sound?

The School of Sound is a symposium created to encourage a cross-disciplinary approach to using sound in the arts and media. We explore what sound does, how audiences listen.
It is a place where for 4 days you can raise your awareness of how audio production works, how it conveys information and emotion, how you can work with it.
But how do you think about something so ephemeral? And how do you teach it? Sound always seems to be occupying areas of ambiguity – the emotional, the subtext, the intuitive, the borders between reality and fantasy, the conscious and the subconscious. And by their very nature, academia and professional practice  shy away from ambiguity and cross-fertilisation, staying within their own boundaries. But interesting things happen when you start mixing them up!
For four days, out of your usual routine, you’ll be immersed in a world of imagination, invention and innovation. Listening to presentations from a diversity of incredible talents, you will be able to disconnect from your day-to-day work, taken out of your comfort zone, to reflect on sound as something that is profoundly complex, entertaining and important.

Why attend the School of Sound?
It is not an academic conference it is not about getting a job and it is not about hardware or software. The SOS provides a rare opportunity to hear and meet 20 creatives working at the highest levels of the arts and media speaking in detail about how they think and work.
And the SOS is not about just one area of sound production. It covers film, theatre, dance, games, installation, music and radio that will expand your thinking and increase your ability to work in diverse areas of media and the arts.
At the SOS you will mix with hundreds of like-minded people – professional practitioners, educators, artists and students – with whom you can network, exchange ideas and create collaborations.

The SOS is delighted to announce the first details of the 2015 programme. Speakers include

Choreographer SIOBHAN DAVIES in conversation with composer/performer MATTEO FARGION 
Opera and theatre director PETER SELLARS
Sound artist and Foley specialist NICOLAS BECKER
Artist, filmmaker and writer JOHN AKOMFRAH 
Installation artist IMOGEN STIDWORTHY 
Radio producer PIERS PLOWRIGHT
Performance artist DICKIE BEAU 
Sound/music composer GERHARD ECKEL
Filmmaker and composer NADIM MISHLAWI 
Sound designer RANA EID
Interactive games sound designers MARTIN STIG ANDERSENJOANNA ORLAND with composer, audio director and consultant JOHN BROOMHALL
and yoiker ÁNDE SOMBY …
with more participants to be announced in the coming weeks.


NICOLAS BECKER
The renowned Foley artist (GravityWuthering Heights) who has now turned to more abstract, space-based sound work, describes his techniques and methods.


SIOBHAN DAVIES and MATTEO FARGION
Hearing Movement
The relationship between sound, movement and performance is the focus of this conversation between Davies, one of Europe’s leading choreographers, and collaborator Fargion, a composer and performer whose works have been performed around the world. Looking and listening to excerpts of their own work, they examine the process by which movement comes out of audio and, specifically, the differences between working with music and soundscapes. And following from that, they will question the varying effects of recorded or live music, analogue or synthesised, acoustics and the influence of an audience’s proximity to the performance.


JOHN AKOMFRAH
Director, writer and theorist, Akomfrah’s body of work embraces documentaries, feature films and exhibitions that have garnered international critical acclaim. In this presentation he explores how sound adapts to the requirements of different media and content.


JOHN BROOMHALL, composer and sound creative (Forza Motorsport 5X-ComTransport Tycoon) and founder of the Games Music Connect conference, brings together two leading sound designers in  this session exploring the ways sound is evolving across the range of interactive entertainment. WithMARTIN STIG ANDERSEN
Sound designer for the acclaimed Limbo, by Playdead, Andersen analyses his techniques for creating soundtracks in the indie-game environment, looking forward to his next release, Inside.

JOANNA ORLAND
Having worked at EA Criterion (BlackBurnout) and currently Senior Sound Designer at Sony Computer Entertainment Europe with credits that include WonderbookDiggs Nightcrawler and Project Morpheus, Joanna describes the level of research and conceptualising required for AAA games.


PIERS PLOWRIGHT
The Tallatchie Bridge and Other Mysteries
Broadcaster and writer Piers Plowright explores the pictures that sound creates and considers the silence that surrounds the best music and words. His starting point is Bobby Gentry’s 1967 hit, Ode to Billie Joe.


GERHARD ECKEL
The Choreography of Sound
Eckel presents his work, Zeitraum (German for ‘timespan’, literally ‘time space’), a sound environment exposing the interrelation of time and space in acoustic communication. “A central finding of the project was, that sound can also be understood as a choreographic device. The project started out with the idea that sound would be the object of choreography, composers would move ‘bodies of sound’ around in space. Towards the end I discovered this other reading, where sound choreographs the audience, especially in installation situations.”


DICKIE BEAU
Memory and Lip-sync
Dickie has gained notoriety as a pioneer of “playback” performance: the uncanny embodiment (or “re-memberment”) of found sound – a style of performance that emerges from the drag tradition of lip synching. He positions the body as an archive, especially of the “missing” – re-visioning and playing back voices from the margins: voices of figures we might not normally hear in the mainstream, in ways that we might not be accustomed to hearing them.


RANA EID and NADIM MISHLAWI
The Soundscape of Conflict
Images of car bombs, assassinations, armed conflict, protests and fiery politicians are the world’s postcards from Beirut. And over time, these images have come to trigger hatred, superiority, racism and, most importantly – fear. It is through listening to Beirut, or any city for that matter, that one can overcome the prejudice of these images and create a subjective affinity. And it is through sounds that we can identify and empathize with events that at first seem strangely alien to us.


IMOGEN STIDWORTHY
Stidworthy will be discussing the voice at the borders of language through her most recent project, Balayer – A Map of Sweeping (2014) – a three-screen installation with ambisonic sound (see Speakers’ Biographies for more details), and a number of related works.


PETER SELLARS
Opera, theater, and festival director Peter Sellars has gained renown worldwide for his groundbreaking and transformative interpretations of artistic masterpieces and collaborative projects with an extraordinary range of creative artists across three decades. Whether it is Bach, Mozart, Handel, Shakespeare, Sophocles, or the 16th century Chinese playwright Tang Xianzu, Peter Sellars strikes a universal chord with audiences, engaging and illuminating contemporary social and political issues.


ÁNDE SONBY
The animals inside the man and the man outside the animals
Are we simply humans? Or are there animals inside of us? Plants? Landscapes?
This is the underlying question in Ánde Sombys preformance. During the performance there will be given “yoik-impersonations” of birds, insects and animals.
This is influenced by the idea of transformation in the pre-Christian Sámi religion – that a human could transform into an animal and back to a human again. And the inspiration is that in our modern day many birds and animals are threatened. How would they feel about pollution, for example?


The SOS 2015 programme is subject to change. The School of Sound reserves the right to make changes to the content, schedule, list of speakers, topics or venue. All updates will be listed on this website.

Beyond Tinted Press

Beyond Tinted – Մգեցված ապակիներից այն կողմ

Beyond Tinted
Dickie Webb

A new body of work by artist Dickie Webb brings together intermedia works that investigate our current connection to the Yerevan landscape and beyond. These experimental works draw from liminal sites and objects that are used to manage space. Webbs’ process abstracts and subverts these findings, utilizing photography, sculptural elements and new media technologies; it is the anthropomorphic qualities that underscore the works. Just like liminal space these works exist in an unknown state, straddling both real and virtual, Webb does not imply directly what they mean rather he suggest they are a means to reflect on the potential of what could be. These works challenge especially that part of local people that have to reconsider their present landscape and gain some form of clarity out from behind their tinted view (tinted glasses of the big cars of nоuveau riche). The final works vary in fabrication and are part of a wide palette that enables Webb to present intimate moments, to view our present existence from an altered perspective and reflect on our own being.

Artist Statement:

Dickie Webb operates his art practice from the position of a wanderer, moving consistently over the years, dislocating himself from societal norms. With few constants Webb’s peripatetic lifestyle means he has had to adapt and rethink our connection to landscape, altering his comprehension of what is considered home and the role of society’s expectations.
Examining our existence Webb questions that which is real and what is otherwise virtual within our landscape, utilising Marc Auges’ “non-places” and Michel Foucaults’ “heterotopias” as initial starting points. Webb uses these imaginary and transient sites as a means to reveal anomalies, inaccuracies similar to those displayed within human personalities.
This connection to space through its anthropomorphic qualities prompts Webb to consider space as representational of current issues experienced within both the individual and collective. Using space as a metaphor and as a medium Webb looks past the architectural structure and explores the liminal qualities, discovering this blurred arena from an outsider’s perspective.

Processes:
Interactive installations, Arduino, photography, site-specific installation, sculpture, print, sensory based media light, sound and scents, interventions, casting, drawing, constructive and destructive processes.
Materials:
Paint, plaster, bronze, aluminium, soap, salt, concrete, sugar, ice, glass, steel, wood, resin, ink, milk and wax.
Objects:
Cardboard boxes, furniture, envelopes and car windscreens.

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Born in 1979, in Oxford, United Kingdom. Dickie Webb currently divides his time between New Zealand, USA and the UK. Webb studied for a BA Honours in Intermedia at Edinburgh College of Art; part of his degree was spent at the State University of New York, Purchase College. Prior to his degree Webb studied at Oxford Brookes University, UK. Since graduating Webb has continued travelling working in Japan, New Zealand and Chile whilst also undertaking artist residencies in Athens, Greece (SNEHTA) and currently here in Yerevan (ACSL). He has exhibited works in the UK, USA and Greece.

Recent Exhibitions:
2014 THINGS ARE DIFFERENT NOW – Art Athina, Athens, Greece
2014 Boundaries – Artscapes, Athens, Greece
2013 Unsettled Certainties – Aghias Zonis 1 Space, Athens, Greece.
2013 One Action, Ones Actions – Cultybraggan POW Camp, Perthshire, UK
2013 Newhaven Station – Edinburgh, UK

The exhibition is organized by the Art and Cultural Studies Laboratory (ACSL). This project is realized at the [Art Commune] International Artist-in-Residence Program (ACSL)

This project is funded by European Cultural Foundation

Special thanks to the Yerevan Modern Art Museum, director of the Museum Nune Avetisyan and its staff.

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Մգեցված ապակիներից այն կողմ
Դիքի Վեբբ (Անգլիա)

Արվեստագետ Դիքի Վեբբի Հայաստանում իրականցված այս նոր նախագիծը քննության է առնում Երեւանի շրջակա միջավայրի, դրանում առկա այլ քաղաքատեղերի հետ հընթացս կապերը: Բազմամեդիական եւ փորձարարական ոգով տոգորված աշխատանքները մտորումներ են քաղաքի կազմավորման շուրջ, սակայն իրերն ու դեպքերն այստեղ լիմինալ նշանակություն ունեն՝ նրանք գտնվում են իրականության նմանակումի եւ վիրտուալի, վերացականի սահմանin: Արվեստագետի մոտեցմանը բնորոշ է քաղաքային տարածքներում ամեն հայտնաբերվածի աբստրահումը, կամ տրոհումը՝ հիմքում պահելով մարդակերպական (անտրոպոմորֆական) որակները՝ դա է հոդավորում աշխատանքների շարքը. իսկ այս նախագծի իմացաբանական ըմբռնումը ամբողջությամբ թողնված է հանդիսատեսին:
Նախագծում տեղ գտած առանցքային աշխատանքներից մեկը՝ վիդեո-սլայդ-ձայնային ինստալացիան առաջին հայացքից “անշառ” քաղաքային դրվագների հերթափոխ է, որը սակայն գաղափարաբանական դասավորություն ունի՝ տեղի (տոպոսի) կարեւորությունը կապվում է “ու-տոպիական” մտածողությանը, եւ վերջինիս հետ սերտ առընչվող երկու այլ մոդուսների՝ դիս-տոպիային եւ հետեռոտոպիային: Վիդեոշարքի պատկերները, ըստ արվեստագետի, դասավորված են վերը նշված մոդուսների եւ ամեն մոդուսին ներհատուկ ձայնային կոմպոզիացիայի համաձայն: Այստեղ էլ հանդիսատեսը պիտի փորձի “ընթեռնել” ներկայացված տոպո-գրաֆիայի “փիլիսոփայությունը”:
Վեբբի պնդմամբ՝ նախագիծը մարտահրավեր է հատկապես ետ-խորհրդային տարածքներում գոյացած նոր հարուստների խավին, ում hամար շուրջ կյանքը երանգավորված եւ սահմանափակված է սեփական մեքենաների մգեցված ապակիներով՝ նրանք անհաղորդ են հանրային կարիքների նկատմամբ, եւ քանի որ նախագիծը հղում է կյանքի ավելի լայն “ներկապնակին”՝ Վեբբն իրավունք է վերապահում բռնվել հանդիստաեսի հետ մտերմիկ խոսակցության մեջ՝ ներքաշելով նրան գոյության շուրջ խորը մտորումների:

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Դիքի Վեբբի արվեստագիտական պրակտիկաներում ներկա է թափառականի հայացքը՝ երկար տարիների հետեւողական տեղարշարժերի ընթացքը մղել են նրան հասարակական նորմերից դուրս: Գտնվելով ապրելակերպի պերիպաթեթիկական (արիստոտելյան) մի քանի ձեւերի մեջ՝ նա հետազոտում է շրջակա միջավայրի հետ մարդկանց կապերը՝ ձգտելով փոխել պատկերուցումները “տուն” եւ “հասարակության սպասումներ” եզրերի մասին: Քննելով այժմյա գոյության խնդիրները, Վեբբը հարցի է դնում քաղաքային լանդշաֆթների իրական եւ դրան հակադիր վիրտուալ գոյությունը՝ հիմնվելով Մարկ Օժեի “ոչ-տեղերի” եւ Միշել ֆուկոյի “հետերոտոպիաների” տեսական պնդումների վրա: Երեւակայված, կամ
չ-անձնավորված, անցողիկ տեղերը նրա համար անոմալիաների եւ անճշտությունների բացահայտման միջոցներ են: Տարածության գաղափարը՝ օժտված մարդակերպային հատկանիշներով, դրթում է Վեբբին դիտարկել այն որպես ընթացիկ խնդիրների ներկայացման հարթակ՝ թե՛ անհատականի, թե՛ հավաքականի դիտանկյուններից: Վեբբը օգտագործում է տարածության գաղափարը “միջավայրի” ասածի տեսանկյունից՝ հաճախ ներկայացնելով այն փոխաբերական լիցքերով լի: Նա բնավ տարված չէ ճարտարապետական կառույցներով, այլ հետազոտում է տարածքների անցումային, լիմինալ որակները՝ բացահայտելով այդ մշուշոտ արենան աութսայդերի հայացքով:

Դիքի Վեբբը աշխատանքները հիմնականում վերածվում են ինտերակտիվ կամ տեղին հատուկ ինստալացիաներ, թվային աուդիո մանիպուլացիաների, լուսանկարների, քանդակի, տպագրության, սենսորային լույսի միջամտության, ձայնի, բույր, գծանկարի, կազմման եւ ապակզմման ընթացքների եւ քաղաքային տարածքներում ներխուժումների
Օգտագործվող նյութերն են՝
ներկ, բրոնզ, ալյումինիում, սապոն, բետոն, աղ, շաքար, սառույց, ապակի, մետաղ, փայտ, բլեկնախեժ, թանաք, կաթ, մոմ
Օգտագործվող օբյեկտներն են՝ ստվարաթղթե արկղեր, կահույք, ծրարներ, ավտոմեքենայի առջեւապակիներ

Դիքի Վեբբը ծնվել է 1979թ. բրիտանական Օքսֆորդ քաղաքում: Մի երկրից մյուսը հաճախակի տեղաշարժերի հետեւանքով՝ նա բնակվում է ներկայում Նոր Զելանդիայի, Միացյալ Նահանգների եւ Միացյալ Թագավորության միջեւ: Վեբբը բակալվրի կոչում է ստացել Էդինբուրգի Արվեստի քոլեջում՝ համատեղելով ուսումը Նյու-Յորքի Պետական համալսարանին կից գործող Փրչեյզ (Purchase) քոլեջում՝ մինչ այդ նա Բրիտանիայի Օքսֆորդ Բրուքս (Oxford Brooks) համալսարանի շրջանավարտներից էր: Վերը նշված ուսումնառության տարիներից հետո նա սկիզբ է դնում շարունակական ճամփորդությունների եւ աշխատանքային այցերի դեպի Ճապոնիա, Նոր Զելանդիա եւ Չիլի՝ հընթացս ներգրավվելով արվեստագետների կացարանների ծրագրերի մեջ Աթենքում (SNEHTA կացարան, Հունսատան), այժմ էլ Հայաստանում գործող “Արտ կոմունա” արվեստագետների միջազգային կացարանում (ԱՄՀԼ):

Վերջերս նա մասնակցել է մի շարք ցուցահանդեսներում ԱՄՆ-ում, Միացյալ Թագավորությունում եւ Հունաստանում, որոնց թվում են՝
(2014) ՀԻՄԱ ԲԱՆԵՐՆ ԱՅԼ ԵՆ, Արտ Աֆինա, Հունաստան
(2014) Սահմաններ-Արվեստատեղեր, Աթենք, Հունաստան
(2013)Չամրագրված փաստեր, Aghias Zonis 1 Space, Աթենք, Հունաստան
(2013) Մեկ հայտարար, միանվագ հայտարարներ, Cultybraggan POW ճամբար, Փերթշիր, Միացյալ Թագավորություն
(2013) Կանգառ Նյուհեվանում, Էդինբուրգ, Միացյալ Թագավորությւոն

Ցուցահանդեսի կազմակերպիչն է
Արվեստի եւ մշակութային հետազոտությունների լաբորատորիան (ԱՄՀԼ)
Նախագիծը իրականացվել է [Արտ Կոմունա] Արվեստագետների միջազգային կացարանի ծրագրերի շրջանակում (ԱՄՀԼ)

Նախագծի հովանավորն է Եվրոպական Մշակութային հիմնադրամը

Աջակցության համար հատուկ շնորհակալություն ենք հայտնում Երեւանի Ժամանակակից արվեստի թանգարանին, թանգարանի տնօրեն Նունե Ավետիսյանին եւ անձնակազմին

BEN FROST’S SONIC ARCHITECTURE

~ Posted by Charlie McCann, November 6th 2014

Re-post from Intelligent Life- Original article click here

When the Australian composer and producer Ben Frost released his fifth album, “A U R O R A”, earlier this year the reviews were rapturous. Rolling Stone called it “unrelentingly menacing”, Drowned in Sound said it was a piece of “aural suffocation” (in a good way), and both picked it as “Best Album of the Year So Far”. Frost, though, is more low-key. His albums, he has said, are “over-glorified business cards”—adverts which get him well-paid commissions (he has written music for ballet, opera and film) and bring audiences to his live shows. He has been touring “A U R O R A” since April, and is playing six nights in Britain next week. It’s only live that you hear the album’s terrifying architecture. Listening to it on headphones is like reading a book about brutalism: it doesn’t do justice to its scale and weight.

An architect is certainly what Frost sounds like when you talk to him. When I spoke to him recently, he referred to sounds as “objects that have texture and shape”, and composing as “an arrangement of space”—which suggests his music is meant to be felt as much as heard. In August in a small south-London club, he played “A U R O R A” so loud and so deep that the audience couldn’t help but feel it. He has likened the pounding of the kick drum to “the externalisation of the human heart”. Shake your head all you like—as the drums thundered my heart hammered, and I began to wonder if it might leap out altogether. Some of the people pressed in close around me looked ecstatic, but plenty looked uneasy: the room cracked with the synthy snap of chain against metal; the air around us walloped with what felt like the weight of concrete slabs. On the small, dim stage, Frost was bent over his equipment, carefully adjusting knobs and dials—though he may as well have been operating a forklift.

In contrast to his previous albums, “A U R O R A” is more militant and synthetic-sounding: there are no guitars, piano or stringed instruments. Instead, he uses heavy percussion, synths and lots of distortion, and he processes the sounds through his computer. The result is a portentous mass of noise undergirded by simple rhythms and melodies that emerge occasionally from the aural chaos. These primarily recall the rhythms and melodies of techno, trance and industrial music, although, with a recurring bell motif and occasional brass burps, there are some classical flourishes. But this kind of music—the kind that hits you in the solar plexus—isn’t produced by simply turning up the volume. It also involves playing sub-bass sounds: frequencies so low they’re not so much sounds as they are thrums, of the kind you’ll feel if you place your hand on a subwoofer.

As PA systems grow in sophistication, musicians and sound designers are exploiting a wider range of sonic frequencies—ones that steal ever further into the realm of the physical. A range of artists—from the Seattle drone-metal band Sunn O))) to the Portland noise artist Pete Swanson and the London DJ duo Raime—have, in the last few years, been experimenting with low-end music that gets at the gut. The music magazine the Wire has called it “a live performance trend”.

But Frost thinks technology will take us further still. As absorbed as he is by music’s effects on the senses, whether aural or tactile, he’s intrigued by how advances in medical technology might improve upon our limitations. “Twenty years from now, I think we’re very likely to be able to have our ears upgraded so that we can perceive a wider range of frequencies—or by-pass the ear entirely,” he says. “I’m personally really excited about that. Every time the fucking jack cable rips out of my headphones when I stand up too quickly and I have to put it back in, there’s always this little moment where I want to jam it straight into my skull.”

Frost might be looking to the future, but he should just look at what’s right in front of him: the people at his gigs, forced to listen with their whole bodies, already have their skulls full of his music.

Ben Frost The Haunt, Brighton, Nov 10th; Thekla, Bristol, Nov 11th; Capsule, Birmingham, Nov 12th; St John at Hackney Church, London, Nov 13th; Gorilla, Manchester, Nov 14th; Howard Assembly Room at Opera North, Leeds, Nov 15th 

Charlie McCann is editorial assistant at Intelligent Life

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These last few weeks have been spent exploring all parts of Yerevan some intentionally and others purely by accident.  One day this week even was comparably to my days on my snowboard.  Using the bus like a chairlift to take me to a point in the city with a line back to house which I walked capturing many elements that I had over the weeks hope to experience.

These random wanderings and planned excursions have allowed me to interact with architecture and accidental sculptural objects.  They have created conversations within my practice that I am now exploring and will continue post residency here.  I spend time photography and field recording the sounds I encounter not always for later work but to use the process of recording as a way to explore the moments that I have experienced.  Some of these elements naturally appear in the work but sometimes it is me focusing on something that i see a metaphor amongst or pausing just so the brain absorbs and allows the senses to filter completely.  Though the sounds and visual elements are important it is all senses that inform my thoughts.  If only to have a machine to record the smells both pleasant and not so.  The aromas here are strong and really striking.

Certain themes are constant within my travels such as looking through but seeing behind in reflective moments or the attraction to controlled and protected spaces.  Here especially where traffic cones are not so common the ways in which people mark space is intriguing.  One thought that is common with my travels here though is to do with vacancy as a positive.  The building of vacancy, i.e. in the sense of building glass and marble buildings that seems to be for something that only they know about.  With these buildings not necessarily fitting into the landscape rather standing alone amongst the tower blocks of Soviet era.  I see these new buildings a positive in one sense and nod to a new era or at least optimism.  This in comparison in other cities that I have lived recently where new construction has stopped.

As for work I am currently working on a new digital work, a step on from the Athens Arrival work I made in Greece last year and also some new photo and sculptural works.  These are all due to be exhibited in the Museum of Modern Art here in a couple of weeks.  So for now the walks and excursions are more precise and studio time has increased.  I will update from the studio in a few days prior to the show.

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Charlotte Bouckaert & Steve Salembier

Bildraum


© Charlotte Bouckaert & Steve Salembier

performance

Friday 7 November 20:30 première
Saturday 8 November 20:30

How does our memory influence the imaging of reality? Charlotte Bouckaert and Steve Salembier fathom it out for you in the Bildraum installation performance.

In an interplay of scale models, sound and live photography a living cartoon comes into being that positions imagination, the past and surroundings in an ever-changing dimension.

Bildraum is an architectural stroll through empty ‘intermediate spaces’ where only objects suggest a bygone activity. Bildraum is not so much an assemblage of memories but a choreography of their tracks and carriers that localizes our memory between image, space and audience. Like thumbing through a photo album of memories which have not yet taken place.

Charlotte Bouckaert, a visual artist by training, took her first steps on stage at the Beursschouwburg. In her theatrical work she examines the cornerstones of photography. For her latest creation she collaborates with architect Steve Salembier.

Language no problem
BE, 2014, 55min.

From and with: Charlotte Bouckaert & Steve Salembier
Sound: Duncan Speakman
Dramaturgy: Marnix Rummens
Production: Pianofabriek Kunstenwerkplaats
With the support of: Beursschouwburg and WPZimmer

http://www.charlottebouckaert.com

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