Kichul Kim, Sound Looking-rain
Kichul Kim, Sound Looking-wind
Kichul Kim’s work begins from making invisible sound visible. In order to evoke the imagination of visitors, Kim creates a situation of filling the void with sound. The two sound installations Sound Looking-rain and Sound Looking-wind are based respectively on the sound of rain recorded in the Jongmyo Royal Shrine, Seoul, and that of wind gathered in other various places. The visitors will be surrounded by the ambience of the sound, which will give a special synesthetic experience.
Haroon Mirza, Backfade 5(Dancing Queen)
Haroon Mirza brings into relief everyday sounds, by making visible the connection between object and its sound. He often integrates others’ works into his own one: for , he reinterprets with LED lamps a minimalist Fred Sandback’s work. Visitors will be led to enter the space and to catch personally the relation of different sounds. LED noises, movement from speaker and visitors’ bodies constitute together a kind of total work (Gesamtkunstwerk).
Zimoun, 230 Prepared DC Motors
Swiss artist Zimoun, who received an Honorary Mention in Digital Musics & Sound Art category at Ars Electronica 2010, builds up a structure by repeatedly arranging a box-shaped module vibrated by a small motor. Before noticing how the sound is being generated, visitors instantly feel the huge vibration with sound through their body, realizing a unique point at which space, noise, and vibration are organically linked with one another.
Anri Sala, Answer Me
Answer Me presents a farewell scene: a woman says that she wants to break up, but her voice is silenced by her companion’s drumming, while a small snare drum beside her keeps beating because of the vibration of his drumming. The emotional tension is expressed through the incommunicable sounds and the physical movement, representing their complicated relationship. Furthermore, this break-up scene was shot in the place that had been used to tap Soviet and East German communications during the cold war, and thus the emotional tension represented by the sounds also implies the historical context.
Yuko Mohri, Ofuna Flower Center
Yuko Mohri creates an installation with a mechanical structure by using everyday items. These common objects, or the artist’s collection since childhood, get a new face in her works. The title of this sound installation came from the name of a garden which used to be near her home in her childhood. To her, these old, worn-out objects are a kind of “record medium.” In Ofuna Flower Center, each object becomes an actor with its own role and connected with one another to be a score to be played harmoniously.
Haroon Mirza, Sanctuary
along with Aleksandra Signer, Record
In Sanctuary, acoustic devices produce not the sound they are supposed to make, but noise or discord generated by the interference of waves. The noise, however, gets interfered with another noise coming from a video by Aleksandra Signer. In the video, a young woman flings LPs to the wall. During the few seconds when they are traveling from her hand to the wall, the 20 to 30 minutes of music on each record is all played at very high speed. The film shows the process in which noises in music become harmonized with other noises to merge into a new piece of music.
Otomo Yoshihide + Yasutomo Aoyama , Without Records
Otomo Yoshihide is an experimental musician, composer, turntable performer, and guitarist, widely known for his free improvisation performances with musicians of wide-ranging genres including noise and jazz. Without Records is composed of dozens of turntables, but these record players are spinning without vinyl records. Instead, their needles, which are all different from one another, are equipped with unusual materials such as corrugated paper or iron, so that the turntables play not LPs but themselves, disintegrating their own function. Hearing that the multiple layers of music, which is created by this installation, gather or disperse, the visitors will be able to experience a different world in a different dimension where sound and space join.
Didier Faustino, Instrument for Blank Architecture
Conceived by French architect, installation artist and performer, Didier Faustino, this devise looks like an instrument for observation of something outsides, but rather leads to visitors to their insides by repetitive sounds “Don’t believe architect”. Although having a meditation time, paradoxically visitors will become keener to the outside world.
Sei Rhee, Syncopation for Long Standing One in Corridor
Sei Rhee organizes a narrative by making relations between moving and still images or between sounds and objects. For this, she creates a montage of different media and then turns it into a structure or a pattern, combining together sound and image as a unit. In this installation, visitors will be provided with visual and auditory experiences combined, which are normally separated in daily life.
Tetsuya Umeda, It Was Moving at First
Tetsuya Umeda has presented installations and performances which are unpredictable and contingent on place or situation by using such fundamental media as 'water, wind, light and sound.' The harmony of the auditory and visual elements of his installation, which comprises everyday things like an electronic fan, boiling water, and the shadows of balloons, evokes a poetic atmosphere in the space. The subtle sounds and movements made by these small articles give a new form of chance, sensibility and energy to the entire exhibition space.
