Posts Tagged ‘sound’

Sonic Futures at the San Jose Institute of Contemporary Art

Laura Hyunjhee Kim. LOVE NETWORKS LOVE, 2017; video; 2 minutes 32 seconds; and variable objects.

Visitors might be deceived by the initial sounds they hear in Sonic Futures at the San Jose Institute of Contemporary Art. A haunting hum resounds throughout the dark exhibition space, originating from a multichannel video installation with an audio mashup of Mariah Carey’s “Fantasy” and Tom Tom Club’s “Genius of Love.” The work, titled They Held Dances on the Graves of Those Who Died in the Terror[…..]

Jibade-Khalil Huffman: Kush Is My Cologne at Anat Ebgi

Jibade-Khalil Huffman. By The Author of Another Country and Nobody Knows My Name, 2017; transparencies in double light box; 35 x 31 x 6 1/8 in. Courtesy of Anat Ebgi. Photo: Michael Underwood.

Jibade-Khalil Huffman’s solo exhibition at Anat Ebgi, Kush Is My Cologne, lifts its title from a track on Gucci Mane’s 2009 major label debut, The State vs. Radric Davis. The allusion is one of many in Huffman’s exhibition that indicate his fixation with the popular nodes that drive contemporary cultural production, particularly, the profundity and cultural insistence of hip-hop in a world that often refuses[…..]

Summer Session – Vipralambha (Union Through Separation)

Zahra-Jewanjee-and-Simon-Coates

This month we’re taking an in-depth look at the nexus of labor and art, and today from our friends at Guernica we bring you an excerpt from an essay by Simon Coates, who discusses a project completed with his collaborator Zahra Jewanjee: “Vipralambha didn’t start life as a paean to the Indo-Pak workforce in Dubai. The stated aim of the piece was to meld sounds from two countries that share[…..]

Marina Rosenfeld and Ben Vida at Fridman Gallery

Marina Rosenfeld and Ben Vida. New Ear Festival, 2016 (performance still); sound performance. Courtesy of Fridman Gallery.

It is a strange thing to sit in a room for an hour and experience two people producing something unrecognizable. When successful, the relationship between the audience and the performers depends on generosity and trust. We, the audience, trust that we will be entertained, and so we open ourselves to the possibilities of the experience. In exchange for our receptivity, they, the performers, abandon certainty[…..]

Book of Scores at Disjecta

(From left to right) Ellen Lesperance, Alison O'Daniel and Helga Fassonaki. Book of Scores, 2015; installation view, Disjecta, Portland, OR. Courtesy of Disjecta. Photo: Worksighted

Cinematic moments are often remembered because of the dramatic musical accompaniment. Alfred Hitchcock’s Psycho is forever memorable in part for its menacing theme composed by Bernard Herrmann. Likewise, Star Wars is instantly recognized due to John Williams’ heroic use of trumpets. Book of Scores, on view at Disjecta, is an exhibition that is equally as pointed in its intention. Occupying many forms of sculpture, sound,[…..]

Drawing Sound Part II: Alvin Lucier at the Drawing Center

2.	Alvin Lucier. Bird and Person Dyning, 1975 (performance still); Drawing Center, New York; September 11, 2015; Alvin Lucier, performer. Courtesy of the Drawing Center. Photo: Chris Bradley.

To enter the main gallery at the Drawing Center for a recent performance, we couldn’t use its front doors. Instead, we had to descend the stairs near the lobby, walk along the lower-level corridor from the front to the back of the building, ascend the rear stairs, and pass through the smaller gallery called the Drawing Room. There, the walls were adorned with several wooden[…..]

Mark Mothersbaugh: Myopia at the Minneapolis Institute of Arts

Mark Mothersbaugh. My Little Pony, 2013; ceramics; 53 x 59 x 33 in. Courtesy of the artist and the Minneapolis Institute of Arts.

The Minneapolis Institute of Arts (MIA) is a timeless sort of place. Sure, its first floor boasts an urban-inspired coffee bar with contemporary furnishings that gesture toward the present day, but the galleries tell a different story of time altogether. From costumes to hand-painted ceramics, ritual objects to period rooms, the MIA offers abstract snapshots of other places and other times, mixing centuries and geographies[…..]