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Home , Carsten Nicolai, Cymatics, Soundings (Williams)

A Contemporary Score

Barbara London The Museum of Modern Art, With an essay by Anne Hilde Neset New York Published in conjunction with the Published by The Museum of Modern Art, Photograph Credits Acknowledgments 6 exhibition Soundings, at The Museum 11 West 53 Street, New York, of Modern Art, New York, August 10– New York 10019 © Laurie Anderson, courtesy The November 3, 2013. Organized by www.moma.org Museum of Modern Art: p. 8. © 2013 Foreword 7 Barbara London, Associate Curator, Artists Rights Society (ARS), New York: with Leora Morinis, Curatorial Assistant, Copyright © 2013 The Museum p. 17. © 2013 Artists Rights Society (ARS), Department of Media and Performance Art. of Modern Art. All rights reserved New York/ADAGP, Paris/F.L.C.: p. 16. Soundings: From the 1960s to the Present 8 © Luke Fowler and Toshiya Tsunoda, The exhibition is made possible Library of Congress Control Number: courtesy Galerie Gisela Capitain, Cologne, Barbara London by MoMA’s Wallis Annenberg Fund for 2013937082 photos Lothar Schnepf: pp. 23–25. Innovation in Contemporary Art through ISBN: 978-0-87070-888-6 © Marco Fusinato, courtesy Anna the Annenberg Foundation. Schwartz Gallery, Melbourne and Sydney: Expressway to Yr Cochlea 16 Distributed in the United States and pp. 27–29. © Richard Garet, courtesy Anne Hilde Neset Additional funding is provided by Canada by ARTBOOK | D.A.P., New York Julian Navarro Projects, New York: the Office for Contemporary Art Norway 155 Sixth Avenue, 2nd floor, New York, pp. 30–33; photo Randy Yau: p. 11; photo (OCA). New York 10013 Peter Mauney: p. 32. © Florian Hecker, Artists www.artbook.com photos Florian Hecker, courtesy Sadie Produced by the Department of Coles HQ, London: pp. 34–37. © Christine Luke Fowler & Toshiya Tsunoda 22 Publications, The Museum of Modern Art, Distributed outside the United States and Sun Kim, photos Erica Leone: pp. 38–41. Marco Fusinato 26 New York Canada by Thames & Hudson Ltd © INA, photo Maurice Lecardent: p. 18 181A High Holborn, London WC1V 7QX left. © and courtesy Jacob Kirkegaard: Richard Garet 30 Edited by Sarah McFadden www.thamesandhudson.com p. 9 bottom, pp. 42–45. © Christian Florian Hecker 34 Designed by Project Projects Marclay, courtesy White Cube, London, Production by Marc Sapir Printed in China photo Ben Westoby: p. 9 top. © Haroon Christine Sum Kim 38 Printed and bound by OGI/1010, China Mirza, courtesy Lisson Gallery, London: Jacob Kirkegaard 42 pp. 46–49. © Meredith Monk, photo This book is typeset in Karbon and Massimo Argus: p. 19. © Carsten Nicolai, Haroon Mirza 47 ZigZag. The paper is 157 gsm Neo Matt. courtesy Galerie EIGEN + ART, / Carsten Nicolai 51 , and The Pace Gallery, New York, photo Osamu Nakamura: pp. 50–51; Camille Norment 54 courtesy 21st Century Museum of Tristan Perich 58 Contemporary Art, Kanazawa, Galerie EIGEN + ART, Leipzig/Berlin, and The Susan Philipsz 62 Pace Gallery, New York, photo Fukunaga Sergei Tcherepnin 66 Kazuo: pp. 52–53. © Camille Norment: pp. 54–57, courtesy Camille Norment Stephen Vitiello 70 Studio: p. 54. © Pauline Oliveros, courtesy Hong-Kai Wang 74 The Deep Listening Institute, photo Pieter Kers: p. 18 bottom right. Courtesy Jana Winderen 78 Carol Olivon: p. 10. © Tristan Perich: pp. 58–61. © Susan Philipsz, courtesy Tanya Bonakdar Gallery, New York, and Biographies 82 Isabella Bortolozzi Galerie, Berlin, photos Eoghan McTigue: pp. 62–65. Courtesy and © Carolee Schneemann, photo Steve Trustees of the Museum of Modern Art 84 Schapiro: p. 18 top. © and courtesy Sergei Tcherepnin: p. 13 bottom and pp. 66–69; photo Marina Leuenberger: pp. 66–67; photo Nelson Toledo: p. 68; photo Leo Eloy/Fundação Bienal de São Paulo, p. 69; courtesy Audio Visual Arts, New York, photo Justin Luke: p. 13 bottom. © Stephen Vitiello, photo Stephen Vitiello: p. 13 top, pp. 70–71; photo Naoko Wowsugi: pp. 72–73. © Hang Kai Wang: p. 14 top and pp. 74–77. © Jana Winderen: pp. 78–81; photo Marius Watz: p. 14 bottom. 8 9 Soundings installations by using state- at and listen to, and may upload From the 1960s to the Present of-the-art loudspeakers that for their friends, as part of enabled them to place as much the process of deciphering Barbara London emphasis on as on image. the threads connecting them Laurie Anderson employed to a world that is growing more vocoders, pillow speakers, accessible every day. Artists’ harmonizers, and homespun ever-expanding tool kits now special effects to shift between include digital matter that personas in live performances is proliferating “in the cloud.” and in her 1983 music video Today, museums are fully O Superman. Around the same adept at incorporating video Soundings: A Contemporary of art—site-specific and/or Melbourne, art centers known time, turntablist Christian and media installations, Score features recent work by performance-based—then as “alternative spaces” were Marclay was working at the and by extension, , sixteen young artists who forming. emerging and supporting the intersection of the aural and into their contemporary work with sound. They come The distinctions between evolving sonic arts.3 These the visual, sampling and appro- programming. Many have from the United States, visual artists and composer- organizations, some of them priating in the manner of a DJ. specialized audio/visual crews Uruguay, Norway, Denmark, musician-performers blurred short-lived, welcomed artists In alternative spaces he soloed on staff to install and main- Christian Marclay. The Clock. 2010. Single-channel video, 24 hours , Scotland, , as young artists started to visiting from abroad and with patchwork records made tain collection and exhibition Australia, Japan, and Taiwan thrive in the fertile middle gave them opportunities to of fragments he glued together equipment. This expansion page, a straight line connects each sonic layer, the recording and have a broad understand- ground between disciplines. try out new forms. Critics were and played loudly on his of the range of art shown every individual note to a central gained in mass and volume, as ing of art, architecture, La Monte Young, founder welcomed as well, to discuss phonoguitar. He strutted and by museums occurred in the spot, creating a focal point of if to broadcast the terrifying performance, telecommunica- in the early 1960s of the Theatre the connections between pumped up the volume, paying early 1990s, when projectors immense weight and intensity. message of nuclear disaster. tions, philosophy, and music. of Eternal Music, was accompa- art, music, and sound. homage to Jimi Hendrix in his and personal computers If Fusinato’s piece were ever The works of several artists As they move comfortably nied by Marian Zazeela, Angus Alternative spaces jumped 1985 performance Ghost (I Don’t became more affordable and performed, the would in Soundings are based on between mediums, listening MacLise, , and Tony in where museums feared to Live Today). Twenty years later, user-friendly. As commercial produce the most explosive five sound-producing devices that and hearing remain central to Conrad in creating legendary tread. A prime example is the desktop video allowed him to art galleries embraced media notes ever heard. have been altered. Camille their practices. Their envi- environmental installations Kitchen, which, since opening in compose with sound and visual art and developed marketing A more traditional rendering Norment removed the interior ronments, drawings, and featuring electronic drone Manhattan’s SoHo in the early material simultaneously, and strategies for it, museums of a score is heard in a work mechanism from an old-fash- Laurie Anderson. O Superman. 1983. assemblages have a palpable in a loft in downtown 1970s (it has since moved to Music video, 8 min. 23 sec. The Museum of to produce the precise edits hired media conservators to by Susan Philipzs. Her installa- ioned standing microphone sonic presence—even the ones Manhattan. Up-and-coming Chelsea), has presented visual Modern Art. Gift of Warner Bros. Records and sound transitions that char- safeguard and preserve tion draws upon a symphony and replaced it with a pulsating that must be seen to be heard. artists such as Rainer Fetting, art, dance, and experimental acterize his remarkable recent it for the future.11 This practical that was composed in a concen- light that eerily invokes the Sound as an art medium Martin Kippenberger, Salomé, music, often in combination. installations, performances) works Video Quartet (2002) and step, along with the burgeon- tration camp in Nazi Germany shades and voices of celebrated emerged during the 1960s and Luciano Castelli in Berlin, Back then, the term “experimen- at the Akademie der Künste in The Clock (2010). ing of interdisciplinary art in 1943. Whereas the original performers of the past. Richard from the foundations that had Throbbing Gristle in London, tal” was much used and applied Berlin traced the art form from Small alternative spaces practices, contributed to what score was written for twenty- Garet converts a worn-out been laid for it over the and Barbara Ess in New York to diverse forms of artistic its glimmerings in automatic still thrive largely in the low-rent is now a widespread acceptance four instruments, in the record player into a stage for preceding fifty years.1 In the picked up electric guitars and experimentation, from Pierre instruments of the sixteenth peripheries of cities, where they of time-based media installation performance orchestrated by another antique—a shiny spirit of counterculture made music with the same three Schaeffer’s musique concrète century to and Futurism continue the cycle of showcas- as a collectable art form. As Philipsz, there are just two, marble. Together, the obsoles- and revolution, artists were analogue chords that were in 1950s France 4 to works of the early twentieth cen- ing emerging sonic practices media and performance have a cello and a viola, playing their cent device and vintage child’s experimenting with time- being strummed by their coun- by sound-oriented intermedia tury, and also made connec- and generating discussion about become the default modes intermittent parts in a work toy perform a touching drama based art that was intangible terparts in punk rock bands. artists of the 1960s, includ- tions to the circle.6 By them.10 At this topsy-turvy for many artists, sound has now haunted by silences. that gives rise to sounds rarely and difficult to commodify James Nares, Eric Mitchell, ing VALIE EXPORT in Vienna, that time, Germano Celant’s moment of brisk technological moved up through the ranks to Field recording, a branch if ever fully attended to. and collect. Their seat-of-the- and others on Manhattan’s Carolee Schneemann in 1973 exhibition The Record as change, innovation manifests be recognized and exhibited as of sound art also known as Soundings is the realization pants approach to process Lower East Side created sound New York, and Nalini Malani Artwork. 1959–73 had identified itself in myriad ways. Young an art form in its own right. acoustic photography and pho- of a longstanding commit- and materials was well suited events and collaborated on in Bombay. the LP as a vital, collectable artists with an interest in sound The work brought together nography,13 is used to capture ment to bring sound works by to the artist-run, rough- soundtracks for one another’s Significant early milestones art form.7 Change was afoot. are as likely to study computer in this exhibition reflects a sense of space and place, and artists into the Museum. It and-ready exhibition spaces experimental films. Many signaled sound art’s coming Whereas twenty-one sound programming and music com- the strength of a dynamic and in doing so, it often reveals that began in 1979 with Sound Art, sprouting up in cities the artists, following the lead of of age. René Block, as director exhibitions were held in muse- position as painting, , diversified area of contemporary silences are anything but empty. world over. Unconstrained by John Cage and David Tudor, of the DAAD in the 1970s, ums worldwide in the 1970s, in and media art. Well versed in practice. Some of the pieces Jacob Kirkegaard’s single- the financial expectations took to fashioning homemade championed sound as an art the 1980s there were sixty-two.8 technology and in command of convey sound visually. They channel audio-visual projection of commercial galleries, these electronic circuits, often for live form by granting residen- Artists' engagement with their digital productions, they spark in the mind’s ear what is depicts, in four sequential nonprofit establishments events.2 Others, such as Joan cies in Berlin to a dozen or so technology opened new pos- are, like most members of their sometimes referred to as non- segments, four deserted allowed artists to experiment Jonas, Terry Fox, Charlemagne practitioners.5 Block’s colossal sibilities for sound art and generation, comfortable watch- cochlear sound, a seemingly rooms at the abandoned site and benefit from their suc- Palestine, Luigi Ontani, and 1980 exhibition Für Augen expanded its audience. Christina ing feature films on smart phone paradoxical term that recalls of Chernobyl, in Ukraine. The cesses and failures. In these Gilbert & George, used sound und Ohren. Von der Spieluhr Kubisch mastered techniques screens and generating their Marcel Duchamp’s notion of sonic atmosphere of each room, venues, which were frequented as a central component of their zum akustischen Environment. of magnetic induction to realize own personalized sound tracks. non-retinal art.12 In an exemplary punctuated by barely audible mostly by the artists’ peers, performance work. Objekte. Installationen. her sound and light installa- However, they are much more evocation of seen sound, Marco sound events—a drip, a creak— viewers became participants Not only in New York, but Performances (For eyes and tions,9 and Bill Viola, Joan Jonas, than mere consumers of images Fusinato has produced five was recorded, then played back Jacob Kirkegaard. AION. 2006. and assumed active relation- also in cities such as Stockholm, ears: from the music box to the and Brian Eno finely tuned and sounds. They consider abstract drawings based on an and re-recorded repeatedly on Photograph, Lambda print on dibond, ships with the new kinds London, , Kobe, and acoustic environment. Objects, their respective video the choosing of what they look orchestral score. On each location. With the addition of 11 ⅞� 15 ¾" (30 � 40 cm) 10 11

an exhibition of works by three composer of experimental Marco Fusinato The exhibited work, of sound in spirited work that and a microphone. At nineteen artists that was held in a tiny music, is also acclaimed for his Mass Black Implosion (Shaar, Mass Black Implosion (Shaar, connects sound to drawing, he was introduced to Walter video gallery.14 Due to the field recordings. ). 2012. Iannis Xenakis), consists of painting, and performance. Ruttmann’s Wochenende, an small size of the space, the As a duo, Fowler and Five-part drawing. Collection a drawing in five parts based She created “seismic cal- imageless film of sound from works were shown one at a Tsunoda explore the relation- the artist and Anna Schwartz on Xenakis’s Shaar, a piece ligraphy" drawings in 2008 by 1930, and the experimental time, in rotation, for a couple ship between seeing and Gallery, Melbourne from 1983. Working on repro- resting paint-dipped brushes sound compositions of com- of weeks each. The impetus hearing. They first collaborated ductions of five pages from the on canvases that were placed poser/theorist Pierre Schaeffer for the exhibition came from on Composition for Flutter Marco Fusinato explores the score, Fusinato selected horizontally on a pulsating (see text by Anne Hilde Neset, the artists, who, with their Screen, a film-sound installa- rhetoric of radicalism as a central point on each sheet subwoofer. The brushes’ move- p. 17). Both bodies of work countercultural convictions, tion commissioned by the 2008 practiced in the arts and in to which he drew a straight line ment generated non-cochlear expanded his horizons and were committed to working Yokohama Triennial.15 In this politics. In art school, he from every note on the page. sound paintings. Sun Kim has lay the foundations for his in a medium that went against work, images of natural was more interested in ideas His project proposes a new also worked with wires, artistic practice. the grain. Sonic work then elements including water and than in process and was drawn piece of music in which all the transducers, helium balloons, After receiving an M.F.A. had a candor, a do-it-yourself fire are seen on a projection to the work of the Futurists, notes are to be played at once. her own breath, and the vibra- from the Academy of Media sense of experimentation. It screen, across which a taught Marcel Duchamp, John Cage The resulting images strike tions of outdoor noises. She Arts in Cologne in 2006, he broke new ground, pushing vibrating wire pulsates. An and artists associated with the eye as violent blasts, great received a B.A. from Rochester began experimenting with Richard Garet. Light Motion and Radio Disturbances. 2011. the capabilities of institutions electric fan aimed at the loose Fluxus, artists who “crossed compressions that thunder Performance at SFMOMA, San Francisco, California, 2011 Institute of Technology, an sophisticated recording tools. willing to exhibit it and the cloth screen causes it to move, over,” as he puts it, between in the mind’s ear as the music M.F.A. in sound and music from Today he uses accelerometers, sensory thresholds and under- bringing it into contact with disciplines. He became implodes into noise. old LP record player with an three sound streams could Bard College, and an earlier hydrophones, and home- standing of audiences who the resounding wires and interested in the searching upside-down platter revolving be perceived individually and M.F.A. from the School of Visual built electromagnetic receivers were curious to experience it. distorting the projected images. work of avant-garde composers at 33 ½ rpm. A clear glass marble also together as a unit, in the Arts. She persistently questions to capture wondrous dimen- Within contemporary art, Ridges on the Horizontal and pondered the connections Richard Garet placed at the upturned edge of manner of the chimera of what she calls “the ownership sions of the world around him. the energy of the countercul- Plane expands upon the earlier between contemporary music Before Me. 2012. the platter’s smooth metallic Greek mythology, a monster of sound.” He has recorded the singing ture has dissipated, and sound work by adding an element and Conceptual art. Turntable, microphone, pair of surface advances slightly before composed of three distinct In the course of developing sands of the Oman desert, is no longer marginalized as of doubling. Still and moving Fusinato played guitar as speakers, clear glass marble. rolling back to its starting animal parts. Based on a her own visual language, sounds that emanate from the a medium. Nevertheless, artists images are projected onto a noise instrument in under- Collection the artist and Julian point. This action is repeated libretto by the philosopher Reza Sun Kim has explored and inner ear, and unspoken but are more than ever drawn either side of a cloth projection ground clubs, employing a Navarro Projects, New York again and again, ad infinitum. Negarestani, the sound streams employed notational elements audible communications that to it, perhaps because it is still screen, which is agitated by air panoply of electronics in his The scraping sound of glass of Chimerization were spoken from various information sys- take place in social interactions. so full of potential, and not currents produced by two guitar work to achieve masses Sound is the driving force in against metal—the sound of the in English, Farsi, and German by tems. Recently, she produced AION is a sound and video yet quite defined. Today the oscillating fans. Two amplified of sound comparable to the Richard Garet’s installations, marble’s sisyphean ordeal—is readers whose voices could a series of drawings combining portrait of four spaces inside art of sound questions how piano wires stretch horizontally forceful clusters in the works moving images, and perfor- picked up by a microphone and be heard to merge and separate. elements of graphic notation, the exclusion area surround- and what we hear, and what across either side of the cloth, of Iannis Xenakis. He immersed mances. Garet served as a amplified by a speaker standing Threefold sound challenges musical notation, American ing the Chernobyl nuclear we make of it. bisecting the images. The himself in Xenakis’s writings and teaching assistant to the painter on the floor. Unlike the mad- and complicates what Hecker Sign Language Glossing, and power plant site, which was tones made by the vibrating recordings and bought one of Larry Poons and later was a stu- dening stutter of a scratched calls our “bifurcated” listening. American Sign Language evacuated immediately after wires change in response to the the composer’s early scores. This dent of the artist and composer LP, the sight and sound of the In Affordance, he explores (ASL) as a means of expanding disaster struck there in 1986. Luke Fowler and shifting airflows and intermit- document would become the Maryanne Amacher (see text marble’s endless to and fro elicit this three-stream idea further. what each system is able to Kirkegaard placed recording Toshiya Tsunoda tent contact with the billowing starting point of Fusinato’s Mass by Anne Hilde Neset, p. 18) at sympathy and wishes for its Sounds coming from three communicate and to invent a equipment in four forsaken Ridges on the Horizontal Plane. screen. The moving images, Black Implosion series, which Bard College. He was captivated speedy deliverance. speakers are molded to the grammar and structure for her spaces—a moldy swimming 2011. Sound installation with shot in 16-mm film, depict over the last ten years has come by Amacher’s undocumented space of the installation as compositions. pool, a rubble-strewn concert 16-mm film, slides, piano wire, signs of natural and man-made to include works by many other installations and performances, one would mold a malleable, The four drawings, selected hall, a grimy gymnasium, and and projection screen. Collection movement. The still images, twentieth-century composers. which were intended to be Florian Hecker visible material. from hundreds of her picto- a quaint church. the artists and Galerie Gisela projected from large-format experienced exclusively at first- Affordance. 2013. graphic scores and transcripts, He captured the “voices” Capitain, Cologne color slides and in smaller hand. From Larry Poons, Garet 3-channel electroacoustic sound. depict loosely sketched staffs, of these enclosures by setting scale, show semitransparent learned that highly unorthodox Collection the artist Christine Sun Kim symbols for loud and soft, hand up a microphone, recording Artists with strong individual windows and reflective ideas could be central to an All. Day. 2012. gestures, and word plays. deck and loudspeaker in each practices, Luke Fowler and surfaces. artist’s work. Florian Hecker studied Marker, pastel, and charcoal on The works are witty evocations location. Then he hit the Toshiya Tsunoda both studied Ridges has roots in structur- Garet’s abstract digital computational linguistics and paper, 38 ½ × 50" of particularly large sounds. record button and went away. visual art and are involved alist film and in the legacies works, which he calls sonic con- psycholinguistics at Ludwig Pianoiss . . . issmo (Worse Finish). Returning, he stopped the in music production and per- of expanded cinema. Its unsyn- structions, combine algorithmic Maximilian University, Munich, 2012. Pastel and pencil on paper, recording, played it back, and formance. Fowler is best chronized audio and visual and analogue systems and are before receiving a degree in 38 ½ × 50" Jacob Kirkegaard recorded the playback in the known for his film portraits of elements and their seemingly usually presented as projections fine arts at the Akademie der Feedback Aftermath. 2012. AION. 2006. same location. The process was social radicals such as Cornelius random connections link or on computer screens. Garet Bildenden Künste in Vienna. He Marker and charcoal on paper, Single-channel sound and video repeated several times, so that Cardew, the avant-garde to the strategies of chance also creates live audiovisual is the creator of electroacoustic 38 ½ × 50" installation the eerie quiet of the spaces composer and political activist, first explored by John Cage performances, which are closely performances and sound instal- All. Night. 2012. Pastel, pencil, and Collection the artist thickened and was amplified and the Scottish psychiatrist and others. The artists see related to these works, while lations and publishes writings charcoal on paper, 38 ½ × 50". until it became a deep, intensely R. D. Laing. The mood and form the horizontal division of the sitting at a laptop. on his own and others’ work. Collection the artist Kirkegaard has been recording resonating roar.16 Kirkegaard of each of his films reflect screen by the wire as a horizon Garet’s Before Me is a sonic In his installation the sounds around him since the matched the visual depictions Marco Fusinato. 2012. Performance at the character of the subject. line framing the landscape Funhouse, 30th São Paulo Bienal, Brazil. construction with tangible Chimerization, which premiered Born deaf, Christine Sun Kim age of six, when he was given to his acoustical method, Tsunoda, a widely respected of images. 2012 form. The work consists of an at Documenta 13 in 2012, explores the materiality a reel-to-reel tape recorder creating multiple layers of 12 13

images of each space. The title a slang usage that inverts In Wellenwanne Ifo, Norment’s work often brings in relation to the piece, which sailors gone to sea. Transmitted comes from ancient Greek αιων, the word’s usual meaning to low-frequency sound waves to mind the uncanny. Cultural spans four octaves. Up close, through public address systems which means time without end, its opposite: “sick” is “cool.” transmitted onto the surface memories are condensed into distinct tones from individual in places such as supermarkets, and to most is beyond belief. Except that it isn’t cool to say of a pool of water create waves physical, spatial, and temporal speakers can be detected; at a the undersides of city bridges, what you really mean, and so of concentric circles that experiences that have the short distance from the center, and on weekends in deserted the inverted meaning doubles generate interference patterns. halluci­natory qualities of psy­ the sounds blend into a uniform financial districts, the songs Haroon Mirza back on itself, and “sick” reverts The patterns change depending cho­logical atmospheres. In mass; and as listeners proceed and their delivery have a jarring Sick. 2011. to its conventional meaning. on the sound frequencies Triplight, singer and sound are from one end of the piece to the and moving intimacy as they LEDs, amplifier, speakers, Originally conceived as a sound- that produce them. Reflected ghosts, but both are present. other, they progress through address memory and desire. video, monitor, strobe, electronic track to David Goldblatt's by a mirror onto a large dis- The listener is the medium that different tonal fields, each elicit- Study for Strings, which was circuits, and gold nugget photographic portraits of South play screen, they serve as draws out substance from that ing its own range of psychic and commissioned by Documenta Collection Dillon Cohen, Africans who had been absolved a scientific visualization of the which is not there. emotional responses. 13, is based on a twenty-four New York of heinous crimes after confess- properties of sound and as In the tradition of Mini­ string orchestral work by ing them to their country’s a subject of meditation on the malism, which in the 1970s Pavel Haas, a student of Czech Haroon Mirza received an M.A. Truth and Reconciliation principles of order and chaos. Tristan Perich pared down form to the bare composer Leoš Janáček. in fine art from Chelsea College Commission, Sick stands on its Microtonal Wall. 2011. yet not-so-simple basics, Perich Haas wrote the composition of Art and Design and an M.A. 1,500 1-bit speakers and arranged the humblest of in 1943 while interned at the own as an indictment of rapa- Stephen Vitiello. Women's Chorus (Image One). 2003. in design and critical practice cious commercial interests and Camille Norment microprocessors, aluminum digital building blocks to create Theresienstadt concentration Field photograph. Watoriki Village, Amazon, Brazil from Goldsmiths College, both their government allies, and it Triplight. 2008. Collection the artist and a contemporary composition camp, and the completed work in London. His works are assem- targets everyone within earshot. Microphone cage, stand, Bitforms Gallery, New York of depth and complexity. was performed there, once, each waiting politely for the in which the sonic and the haptic blages of electronic gadgets, light, electronics by incarcerated musicians. (A other to complete a thought. intertwine, have a droll touch. faders, and controllers that he Collection the artist Tristan Perich studied math, film of the performance was The silences resound with absent Motor-Matter Bench fea- has tinkered with and used to Carsten Nicolai computer science, and music Susan Philipsz used as Nazi propaganda.) Soon music and conjure memories tures a vintage New York subway alter appropriated videotapes, Wellenwanne Ifo. 2012. Camille Norment studied composition as an undergradu- Study for Strings. 2012. after, the composer and many of the dead. platform bench situated in a outdated TVs, and old furniture. Aluminum tray, wood, CD player, comparative literature and art ate at Columbia University 8-channel sound installation of the musicians were sent to busy area of the Museum. Using The glue in his work is sound. CD amplifier, speakers, mirror, history at the University of and received an M.A. from the Collection the artist and Auschwitz-Birkenau and killed. an analogue and Sick is shiny and black, and screen, water Michigan before receiving an Interactive Telecommunications Tanya Bonakdar, New York The conductor, Karel Ancerl, Sergei Tcherepnin onsite recordings, Tcherepnin it pulsates. It was first seen in Collection the artist and M.F.A and then an M.A. from the Program at New York University’s survived and reassembled the Motor-Matter Bench. 2013. composed a synthetic version of 2011 at the 54th , Galerie EIGEN + ART, Berlin Interactive Telecommunications Tisch School of the Arts. In After studying sculpture in orchestral parts after the war. Wood bench with amplifier melodies and rhythms embed- where Mirza received the Silver Program at New York University 2004 he released 1-Bit Music, art school, Susan Philipsz Philipsz evokes the pathos and transducers ded within the space itself. Lion Award for most promising Carsten Nicolai is a visual and participating as a fellow an electronic circuit carefully became the only artist to have of the original performance Collection the artist and Recharge pulses from transduc- young artist. The installation artist, musician, architect, and in the Whitney Independent arranged in a CD case with won Britain’s Turner Prize (in of Study for Strings as well as Murray Guy, New York ers mounted on the underside of brings together disparate ele- the author, most famously, of Study Program (ISP). She plays a headphone jack on its spine. 2010) for a work composed the horror that followed. The the bench send the composition, ments. A 9.5-gram lump of Grid Index, a seminal work on glass harmonica in an ensemble Using rudimentary hand- of sound alone. She is known entire score is performed by Sergei Tcherepnin is a member via bone conduction, through pure gold—equivalent in weight the mathematics of grids and that includes the Norwegian programmed electronics, he for creating evocative sound just two musicians, who play of the fourth generation of musi- the bodies of people seated to a £1 coin—bounces on visual patterns. As a member hardingfele (Hardanger fiddle) made the forty-minute music interventions using recordings only their parts in the orchestral cians and composers descended there. The sound coming from top of a small speaker emitting of the bands Signal (with Frank and electric guitar. Her sonic composition as a means of of her own a capella singing work. It is as if they are engaged from Nikolai Tcherepnin within them is audible to people pulsating sounds that resemble Bretschneider and Olaf Bender) installations create poetic investigating the foundations of traditional folk songs— in a serious conversation that (1873–1945), who studied with standing nearby. those of an electronic drum. On and Cyclo (with Ryoji Ikeda), he spaces in which visitors are both of digital sound. lullabies and love songs about unfolds slowly, full of pauses, Rimsky-Korsakov and conducted the floor, small blue LEDs flash goes by the name of Alva Noto. performers and witnesses. Math, physics and computer Diaghilev’s Ballets Russes. The in unison. Also floor-bound, For many years Nicolai’s A standing microphone code are the main building young Tcherepnin trained as a Stephen Vitiello and half hidden under what visual practice has been shaped resembling one that Billie blocks and aesthetic inspiration composer and wrote instrumen- A Bell for Every Minute. 2010. looks like an improvised enclo- by the principles of cymatics, Holiday or Elvis Presley might for Perich’s music and his tal music into his early twenties, 5-channel sound installation with sure, a liquid crystal display a branch of science concerned have used conjures long-ago installation work. Microtonal when he started delving into aluminum sound map screen extracted from a televi- with modal phenomena. In 2000 performers pouring themselves Wall is equal parts analytical, , acoustics, the Collection the artist sion flashes in conjunction with he investigated the relationship into their songs. Yet the in its deconstruction of elec- physiology of the ear, and the bursts of video images of an between order and disorder 1955 Shure microphone Camille tronic music, and sensorial, ways in which sound can affect Stephen Vitiello creates sound angry demonstration outside an in Milch (Milk) by pulsing Norment adapted for her in the physical experience the brain. In his studies at Bard installations, performs live with upmarket department store in barely audible sound waves sculpture Triplight stands alone it offers. The work consists of College with Maryanne Amacher electronic instruments, and central London. The protesters into a small pool of milk, thus and silent. Its original internal 1,500 tiny speakers, each with and the sound engineer Bob has composed soundtracks were condemning tax avoidance generating undulating patterns mechanism has been removed, a 1-bit processor emitting a Bielecki, he became interested for video artists such as Tony by wealthy corporations at a on the milk’s surface. The replaced by an erratically different microtonal frequency. in psychoacoustics and the Oursler, Eder Santos, and Jem time when the government was patterns changed according flickering light. Illuminated The speakers are arranged in physicality of sound. Cohen. He travels to remote cutting back social services. to the frequency of the acoustic from within, the microphone’s a grid, with low-pitched Tcherepnin’s performances, places rich in unusual sounds The crowd’s vehemence matches signals and were captured in grill casts a large, specter-like sounds on the left graduating to compositions, and spatial and on location uses profes- Mirza’s synchronization a series of photographs. silhouette over an adjacent wall. high-pitched on the right, and arrangements, made with the sional as well as homemade of pulsating sound and light. The images are exacting and The ghostly form resembles are mounted on a twenty-five- simplest of materials, turn sound recording devices to capture The word “sick” in the title reveal the elegance of complex a rib cage, and the pulsing light, foot-long panel. What one hears Sergei Tcherepnin. Pied Piper, Part 1. 2012. into material. His temporary sound that he subsequently has in recent years acquired systems. a heartbeat. depends upon where one stands Mixed media sound installation. Installation view at Audio Visual Arts, New York, 2012 architectural interventions, integrates into his work. 14 15

Taiwan University before they created a of thus lays the foundations for through discarded oil drums and box of collaboration within museums. receiving an M.A. in Media a very particular place, with a project. springs and had a cast of performers Current international standards for Studies at the New School in its own particular language. Winderen uses sensitive that included the artists John Driscoll, the handling, installation, and care of Phil Edelstein, and Bill Viola, who went time-based media works can be found New York. She works with sound The editing, like the recording, microphones to collect on to form the still-active collaborative at http://www.moma.org/explore/ as a means of investigating of the sound was a collective sounds that are unfamiliar and Composers Inside Electronics. collection/conservation/media_art social relationships, seeking effort by the workers, assisted sometimes inaudible to the 3 Experimental Intermedia and The 12 Seth Kim-Cohen, In the Blink of an ways to explore the construction by the artist. The sound is human ear. Using hydrophones, Kitchen, in ; Fylkingen Ear: Toward a Non-Cochlear Sonic Art intermedia society (founded 1933), (New York: Continuum International of social space in everyday life. paired with video in a work she captures sounds from deep in Stockholm; Sonic Arts Network, Publishing Group, Inc., 2009). Wang made Music While We that is a tribute to its makers’ beneath the ocean’s surface, now Sound and Music, in London; 13 The term “phonography” was Work for the Taiwan Pavilion intelligence, sensitivity, and then mixes the recordings into E/Static Gallery in Milan; XEBEC synonymous with “stenography” at the 54th Venice Biennale. human warmth and a record layered compositions that in Kobe; and Clifton Hill Community long before it was associated Music Center in Melbourne. with sound recording in the 1990s. She chose as a collaborator the of a certain way of life, and of she uses in live performances 4 Carlos Palombini, “Machine Songs http://www.phonography.org political activist and composer acquired skills, that are fast and installations, on CD, cas- V: Pierre Schaeffer: From Research 14 The exhibition included the work of Chen Bo-Wei, a founding disappearing. sette and vinyl records, and for into Noises to ,”. Connie Beckley, Julia Heyward, member of Black Hand Nakasi film and radio. The results are Computer Music Journal, MIT Press, and Maggie Payne. It was preceded Vol. 17, No. 3 (Autumn, 1993), pp. 14‒19. by “Projects: Laurie Anderson, Workers' Band, which since 1996 uncanny sonic evocations of 5 Since 1963, the DAAD (German Handphone Table” in 1978 and has been facilitating the active Jana Winderen places as difficult for most of us Academic Exchange Service) has was followed by Terry Fox’s show involvement of social minorities Ultrafield. 2013. to imagine as a crevasse in an granted one-year residencies in Berlin Room Temperature in 1980. Hong-Kai Wang. Music While We Work. 2011. in cultural productions and 16-channel ambisonic sound underwater glacier. Revealing to approximately one thousand artists. 15 They worked together again on part Multichannel sound and 2-channel video installation During René Block’s directorship, three of A Grammar For Listening, political activism. installation. Surround sound the complexity and strangeness recipients included sound artists 2009, a film in which Fowler experi- In 2003, he lived among the work, Inside Out, emphasizes Wang assembled a group of audio software and installation of the natural world is central Terry Fox, Arnold Dreyblat, mented with the relationship between Yanomami in Brazil and learned how much information about retired workers from a sugar consultancy by Tony Myatt, to her practice. Who knew that Paul diMarinis, Gordon Monahan, looking and listening. how Yanomami shamans our environment comes through refinery in the small industrial Professor of Sound, University cod and shrimp use sound to Pauline Oliveros, John Driscoll, 16 Kirkegaard was inspired by Alvin Marianne Amacher, David Moss, Lucier's work I am Sitting in a Room use birdsongs and the sounds the sounds we hear. town of her childhood, where of Surrey communicate and select a mate, Shelley Hirsch, Alvin Lucier, (1969), in which Lucier recorded of insects to predict future A Bell for Every Minute, her own family’s life had Collection the artist or that ants at work make a and Alvin Curran. himself narrating a text that began events. The shamans’ method, commissioned by Creative Time, revolved around the same tremendous racket? 6 Für Augen und Ohren established "I am sitting in a room, different from called “heã,” of interpreting Friends of the High Line, and factory. After attending work- Jana Winderen studied math- Recently, Winderen has been the notion of Klangkunst, which the one you are in now. I am recording gradually developed as a field with its the sound of my speaking voice…" the voice and language of the New York City Department shops in listening and recording ematics, chemistry, and fish recording the sounds of bats own theoretical discourse, largely He played that recording in the the forest underlay Vitiello’s of Parks and Recreation, is led by Bo-Wei, the retirees ecology in Oslo and went in flight. In Ultrafield, listeners in Germany. Klangkunst was the focus room and rerecorded it, repeating installation at the Cartier broadcast through speakers and their spouses—there were on to graduate in Fine Arts hear even more than the of Sonambiente: Festival für Hören the process until his words were Foundation, Yanomami: Spirit installed in the Museum’s out- nine participants in all, many from Goldsmiths, University artist did as she was circled by und Sehen, an exhibition with film unrecognizable, overwhelmed screenings and performances, held at by the ambient tones and harmonies of the Forest, in 2003. door Sculpture Garden. Every of them friends—returned to of London. Describing her work bats flying among a stand the Akademie der Künste, Berlin, within the room. When Vitiello became minute, the sound of a different the factory to document the as “blind” field recording, of trees. Imperceptible to her in 1996 and 2006. Associate Professor of bell is heard, and on the hour sounds of the environment they she begins her compositional at the time, the bats’ ultrasonic 7 The exhibition took place at the Royal Kinetic Imaging at Virginia all the bells chime together. knew so well. Wang asked them process in remote locations, echolocation calls have been College of Art, London. 8 Seth Cluett, “Loud Speaker: Towards a Commonwealth University in Recorded in New York City, to “paint a world composed where she chooses which sound, rendered audible by slowing the Component Theory of Media Sound,” 2004, he learned about an the sounds include diner bells, by your listening,” and together creature, or idea to follow, and recording to one-tenth of Ph.D. diss., Princeton University. old-growth forest where some the New York Stock Exchange its normal speed. These clicking (Ann Arbor: ProQuest/UMI, 2013), of the largest cypress and bell, the United Nation's sounds have been combined pp. 122‒128. 9 A major figure among the first genera- tupelo trees in Virginia still Peace Bell, bike bells, bells on in Ultrafield with the chirping tion of sound artists, Kubisch (born stand. Entering the area by cat collars, and alarm bells. stridulations of underwater 1948) trained as a composer before canoe, he paddled along An accompanying map locates insects and sounds made by fish turning towards installation. Her the Nottoway River, where each bell’s position within to protect their habitats or to experiments with acoustic space and the dimension of time are especially he captured the calls of owls the city. Each bell tone within find a mate. The result is a com- well known in Europe. in the forest. Vitiello’s composition has position echoing the activity 10 Singuhr sound gallery, Berlin, founded During a six-month resi- a clarity that cuts through the of a fragile ecosystem revealed 1996 by Carsten Seiffarth; Five dency in 1999, Vitiello occupied blur of urban sound that through sound. Beekman, New York, founded 1996 by Michael Schumacher and Liz Radke, a studio on the ninety-first penetrates the walls of the was renamed Diapason in 2001; KHOJ, floor of the World Trade Center, Museum’s garden. New Delhi, founded 1997; AVA, New where he recorded the creaking 1 See Anne Hilde Neset’s essay on p. 16. York, founded 2008 by Justin Luke; noises the building made as 2 Cage’s use of electronics began Issue Project Room, Brooklyn, founded with his Cartridge Music (1960), Music 2003 by Suzanne Fiol; Lydgalleriert it swayed in the wind. Placing Hong-Kai Wang for Amplified Toy (1960), (Soundgallery), Bergen, founded 2005, contact microphones on the Music While We Work. 2011. 0'00" (the 1962 companion piece to and Sound Fjord, London, founded permanently closed windows, Multichannel sound and 4'33"), and Electronic Music for Piano 2010. he captured sounds of the world 2-channel video installation (1964). Tudor’s performance 11 Often fully realized only when installation Rainforest I was composed installed, time-based media works outside—the buzz of airplanes, Collection the artist in 1968 for the choreographer Merce are complex constructions that pose helicopters, and boats in the Cunningham. The fourth version of new challenges for their custodians. harbor, and on Sunday morn- Hong-Kai Wang pursued art the piece, created in 1973, featured an The installation of these works electronic circuit that drove sounds requires new skills and new networks ings, church bells. The resulting and politics at the National Jana Winderen. Untitled performance at SuperDeluxe, . 2008 Plates

In the short texts that follow, the What led you to make work with What is your (or your work's) Describe your relationship How would you describe your What is your relationship to How would you describe the artists in Soundings discuss their or about sound? relationship to the politics or to your material or medium. relationship to the material and silence and/or to the inaudible? relationship between sound and work. Each was sent this set of ethics of listening? sonic realities of contemporary social space? prompts, which they were free to culture? interpret, reroute, or discard as they saw fit. 22 Born 1978, Scotland Lives and works in Glasgow 23 Luke Born 1964, Japan Lives and works in Yokohama Fowler & Toshiya tsunoda

Luke Fowler an installation that used dia­ improvised tape loop duo Lied I think that, though there are As far back as I can remember, logue as material. My mother Music (2004), I worked with several kinds of music, we I have been interested in music. is a sociologist, and her use of the instrument-maker Sarah adopt the same way of listen- My neighbor's father was in a cassette recorders in interviews Kenchington to create a group ing to them all; Led Zeppelin, band and encouraged us to play had an effect on my art. I have of bowed metal instruments AMM, Bach, and Romanian with whatever was at hand. In continued to use the interview to use in the studio and on folk music are all different. the early 1990s, my friends and I as a tool in my research, tour. These instruments were But I think the reason we were excited about hip hop, dub, though I’m acutely aware of its inspired by Hugh Davies and appreciate the difference is Dance and Electronic music, as problematics as a mode of docu- Walter Ruttman's steel cello. that we listen to them in the well as heavy metal. We relied mentary representation. You They had a beautiful glacial pal- same way. One of the aims upon the WEM Copycat—a can see this in my film The Way ette but were compromised by of experimental music is to tape echo unit—to give depth Out (2003), which is a portrait of their fragility. I began to phase break this convention. It must to cheap Yamaha keyboards. DIY musician Xentos Jones. The out the use of tape loops and be done (again and again) It stripped back the need for film dances around the issue of samplers in favor of using field to dislocate this rigid way we complex, virtuosic playing. Then respecting or destroying Jones’s recordings and found objects adopt when listening to came PCs, Cakewalk, and all constructed identities. I can as both source and focus of my music. To make new sound things midi. My first synthesizer often tell when a film defers to sound work. In dialogue with is not experimental unless it had a dull user interface and its subject's desired depiction collaborators such as Toshiya opens a new way of listening. 1 a lifeless sound. In this time and when its form is unfettered Tsunoda, Jean-Luc Guionnet, of primitive sequencers you’d by personal relations. In the and Richard Youngs, I have 1 Taku Sugimoto. Musical Composition spend hours staring at a piano second mode, the portrait is come to the conclusion that the Series 2. 2010. Two compact discs. Kid Ailack Enterprise, Japan. roll, fixing minute velocity drawn with residue or evidence impetus behind a work is a more changes. Those early midi days rather than testimony—objects, significant and formative factor made sampling possible, but signs, and interpretations. My for me than considerations sociability was compromised, films have used both models. like expression, skill, texture, or both with each other and our In the 2000s, I became other such musical values. instruments. It was a sterile and interested in using contact I found a quotation from the clinical means of producing. microphones to record the musician Taku Sugimoto which In art school, I did a project vibration of very small, other- chimes with my thinking on

called The Social Engineer (1999), wise inaudible sounds. In my matters of sound and listening: . RidgesPlane. on the Horizontal 2011. Tsunoda Fowler and Toshiya Luke Installation view screen. at projection Galerie Gisela Capitain, 16-mm film, slides, piano wire, Cologne, 2011. Collection the artist and Galerie Gisela Capitain 24 25 . RidgesPlane. on the Horizontal 2011. Tsunoda Fowler and Toshiya Luke Installation view screen. at projection Galerie Gisela Capitain, 16-mm film, slides, piano wire, Cologne, 2011. Collection the artist and Galerie Gisela Capitain

Toshiya Tsunoda a hollow version of reality, but it my recordings as a trace of a us. In one instance, I recorded A perceived environment does is in itself a complete, autono- particular collision, rather than the vibration of a wire fence not necessarily relate to what mous entity that exists within a secondary documentation that divides the road from the is vibrated sonically. In field its own space and time, and with of reality. sidewalk inside a small tunnel. recording, the “environment” its own role and implications in Sound is largely influenced After a car has driven by, its is often determined prior to the world. by the shape or conditions sonic presence lingers in the the act of recording. I find this For instance, although foot- of the space in which it vibrates. fence. Many factors lead to the reality disturbing; preconcep- steps are just grooves, physical Like the strange echo one existence and specificity of this tions are difficult to overcome. impressions in the ground, we hears by listening close to vibration: the length and mate- For instance, in so-called acknowledge them as indepen- the opening of a glass bottle. rial of the fence, the velocity of soundscape field recordings, dent matter, distinct from I often use extremely small the car, the size and structure the sound of the river is usually the ground in both concept and air microphones, as well as of the tunnel, the temperature a prescribed sound; it is as form. This is because we have contact microphones, to record and humidity (i.e., season and we expect it to be. In this type the ability to recognize images vibrations within tight spaces or weather). Furthermore, the of work, sounds are often used and traces left by many factors inside objects. Vibrations that people who dug the tunnel and as tools to create a musical colliding in a given space. To travel through solids behave the architects who designed whole. It is not my intention to take a more auditory example: in unique ways, but they are it also play roles in creating this create music. Rather, for me, the sound of applause does not altogether different from real-time phenomenon of vibra- field recording is like landscape not belong to either the left vibrations that travel through tion. All of this remains inaudible painting. I see recording as or the right hand; our concept the air. A vibration can travel to unless we place our ears, or a subjective thing, inseparable of applause relies on an actual the walls of a building that is a recording devices, directly on from the person making it. occurrence or interaction, few hundred meters away from the fence. I’m interested in mak- Much like landscape painting, a material and social object the source. Such behavior can ing phenomena and landscapes where the artist sees a scene composed of hands, time, space, make us aware of occurrences like this one heard. from a first-person point of and, in this case, intention. taking place in spaces otherwise

. RidgesPlane. on the Horizontal 2011. Tsunoda Fowler and Toshiya Luke Installation view screen. at projection Galerie Gisela Capitain, 16-mm film, slides, piano wire, Cologne, 2011. Collection the artist and Galerie Gisela Capitain view, documentation is not just Thus, I prefer to describe unknown or unavailable to Translation by Yasuko Elisson 26 Born 1964, Australia Lives and works in Melbourne 27 Marco Fusinato 5 cm). 62

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I’ve had a long-term interest in in the series Noise & Capitalism I’ve taken print-media images and historical moments, the A third in the more meta- white backdrop that Crass (an degrees—to view the whole a camera in the rafters above, noise as music. On one hand, I’m (2010), for instance, I enlarged of riots—of those decisive series appears remarkably phorical category, THERE IS NO anarcho-punk band) hung plane and discern what the rug which is recording the surface of drawn to its purity, and on the a collection of twenty-first moments when a rioter bran- unified. In these works, one of AUTHORITY (2012) re-presents behind their stage. The rug spells out. No longer behind the the rug. The camera sends this other, its ability to contaminate. century insurrectionary leftist dishes a rock against a backdrop the things I’m interested in is the this message of self-determina- reaches wall-to-wall across a stage, THERE IS NO AUTHORITY feed to the monitor with a short In various ways, noise permeates pamphlets and then superim- of fire—and enlarged them to way noise functions symbolically, tion, “THERE IS NO AUTHORITY third of the gallery space. The becomes focal point and delay, increasing the likelihood many of my projects. In gallery posed certain pages on top of heroic, history-painting scale or gesturally in this particular BUT YOURSELF,” on a huge woven slogan faces the back foreground. The rug is not the that the viewers see their own contexts, some of my works others. The result is an illegible using the latest commercial print case. Double Infinitives presents wool rug fabricated by one of wall, and viewers are thus entire work. Additionally, there image. In this way, the audience relate to noise metaphorically, morass of text and image. An technologies. Even though the actions of rage, violence, and the world’s finest rug makers. forced to walk across the work, is a monitor mounted on the becomes a part of the work; and others more literally. In ideological mess. And in the images have been appropriated chaos as tableaux of silence and It is a scaled-up reproduction and then re-orient themselves wall, also facing the back they become implicit in the text. terms of the former category, series Double Infinitives (2009), from a vast array of geographical distilled energy. of a hand-painted black and spatially—by turning 180 of the gallery. It is connected to 28 29 .5 cm) 58

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Then there are some works directly on the audience, in an for galleries that have audible assault of 13,000-plus watts noise content, at extreme of white light and 105 decibels volume. For example, Aetheric of white noise. This is an Plexus (2009) takes the unequivocal, overwhelming equipment associated with action. It assaults the audi- contemporary spectacle (stage ence—simultaneously crushing rigging, lighting and speak- them into the corner of the ers—usually there to highlight gallery space and making them the performer) and turns it the spectacular object. 82 Biographies 83

2011 2010 Selected Bibliography Virilio, Paul. Unknown Quantity. Yokohama Triennale 2011. Mikrogalleriet, . Tristan Beta, Andy.”Getting Literal about Paris: Fond­ation Cartier pour l’art Our Magic Hour—How Much of the Perich: Interval Studies. February 5–14. ‘Inner Beauty.’” Wall Street Journal, contemporain, 2002. World Can We Know? August 6– Motelsalieri, Rome. 1-Bit Show. November 9, 2012. November 6. November 14–30. Cappetta, Andrew. “Breaking Down the 4th 2008 2009 Wall–Again.” The Brooklyn Rail (Feb 2012). Hong-Kai Wang Hamburger Kunsthalle. Anti Reflex. Issue Project Room, New York. da Fonseca-Wollheim, Corinna. Selected Exhibitions September 11–December 7. Eighteen Linear Constructions. ”I Hear, and Become, the Body Electric: 2012 2003 February 1, 2009–January 30, 2010. Sergei Tcherepnin’s Music for One at The Cube Project Space, Taipei. The 50th Venice Biennale. Dreams and Selected Bibliography Issue Project Room.” New York Times, composer composes the future so that his Conflicts: The Dictatorship of the Viewer. Clark, Philip. “Outer Limits: Tristan November 28, 2012. composition leaves the traces of June 15–November 2. Perich: 1-Bit Symphony.” The Wire, no. 319 the future which the future won’t leave. 1997 (September 2010). October 20–November 4. Documenta 10, Kassel. Gerber Klein, Michele. “Artists on Artists: Toshiya Tsunoda 2011 Luke Fowler Cormack, Emily, Alexis Glass, et al. MMK Museum für Moderne Kunst 2010 June 21–September 28. Tristan Perich.” Bomb, no. 104 Selected Exhibitions and Performances 54th Venice Biennale. Illuminations. Selected Exhibitions 21:100:100. Melbourne: Gertrude /Main. Florian Hecker. Event, Aichi Triennale 2010, Nagoya. Arts Selected Bibliography (Summer 2008). 2011 June 4–November 27. 2012 Contemporary, 2008. Stream, Object. May 8–August 22. and Cities. August 21–October 31. Auerbach, Tauba. “Out of Order.” Pareles, John. “A Symphony on a Chip Galerie Gisela Capitain, Cologne. Luke 2010 Inverleith House, Edinburgh. Luke Fowler Groenenboom, Roland, ed. Sonic Youth 2008 2009 Artforum International 48, no. 5 Packed in a Jewel Box, and Visions of Love.” Fowler & Toshiya Tsunoda. Ridges on the Casino Luxembourg-Forum d’art with Toshiya Tsunoda and John Haynes. etc.: Sensational Fix. Cologne: Walter Manifesta 7, Trentino. July 19– Helene Nyborg Contemporary, (January 2010): 35–36. New York Times, August 7, 2010, p. 18. Horizontal Plane. January 22–March 5. contemporain. Music While You Work. February 12–April 29. Konig, 2009. November 2. Copenhagen. Motion…Matters. Cannon, Andrew. “Carsten Nicolai: 2010 May 25–September 5. 2010 Koop, Stuart. Crackle: Contemporary Selected Bibliography January 16–February 15. Inserting Silence.” Mono Kultur, no. 1 DNK Amsterdam. DNK Days Festival. April 1. 2009 Bergen Kunsthall. Pilgrimage from Art from the Middle of Nowhere. Gaensheimer, Susanne, ed. Florian 2007 (September 2005). Susan Philipsz 2009 2nd Incheon Women Artists’ Biennale. Scattered Points. March 5–April 7. Brisbane: Institute of Modern Art Hecker: event, stream, object. Cologne: Swiss Institute, New York. Broadway. Nicolai,Carsten, Audronė Žukauskaitė and Selected Exhibitions Sullivan+Strumpf Fine Art, Sydney. So Close Yet So Far Away. August 1–31. 2009 Publishing, 2008. Verlag der Bucchandlung Walther König, March 21–May 7. Julija Fomina. Carsten Nicolai: Pionier. 2013 Extropian. November 26–December 19. 2006 The New Museum of Contemporary Art, 2010. Selected Bibliography Leipzig: Spector Books, 2011. The Trust for Governors Island, New York. 2008 Taipei Biennial. Dirty Yoga. New York. The Generational. Younger Holert, Tom. “Double Negative.” Bertolotti, Silvia. “The Poetics of the Strauss, Dorothea, ed. Carsten Nicolai: Susan Philipsz: Day is Done. Permanent Yokohama Triennale 2008. Time Crevasse. November 4, 2006–February 25, 2007. than Jesus. April 8–July 12. Richard Garet Artforum International no. 1 Space.” Digimag, no. 52 (March 2010). Static Fades. Zurich: JRP Ringier, 2007. installation. September 13–November 30. Selected Bibliography Serpentine Gallery, London. Luke Fowler. Selected Exhibitions (September 2009): 238–239. Hodkinson, Juliana. “Instrumentality and 2012 Selected Bibliography Cheng, Amy Hueihua, Kevin Muhlen, Wei May 7–June 14. 2012 Milliard, Coline. “Florian Hecker, the Urban Instrumentarium.” Scroope– Documenta 13, Kassel. The dance was Center for Contemporary Art Kitakyushu, You, Tiehchih Chang and Jeph Lo. The 2008 Studio 10, New York. The Spacious Now Acid Polyphony.” Modern Painters Cambridge Architecture Journal 19 Camille Norment very frenetic, lively, rattling, clanging, ed. Substantial #04. Kitakyushu: Center Heard and the Unheard - Soundscape Yokohama Triennale 2008. Time Crevasse. and the Scale of the Instantaneous. (March 2010): 40–42. (June 2009): 106–113. Selected Exhibitions rolling, contorted, and lasted for a long for Contemporary Art, 2011. Taiwan. Taiwan: Taipei Fine Arts Museum September 13–November 30. November 9–December 16. Obrist, Hans-Ulrich, ed. Formulas Morgan, Frances. “Sound Escapes.” 2012 time. June 9–September 16. Harren, Natilee. “Luke Fowler and of Taiwan, 2011. Kunsthalle Zürich. Luke Fowler. 2011 for Now. London: Thames and Hudson, Frieze, no. 126 (October 2009). The National Museum of Norway– Bonniers Konsthall, Stockholm. More Toshiya Tsunoda. Galerie Gisela Capitain.” Fischer, Berit, and Kevin Muhlen. Music August 30–November 2. Espacio de Arte Contemporáneo, 2008. Museum of Contemporary Art, Oslo. than Sound. September 5–December 2. Artforum International (April 2011): While You Work. Luxembourg: Casino 2006 Montevideo. Espacios No-Euclídeos. I Wish This Was a Song. Music in 2011 228–229. Luxembourg - Forum d’art contemporain, Tate Britain, London. Tate Triennial 2006: August 17–October 30. Haroon Mirza Contemporary Art. September 14, 2012– The New Museum of Contemporary Art, Leaver-Yap, Isla, ed. 8 Metaphors: 2010. New British Art. March 1–May 14. 2010 Christine Sun Kim Selected Exhibitions January 20, 2013. New York. Ostalgia. July 6–October 2. (because the moving image is not Leanza, Beatrice, ed. The Human Factor - Selected Bibliography The Invisible Dog Art Center, New York. Selected Exhibitions and Performances 2012 2009 2010 a book). London: LUX, 2011. Rethinking Relationality (or the Artist Bowman, Rob, and Jens Hoffmann. Beck’s Electrochroma. September 25– 2012 The New Museum of Contemporary Art, Kunsthalle Bern. The Conspiracy. Artangel, London. SURROUND ME: Montgomery, Will. “Quiet storms: as Bricoleur). Rome: Cura Books, 2012. Futures 2005. London: ICA Exhibitions, November 24. Recess, New York. Remitting Default: New York. Preoccupied Waveforms. August 1–September 6. A Song Cycle for the City of London. Toshiya Tsunoda.” The Wire, no. 323 2005. 2009 Sonic Diagrams. July 6. September 19–June 1. 2007 October 9, 2010–January 2, 2011. (January 2011). Fowler, Luke, Beatrix Ruf, et al. Luke The Public Trust, Dallas. Sonochrome. Cantor Fitzgerald Gallery, Haverford. Spike Island, Bristol. /|/|/|/|/|/|/|/|/|/|/|/ Atlanta Contemporary Art Center. 2009 Jana Winderen Fowler. Zurich: JRP Ringier, 2009. November 7–December 5. What Can a Body Do? October 26– |/|/|/|/|. January 21–March 25. Organized Camille Norment, The Round Gallery. Modern Art Oxford. You Are Not Alone. Selected Exhibitions and Performances Leaver-Yap, Isla, ed. 8 Metaphors: Selected Bibliography December 16. in collaboration with Camden Arts January 5–February 24. October 31–December 3. Stephen Vitiello 2012 (because the moving image is not a Berry, Keith, Richard Chartier, Richard 2011 Centre, Middlesbrough Institute 2003 Selected Bibliography Selected Exhibitions Guggenheim Museum and Unsound, book). London: LUX, 2011. Garet, et al. Extract: Portraits of Sound Performa 11. Christine Sun Kim with of Modern Art and Bonniers Konsthall. 50th Venice Biennale. Dreams and Fabricius, Jacob, and Fredrik Liew, eds. 2011 New York. Stillspotting NYC. October 9. Ledwith, Colin, and Polly Staple. Artists. Vienna: Non Visual Objects, 2007. Lukas Geronimas. Feedback. November 4. 2011 Conflicts: The Dictatorship of the Viewer. Susan Philipsz: Stay with Me. The Massachusetts Museum of Moderna Museet, Stockholm. freq_out 8. You Have Not Been Honest. London: Cain, Nick. “On Asynchronous 2010 54th Venice Biennale. Illuminations. June 15–November 2. Malmö: Konsthall Malmö, 2005. Contemporary Art, North Adams. February 17–19. British Council, 2007. Algorithms, Scything Power-drones and Art lounge Dibang, Seoul. To Pass over a June 4–November 27. Selected Bibliography Hrsg. documenta and Museum All Those Vanished Engines. 2011–2016. 2011 Thorny Ferric Missives.” The Wire, no. 335 Threshold. June 16–July 24. Performa 11. An Echo Button. Hansen, Tone, et al. Camille Norment: Fridericianum, eds. dOCUMENTA(13), MoMA PS1, New York. September 11. Galerie B-312, Montreal. Energy Field. (January 2012): 71. 2006 November 8–11. Within the Toll. Oslo: Henie Onstad The Guidebook. Ostfildern-Ruit: September 11, 2011–January 9, 2012. January 8–February 5. Marco Fusinato Schuster, Robert. “Richard Garet’s David Zwirner Gallery, New York. A 2008 Kunstsenter, 2011 Hatje Cantz, 2011. 2010 Göteborg International Biennial for Selected Exhibitions ‘Electrochroma’ at the Invisible Dog; Delicate Arrangement. June 21–June 24. Liverpool Biennial, London. Norment, Camille. “Notes from the Velasco, David. “Susan Philipsz.” Artforum The High Line, New York. A Bell For Every Contemporary Art. Pandemonium: Art in 2012 Bernd and Hilla Becher’s ‘Water Towers’ Selected Bibliography New Contemporaries. September 20– Oscillating Dream Space.” In Pathways International 46, no. 10 (Summer 2008). Minute. June 23, 2010–June 20, 2011. a Time of Creativity Fever. 30th São Paulo Bienal. The Imminence of at Sonnabend.” Village Voice, Müller, Wolfgang and An Paenhuysen, November 22. to Unknown Worlds: Sun-Ra, El Saturn 2008 September 10–November 13. Poetics. September 7–December 9. November 17, 2010. eds. Gebärde Zeichen Kunst, Gesture Sign Selected Bibliography and Chicago’s Afro-Futurist Underground, Museum 52, London. Finding Pictures in 2009 2010 Art: Gehörlose Kultur / Hörende Kultur, Birkett, Richard, Linda Yablonsky and 1954–68, edited by Elms, Anthony, Sergei Tcherepnin Search of Sounds. March 6–April 5. Tate TodaysArt, The Hague. Conflict. 17th Biennale of Sydney. The Beauty Deaf Culture / Hearing Culture. Berlin: Lisa Le Feuvre. Movement 1. London: John Corbett and Terri Kapsalis. Selected Exhibitions and Performances Modern, London. Sound Surface. May 22. September 24–25. of Distance: Songs of Survival in a Florian Hecker Martin Schmitz Verlag, 2009. Lisson Gallery, 2011. Chicago: White Walls, 2006. 2013 2006 2008 Precarious Age. May 12–August 1. Selected Exhibitions Sekoff, Hallie. “Christine Sun Kim, A Deaf Bonacina, Andrew.“Focus.”Frieze, no. 133 Valdez, Sarah.“Freestyling.” Art in America Murray Guy, New York. Sergei 15th Biennale of Sydney. Zones of Contact. Extra City Kunsthal, Antwerp. Rainbow 2009 2012 Artist, ‘Reclaims Sound’ in a Short Film (September 2010). 89, no. 9 (September 2001): 134–139. Tcherepnin. March 2–April 13. June 8–August 27. Audio Transformation. January 8–13. Anna Schwartz Gallery, Melbourne. Documenta 13, Kassel. The dance was by Todd Selby.” The Huffington Post, Herbert, Martin.“Haroon Mirza.” 2012 2002 Selected Bibliography Double Infinitives. June 25–July 25. very frenetic, lively, rattling, clanging, September 10, 2012, available online at Art Review, no. 48 (March 2011): Audio Visual Arts, New York. Pied Piper Whitney Museum of American Art, New Cowley, Julian. “Cross Platform 2008 rolling, contorted, and lasted for a long www.huffingtonpost.com/2012/09/10/ 69–74. Tristan Perich Part 1. May 17–July 1. York. Whitney Biennial. March 7–May 26. Jana Winderen.” The Wire, no. 331 Hamish McKay Gallery, Wellington. time. June 9–September 16. christine-sun-kim-deaf-pe_n_1870489. Selected Exhibitions 30th São Paulo Bienal. The Imminence Selected Bibliography (September 2011). Mass Black Implosion (for Anestis 2011 html (accessed March 5, 2013). 2012 of Poetics. September 7–December 9. Cox, Cristoph. “Lost in Translation: Sound Neset, Anne Hilde. “Monde Aquatique / Logothetis). April 30–May 24. Göteborg International Biennial for Carsten Nicolai InterAccess Electronic Media Arts 2011 in the Discourse of Synaesthesia.” Artforum Under Waters.” ARTnord no. 11 (May 2012). Selected Bibliography Contemporary Art. Pandemonium: Art in Selected Exhibitions Centre, Toronto. Microtonal Wall. Performa 11, New York. Nils Bech International, no. 2 (October 2005). Pinch, Trevor, and Karin Bijsterveld, eds. Joseph, Branden W. “Dark Energy: a Time of Creativity Fever. Jacob Kirkegaard 2012 April 13–May 19. with Bendik Giske and Sergei Tcherepnin. Daniels, Dieter and Inke Arns. 4’33” The Oxford Handbook of Sound Studies. The Art of Marco Fusinato.” Artforum September 10–November 13. Selected Exhibitions Zentrum für Kunst und 2011 Look Inside. November 11. Sounds Like Silence, Spector Books, New York: Oxford University Press, 2012. International 49, no. 6 (February 2011): 2010 2012 Medientechnologie Karlsruhe. Katonah Museum of Art. Tristan Perich: 2010 Leipzig, Germany. Rudi, Jøran, ed. Soundscape in the Arts. 192–199, 252. Chisenhale Gallery, London. Florian The Menil Collection, Houston. Silence. Sound Art. Sound as a Medium of Art. Machine Wall Drawing. January 23– Audio Visual Arts, New York. A Queer Trainor, James. “Stephen Vitiello.” Frieze, Oslo: Notam, 2011 Hecker. February 12–March 28. July 27–October 21. March 17, 2012–January 6, 2013. May 1. Balance. May 18–June 20. no. 67 (May 2002). Thank you for downloading this preview of Soundings. To continue reading, purchase the book by clicking here.

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