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SOUNDWORKS: BRRRRR BRRR BRRRR and MMMMMMMMMMMM 14 — 15 September 2012

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SOUNDWORKS: BRRRRR BRRR BRRRR and MMMMMMMMMMMM 14 — 15 September 2012 SOUNDWORKS: BRRRRR BRRR BRRRR and MMMMMMMMMMMM 14 — 15 September 2012 Concluding its season on Sound, the ICA is hosting a Each part £8 / £7 Concessions / weekend exploring the sound contributions that were £5 ica Members / Limited tickets £5 Students produced as part of SOUNDWORKS. Taking its name Weekend pass available £24/£22 from Bruce Nauman’s use of raw audio materials, Concessions /£15 ica Members – call our box office. this programme brings together recordings from For Further Information please SOUNDWORKS in conjunction with presentations, visit www.ica.org.uk or call our box office 020 7930 3647 music performances, and screenings exploring the Institute of Contemporary Arts potential of sound in art. The Mall London SW1Y 5AH Follow us: flickr www.ica.orG.uk Part I: Luke Fowler: Notes and printed, Mai 36 Galerie, Zürich. Recent solo List of Speakers: to emphasize the fissures inherent to auditory within Vibrations (Spatial exhibitions include The Poor Stockinger, the Luddite experience as generative. Response to the ica Archive) Cropperand the deluded followers of Joanna Brandon LaBelle Brandon LaBelle is an artist, theorist and writer. His 14 Sep 7.00pm Southcott, The Hepworth, Wakefield (made in Echo work addresses questions of sociality, subjectivity association with Contemporary Art Society, Film and and informal articulations of agency, using sound, Video Umbrella and Wolverhampton Art Gallery) and Doubling, shadowing, mirroring... all such performance, text and sited constructions. His The ICA’s most recent artist in residence, 2012 Luke Fowler with Toshiya Tsunoda and John Haynes, performances lead to the dynamics of the echo, work has been presented at Whitney Museum, NY Turner Prize nominee Luke Fowler, presents his Inverleith House, Edinburgh (2012) for which he has tuning us to the disjoined horizon of audibility (2012), Image Music Text, London (2011), Sonic project Notes within Vibrations (Spatial Response been nominated for the 2012 Turner Prize. In 2008 separate from us that also finds its way back. The Acts, Amsterdam (2010), A/V Festival, Newcastle to the ICA Archive) as the culmination of his work he received the inaugural Derek Jarman Award. echo captures the spatial complexity of sound, (2008, 2010), Museums Quartier, Vienna (2009), 7th with the gallery. The audio-visual piece, created as reverberant propagation that leaves behind its Bienal do Mercosul, Porto Allegro (2009), Center for specifically in response to Fowler’s residency at source to reflect from multiple surfaces. The echo Cultural Decontamination, Belgrade (2009), Casa the ICA, will consist of new work generated from returns sound’s propagating energy, acoustically Vecina, Mexico City (2008), Netherlands Media Art his research into the ICA archive. Over the last playing back to haunt this space, that body, with a Institute, Amsterdam (2003, 2007), Ybakatu Gallery, few months, Luke Fowler has been exploring the certain voice – who’s there? Curitiba (2003, 2006, 2009), Singuhr Gallery, Berlin recorded history of the ICA, conducting an in-depth (2004), and ICC, Tokyo (2000). He is the author of study into the Institute’s music, performance and Part II: Acoustic AmbiGuities The echo thus outlines a primary figure of listening, Acoustic Territories: Sound Culture and Everyday talks programme between the 1960s and 1980s. 15 Sep 12.00pm that of othering and differentiation, which is also Life (Continuum, 2010) and Background Noise: central to individuation, of separation. The echo Perspectives on Sound Art (Continuum, 2006). Luke Fowler (b. 1978, Glasgow) studied printmaking returns us to ourselves, yet as another. Following at Dundee Art School. His films have been This part of the weekend on sound features four such echoing behaviors, my presentation will Erica MacArthur presented widely, recent screenings include, ICA presentations that focus on the gap between the examine the echo as a form of practice: of doubling, Glass music, the nervous system, and London, Glasgow Film Festival and Berlin Film origin and the location of sound. Taking a closer of twinning, of ghosting. The echo will also be the threshold of beauty and harmony. Festival (2012), and Anthology, New York (2011). look at spatially discrepant auditory information highlighted as giving radical suggestion for Major forthcoming exhibitions include the Turner the four speakers present creative musings that strategies of resistance, where the gap between The transcendental notion of the feminine comes Prize exhibition at Tate Britain, as well as group investigate the acoustic ambiguities and physical center and margin, dominant and subterranean, into focus through the glass instruments of the shows including Documentary methods in art, inconsistencies of sound production, dispersion and offers opportunity for movement. In this way, 1800s, whose cold ghostly tones were linked to both Dokumentarfilminitiative im Filmbüro NW, Cologne consumption. the echo supplies us with a platform by which healing and hysteria during their short fashionable period. Benjamin Franklin’s glass Armonica was of the exhibition of the same name held at the Linda Christanell, (Wire Magazine), and Tim Burgess. thought of not just as a very becoming instrument Victoria and Albert Museum in 1988, and ultimately All can become a rose (1992) for the ladies of the era, but a later poetic symbol at Parco department store in Tokyo in 1990. In 1990, Over the past two years, Factory Floor have of feminine liminality itself. The effect the acoustic he set up FUSE with Neville Brody, a critical forum All can become a rose in the fire of the mind’s eye emerged as the most potent and original live force resonance of glass upon the inner workings of for the impact of digital media on type and visual – Christanell’s semiotic associations begin where in contemporary British music. Based in their own the body raises further questions of the physical communication. In 1982 Jon Wozencroft founded “every web of thoughts is an invitation to continue studio in a former sweat shop in North London, effect of listening, and the possibility to arouse the the audiovisual publishing company, Touch, to push weaving”: a red tiger skin, jewellery, a black corset – the trio of Gabe Gurnsey, Dominic Butler and Nik vulnerable and stir the delicate. the powerful chemistry between sound and visual all objects that evoke eroticism. (G. Szekatsch) Colk Void construct a new form that builds on the media. Alongside Touch, Wozencroft’s photography A cinematographic game with fetishism and desire. pioneering rhythms and sonic textures of early Glass might be thought of as a kind of musical and design work has appeared in a number of industrial groups, the heavier end of techno, and ‘other’ which in its transparent purity was thought publications, including Fax Art, Sampler, G1, Merz to Peggy Ahwesh, The Third Body (2007) contemporary electronica. to create a bodiless sound, leaving the act of Emigre and Beyond and most recently Cover Art By. performance to a phantom body. In 2008 he was named ‘Music Designer of the Year’ An appropriated film, portraying the arrival of Peter Gordon studied with Robert Ashley and Terry in the Qwartz Awards, Paris.Wozencroft has taught at Adam and Eve to an exotic Eden, is intercut with Riley at the Mills College Centre for Contemporary Erica MacArthur is a writer and musician completing Central Saint Martin’s College of Art and Design, The appropriated videos of virtual reality demonstrations, Music, as well as working solo and with Love of the MRes at the London Consortium, a multi- London College of Printing, and has given lectures among them a human hand shadowed by a Life Orchestra, with whom he released monumental disciplinary programme in Humanities and Cultural at numerous art colleges and universities around computer-generated rendering, medical robots recordings like the Casino 12” & the Extended Studies formed of a collaboration between the the world. He is presently Senior Tutor in sound and conducting a virtual surgery, and people dressed in Niceties EP. He has also previously collaborated with Architectural Association, Birkbeck College, the moving image in the School of Communication at the bulky headgear navigating virtual spaces. As the title Laurie Anderson, David Byrne, Arto Lindsay, The Institute of Contemporary Art, the Science Museum, Royal College of Art. suggests, cyberspace adds to the Genesis legend a Flying Lizards, and Arthur Russell. and Tate. After playing synthesizers for industrial third possibility, a virtual existence that challenges pop band White Rose Movement, Erica studied natural and social definitions of gender and morality. Michele Di Menna, Performed Rigorous the History of Art and developed an interest in Lines Framed in Cool-Toned Symmetry architectural modernism, nostalgia and otherworldly Ahwesh writes, “The tropes of the garden, the (2009) universes of submersion. Her current research originary moment of self knowledge and gendered dovetails her musical experience with themes of awareness of the body (what is traditionally called a wall of light a window between time fluidity, the etheral and the psycho-acoustic. Part III: Sound ShapinG sin) is mimicked in the early experiments with virtual in n’ out 15 Sep 3.30pm reality. The metaphors used in our cutting edge enhances the room Joe Banks on Rorschach Audio future are restagings of our cultural memory of the with depth and detail Art & Illusion for Sound garden. Wonderment regarding the self in space, kind of elaborate The third part of this weekend dedicated to boundaries of the body at the edge of consciousness giving a semblance of caressing “Rorschach Audio - Art & Illusion for Sound” is a SOUNDWORKS brings together a selection of films and the inside and outside skin of perceptual an open space recently published book which presents results by Peggy Ahwesh, Edgard Varèse, Iannis Xénakis, Le knowledge.” Music: Morton Feldman. structures for maximum comfort from a more than decade-long study of illusions Corbusier, Beatrice Gibson and Alex Waterman, and with strategic placement of sound.
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