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transmission art exhibition series
free103point9 is pleased to present AIRtime@Devotion, an exhibition series taking place July 2nd though August 16th at Devotion Gallery in Williamsburg, as part of the free103point9 AIRtime Fellowship Program. The series consists of solo exhibitions by Zach Poff (Radio Silence), Sabine Gruffat & Bill Brown (Bike Box), and Brett Balogh (Noospherium), which span the contemporary genre of Transmission Art. The Transmission Art genre is informed by works which employ an intentional use of space — often the airwaves — and manifests in participatory live art or time-based art, including radio, video, light, installation, and performance.
AIRtime@Devotion exhibitions open throughout the month of July: AIRtime@Devotion: Radio Silence opens at 6:00 p.m. on July 2nd, 2010; AIRtime@Devotion: Bike Box opens at 6:00 p.m. on July 16th, 2010; AIRtime@Devotion: Noospherium opens at 6:00 p.m. on July 30th, 2010. All openings and exhibition-related events take place at Devotion Gallery (54 Maujer Street, Brooklyn, NY, 11206).
Admission is free and open to the public.
Radio Silence (Zach Poff)
Radio Silence explores the silent moments of talk-radio, combining eight AM broadcasts into a meta-conversation based on the negative spaces between words: Pauses are treated as paradoxical opportunities to probe the neighboring airwaves in search of an expanded form of conversation. Eight wire-frame radio sculptures are arranged in a circle, empty except for their speakers. Each radio corresponds to a different local AM station which is being monitored by custom software. One at a time, each radio speaks while the others play a chorus of hissing residue between words. When the speaking radio shares a simultaneous moment of silence with one of its neighbors, the conversation silently shifts to the other radio before the next word begins. Over time, Radio Silence surveys the spectrum of viewpoints currently on the air, weaving them together through the intersections of a shared linguistic device.
Bike Box (Sabine Gruffat & Bill Brown)
Bike Box is a mobile-media bicycle library and interactive installation housed at Devotion Gallery, allowing participants to check out cheap, durable, technology-enhanced bikes and a free open source iPhone application developed for this installation. As participants pedal around central Brooklyn, they are able to contribute site-specific audio through the iPhone application, as well as listen to a curated collection of geo-specific sounds provided by a variety of local land-use experts, historians, poets, artists, and other interpreters. Bike Box hopes to explore and give participants access to the layers of lived experience, personal anecdote, and history that are piled up invisibly on every street corner and city block.
Noospherium (Brett Balogh)
Since the inception of radio as a broadcast medium, the earth has been covered by an increasingly dense network of airborne communications. AM, FM, SW and other portions of the radio spectrum represent a medium through which a re-imaging of space is possible. This hertzian space is not defined by surveyed boundaries or geographic constraints but, rather, by field strengths, mass-media service areas, and consumer markets. The overlapping spaces defined by these broadcasts can be collectively referred to as an envelope of thought around the world, or Noosphere.
Noospherium aims to render this sphere of human thought as an immersive sonic environment, providing a pansonic, panoptic view of simultaneous broadcasts. The space of the installation can then be thought of as as a phrenologic observatory to this sphere of human thought where a real-time composition puts as many signals as possible into conversation within the space, allowing one to characterize the nature of our collective thoughts through chance occurrences, spurious juxtapositions, and the dynamic spatialization of sound.
2010/2011 AIRtime Call for Submissions
The AIRtime program provides artists with valuable assistance with which to concentrate on new transmission works and conduct research about the genre using free103point9’s resource library and equipment holdings. Fellows present their work in conjunction with WGXC: Hands-on Radio, a FM radio station and media project in Greene and Columbia counties, upstate New York. Fellows receive an honorarium, and technical and administrative support from free103point9 staff. Participating artists are encouraged to archive recordings and other digital media with the free103point9 Transmission Art Archive project.
The 2010 deadline is July 15th. Fellowships span an 10-month period, and take place September 2010 through June 2011. Fellows will participate in the WGXC/Prometheus Radio Project Station Barnraising, September 24 -26, 2010, as well as have an opportunity present/perform/exhibit their completed projects in the spring of 2011. This program is designed to accommodate artists who have other committments during the fellowship period; specific scheduling of research trips and public programs will be determined in collaboration with successful Fellows after the selection process.
Visit http://www.free103point9.org/apply/airtime/ for application materials and information.
About free103point9
Founded in 1997 as an artists’ collective creating works for radio transmission, in 2002, free103point9 became a nonprofit arts organization focused on cultivating the genre Transmission Arts. Work in this genre is informed by an intentional use of space, often the airwaves. Transmission Art manifests in participatory live art or time-based art including radio, video, light, installation, and performance. Based in upstate New York, free103point9’s major programs include the in-progress Transmission Art Archive, a definitive resource featuring artists, works, and exhibitions and events that define the genre and place it in a historical context; WGXC: Hands-on Radio, a creative community FM radio station serving Greene and Columbia counties; and the facilitation of a NYSCA Distribution Regrant for individual artists.
Press Materials
EXHIBITIONS:
At Devotion Gallery, L to Lorimer, G to Metropolitan:
- Radio Silence opens 6:00 p.m., Friday, July 2nd, 2010. Through July 11th.
- Bike Box opens 6:00 p.m., Friday, July 16th, 2010. Through July 25th.
- Noospherium opens 6:00 p.m., Friday, July 30th, 2010. Through July 14th.
EVENTS:
At Devotion Gallery, L to Lorimer, G to Metropolitan:
- Bike Box bike tours:
Saturday, July 17, 2:00 p.m.
Sunday, July 18, 2:00 p.m.
Saturday, July 24, 2:00 p.m.
Sunday, July 25, 2:00 p.m.
- Bike Box performances:
Saturday, July 17th, 5:00 p.m.
Saturday, July 24th, 5:00 p.m.
PRESS RELEASE:
http://www.areyoudevoted.com/storage/exhibitions/airtime/f103-PressRelease.pdf
MEDIA RELEASE:
http://www.areyoudevoted.com/storage/exhibitions/airtime/f103-MediaRelease.pdf
FULL PRESS KIT:
http://www.areyoudevoted.com/storage/exhibitions/airtime/f103-PressKit.zip
PRESS CONTACT:
Marie and Phoenix at Press@AreYouDevoted.com
digital emergence and social-interaction analogues
Analogous Projects is pleased to present Digital Intelligence & Analogous Interactions, as part of the International Computer Music Conference (ICMC). Works include three committee-selected ICMC AI pieces by Brett Balogh (Chora), Scott Mc Laughlin (Shoals), and Steve Bull + Scot Gresham-Lancaster (Cellphonia), as well as additional complexity-driven works by Nick Lesley (Epic Doom) and Philip Galanter (RGBCA).
The audiovisual installations and performative social activities present evolutionary- and generative-art as a tool for social sculpture and immersive gaming. An ICMC AI concert will take place on May 31st at Issue Project Room as a preface to the exhibition, with committee-selected works by Arne Eigenfeldt (In Equilibrio), Jon Weinel (Entoptic Phenomena), Will Orzo (Giraffe). Together, these ICMC AI events draw inspiration from performative ecologies, musical improvisation, reality-based games, social experiments, neural networks, and swarm-optimization.
Digital Intelligence & Analogous Interactions opens at 5:00 p.m. on June 2nd at Devotion Gallery (54 Maujer Street, Brooklyn, NY, 11206) with a performative social activity by Scott McLaughlin (Shoals). Please bring a laptop with WiFi capability and audible sound. Admission is free and open to the public. Refreshments will be served.
Admission is free and open to the public.
ICMC AI Committee
Marie Evelyn (Chair, on behalf of Analogous Projects)
Jenny Torino (Assistant Chair)
Douglas Repetto
Galen Joseph-Hunter
James McDermott
Kurt Gottschalk
Philip Galanter
Zach Layton
Press Materials
EXHIBITION: Opens 5:00 p.m., Wednesday, June 2nd, 2010. Through June 13th.
At Devotion Gallery, L to Lorimer, G to Metropolitan.
PERFORMANCE: At 8:00 p.m., Monday May 31st, 2010.
At Issue Project Room, M/R to Union.
OPENING FLYER: http://www.AnalogousProjects.orghttp://analogous.squarespace.com/storage/project-pages/DigitalIntelligenceAnalogousInteractions.jpg
PRESS RELEASE: http://www.AnalogousProjects.orghttp://analogous.squarespace.com/storage/project-pages/diai-PressRelease.pdf
MEDIA RELEASE: http://www.AnalogousProjects.orghttp://analogous.squarespace.com/storage/project-pages/diai-MediaRelease.pdf
FULL PRESS KIT: http://www.AnalogousProjects.orghttp://analogous.squarespace.com/storage/DiAiPressKit.zip
CONTACT: Marie Evelyn at Marie@AnalogousProjects.org
creative reuse of refuse through recombination. Opens: 7:00 p.m. on May 7th.Thru May 30th 2010
Analogous Projects is pleased to present ScrapCycle(reUSE/reCOMBINE), a group show with works by Aricoco (Ari Tabei), Katherine Liberovskaya + o.blaat (Keiko Uenishi), LoVid (Kyle Lapidus + Tali Hinkis), Philip Galanter, Phillip Stearns, Pollie Barden, Ranjit Bhatnagar, Torino:Margolis (Jenny Torino + Ben Margolis).
ScrapCycle is an ongoing project devoted to the creative reuse of refuse. This annual one-night event has been reinterpreted as a group exhibition, ScrapCycle(reUSE/reCOMBINE). In addition to featuring upcycled artworks and performances, workshops will take place throughout the month in order to underscore the participatory nature of the ScrapCycle series.
All events require a piece of refuse for reuse as the price of admission. Materials are used for on-site installations, directed toward local upcycling artists, or repurposed as holiday gift wrap. These action-based economic and environmental aspects of ScrapCycle refer to the act of reuse as requiring us to approach everyday decisions from a use-value perspective, which is in opposition to our collective exchange-value upbringing.
ScrapCycle places an exchange-value on upcycled and reused materials, in order to probe the environmental effects of economic perspective. By presenting concrete implementations of reuse and recombination, ScrapCycle(reUSE/reCOMBINE) serves to liken the small pervasive effects of social sculpture, environmental activism, and economic perspective to a fine-tuning of interdependent parameters with global results. ScrapCycle(reUSE/reCOMBINE) references complexity science as it relates to political economy, ecology, and methods of reuse and recombination (i.e., small-world networks, social systems theory, ecological systems theory, evolutionary computation, genetic algorithms, neural networking).
PRESS RELEASE: http://www.AnalogousProjects.org/storage/scrapcycle-PressRelease.pdf
MEDIA RELEASE: http://www.AnalogousProjects.org/storage/scrapcycle-MediaRelease.pdf
FULL PRESS KIT: http://www.AnalogousProjects.org/storage/ScrapCyclePressKit.zip
CONTACT: Marie Evelyn at Marie@AnalogousProjects.org
Presented by Resident Not-for-Profit, Analogous Projects.
Multi-User Art reimagines the gallery for the age of the iPhone, with a set of installations that invite multiplayer action from showgoers’ own mobile devices. The show features artists at the forefront of establishing open standards by which mobile gadgets can interact creatively. Joshue Ott’s work translates user touch into meditational, abstract, three-dimensional drawings. Eric Redlinger places viewers as astronauts in a shimmering lunar landscape from the Apollo mission. Peter Kirn creates a ludic, interactive toy theater that challenges users with quirky, game-like interactions. Chris Jordan uses mechanically-controlled mirrors manipulated by the viewer to transform reflected light into a poetic examination of the relationship of the US with China. By harnessing the ability to use touch to tweak on-screen faders and push virtual buttons, Devotion Gallery becomes a space in which visitors can play with, and perform the art they see.
If you’re ready to learn how to make use of these emerging technologies, a beginner and advanced workshop will give you the skills you need to make your own art, music, visuals, and digital communications using your own computers and mobile devices, with free and open tools.
Eric Redlinger, Small Steps (computer,projector)
Small Steps lets the viewer assume the role of an Apollo astronaut, exploring a shimmering, 3-dimensional lunar landscape by tilting and rotating their iPod. There are even controls to ‘space jump’ to get an eagle-eye perspective, and camera filters to better discern the terrain by applying color highlights to crevices and craters. Remarkably, the terrain is not just moon-like, it is the moon. Small Steps generates its environment not through traditional 3D modeling methods, but rather by presenting actual, ultra-high-resolution NASA lunar imagery from the Apollo 16 mission, and then applying technology that extrudes shaded areas using an analog video technology developed by Bill Etra and Steve Rutt in 1972, the same year as the Apollo.
BIO:
Eric Redlinger is a composer, sound designer and interactive media programmer.
His musical background includes significant research in both extremes of the western musical spectrum. A long-time composer and
performer of electronic music, Eric also plays lute and sings in the early music ensemble Asteria, putting him on an aesthetic map that
embraces both the mystical lushness of the former as well the exacting control over sonority and acoustics made possible by contemporary synthesis and audio processing techniques.
A research position at the Waag Society (Amsterdam) in 2003 marked the beginning of Eric’s exploration of interactive visuals where he worked on the Keyworx project, a software platform devoted to inter-media synthesis and networked-based collaboration.
Eric holds a Master of Science degree from the Integrated Digital Media Institute (IDMI) at Polytechnic University in Brooklyn, NY. His audio/visual work has been presented across North America and Internationally at major European festivals including Ultrahang (Budapest, Hungary) and Transmediale (Berlin).
Joshue Ott, Superdraw/Multidraw:Guided1 (computer,projector,speakers)
multiDraw:guided1 (working title) promotes collaboration and interaction with a unique system of multi-sensory stimulation, involving visual and audible elements. It allows the participant to create their own space within the space of the piece, crossing the boundary from being a passive audience member into the realm of creating the art itself, while remaining within the framework of the project.
superDraw was originally conceived as a visual alternative to a musical instrument, and has developed into a live generative art system, which uses a computer to augment the simple act of drawing – transforming it into an evolving process whereby the user can watch their input shift in a careful balance of control and chance. multiDraw is the multi-user version of the instrument, and creates an immersive experience for multiple people to engage with and share, in a marriage of technology and interactive art.
BIO:
New York-based visualist Joshue Ott creates cinematic visual improvisations, performed live and projected in large scale. Working from hand-drawn forms manipulated in real-time with superDraw, a software instrument of his own design, Ott composes evolving images that reside somewhere between minimalism, psychedelia, and Cagean chance, delivered with an inescapably human touch. Supple yet digital, ephemeral but instantly memorable, Ott renders sound into vision, yielding an immersive multi-sensory experience that is at once immediate and synergistic, a unique visual narrative born in the moment.
Performing with musicians from all genres between classical and avant-electronica,
Ott’s visuals have been featured at Communikey, Mutek, the Plateaux festival in Poland, the San Francisco International Film Festival, Yuri’s Night Bay Area, Le Cube (Paris), the Playgrounds Audiovisual Art Festival (Netherlands), Boston Cyberarts, and the 2006 Ars Electronica Animation Festival. He has performed with the American Composer’s Orchestra at Carnegie Hall; with Son Lux at MASS MoCA; with Gina Gibney Dance at the Baryshnikov Arts Center; and frequently at venues throughout New York City, including Le Poisson Rouge, Monkey Town, Roulette, the Knitting Factory, and the Stone.
Peter Kirn, The Enigmatic Box (projector, computer, speakers, custom electronics)
Using an embedded computer system, The Enigmatic Box pokes fun at interaction by responding to user input in unexpected ways. On a display and in semaphore-like patterns of LEDs, the installation is an anti-game, responding in foreign languages and sounds as if a fragmented human memory is trapped in the computer. As the remnants of tangible, conventional interfaces sit inside shadow boxes like captured endangered species of the Amazon, the installation responds to and resists mobile input in novel sound and image. It’s a “Busy Box” for adults.
BIO:
PETER KIRN is a composer/musician, media artist, and technologist, as well as writer and editor of createdigitalmusic.com and createdigitalmotion.com. The Handmade Music event series he originated with Etsy.com and Make Magazine is now spreading to other corners of the globe, from Texas to Portugal. He has also written for Computer Music, MAKE, Keyboard, Macworld, and Wax Poetics. He is the author of Real World Digital Audio (Peachpit Press). His own work spans live visuals and computer music, collaborations with modern dance, music for early instruments and voice and ambient techno, working with original software in Processing/Java and other tools. He’s currently
teaching visual programming and sound and music design at Parsons The New School for Design and is a PhD candidate in music composition at The City University of New York Graduate Center.
Chris Jordan, Qu Yuan Goes West (mirror, motors, computer, projector)
“Qu Yuan Goes West” is an interactive light installation allowing for up to four people to control light and pattern using the iphone/touch interface. The installation utilizes computer, projector, mirrors, and motors. “Qu Yuan Goes West” examines the US/Chinese relationship; and how individual identity and capital (yuan) are transferred between nations. The title refers to the first ‘named’ Chinese poet Qu Yuan, as well as chinese currency (yuan).
BIO:
CHRIS JORDAN explores the medium of light, movement, and time through the use of technology. His installations have appeared at the Moma, The New Museum, The Whitney, The Museum of Natural History, The Chelsea Museum, Times Square, numerous galleries and clubs; and the incidental spaces inbetween.
The common elements that define Chris’ work include explorations into memory, photography, film, interactivity, and projections. By examining the political and social implications technology has on us through a diversity of media, his work challenges the viewer to redefine perceptions of audience and performer.
In addition Chris teaches interactive design at Baruch College and NYU; and organizes T-Minus, G33kXmas, rooftop movies, and visualist salons in New York City.
Saturday April 10 | 11am-12pm | Getting your Face out fromBbehind the Screen: Creating a Remote-Control Interface for Your Interactive Project by Eric Redlinger | Free |
The tyranny of the computer monitor is something that interactive media performers have long struggled with; while dancers, musicians and other performance artists are free to interact with the audience while performing, computer artists are generally stuck behind their screens. With the recent explosion of consumer touch-screen devices, however, many of us now have the tools we need to get out from behind the screen already in our pockets. This demonstration highlights one solution for using your iPod/iPhone to control your performance or installation by leveraging the free Mrmr platform, presented by a lead developer of the project. You’ll see an overview of all the steps in the process, including designing and creating your mobile interface, installing the interface on your mobile device, and connecting it all to your existing project. This demonstration also serves as an introduction to the more in-depth and hands-on workshop “Smart Art: Making Digital Media Connect”.
Saturday April 10 | 1-4pm | Smart Art: Making Digital Media Connect by Joshue Ott and Peter Kern | $75.00 |
PREREQUISITES: For both workshops, some basic experience with a tool such as Processing, Max, OpenFrameworks, or Pd is recommended, but no previous experience with Open Sound Control (OSC) is needed.
An overview of Mrmr can be viewed here:
CHROMAesthesiae from SOFTlab on Vimeo.
Opening Friday March the 19th, 2010 at 7pm. On display through April 5th 2010
size: ~12′x10′
materials: 12mil high gloss photo inkjet paper, binder clips, acrylic
fabrication: laser cut acrylic and photo paper
SOFTlab’s latest installation, CHROMAesthesiae, arrives at Devotion just in time for spring. CHROMAesthesiae is a flourishing landscape of color, blooming across the ceiling in high contrast-gradated clusters. This installation is an investigation on the spatial and chromatic perception of space. SOFTlab uses modularity as a core modality in order to generate complexity from repetitive form, allowing for rapid expansion or contraction of every piece created. With the motto, “everything changes,” the ability to adapt and grow conceptually underpins their entire body of work. This customizable installation is made of discrete, laser cut paper structures held together with binder clips: everyday objects are repurposed and precisely recombined. Forms evolve and shift color throughout the exhibition.
ARTIST’S STATEMENT:
Our installation work is always a chance for us to push some of the more experimental ideas and techniques produced by our studio. There is always nostalgia for some of the ideas in the studio that never really get a fair chance to be fully tested. These ideas are usually the ones that are a little more radical in their agenda or implementation. It is this threshold of implausibility that we like to test with our installations, they are a chance for us to explain what our studio dreams about when it sleeps.
Through an efficient complexity, we try to offset a form of extreme digital design and fabrication with a simple and playful idea. Every piece is meant to showcase the space between the anxiousness and optimism that exists in every experiment. As architects we can’t really control ourselves, so every project turns into a spatial installation. We have realized that it is the spatial nature of these pieces that invite them to be experienced rather than viewed. We take advantage of this invitation to propose new ways to organize, see, feel, and make things. These Installations become the vehicles for us to blend the studio’s dreams about color, fabrication, geometry, material, space and all other mediums that we use in the studio. In that sense, the work is an extension of the studio in its purest form.
An exciting part of this type of work is that it always re-injects itself back into the studio and helps invigorate the more typical work that we do. Our hope is that we will begin to blur the line between everyday design and art.
BIO:
SOFTlab is a design studio based in New York City. The studio was created by Jose Gonzalez and Michael Szivos, shortly after receiving graduate degrees in architecture from the Graduate School of Architecture, Planning and Preservation at Columbia University. The studio has since been involved in the design and production of projects across almost every medium, from digitally fabricated large-scale sculpture, to interactive design, to large-scale digital video installations. As the studio adjusted to a wide range of projects , it began to focus less on the medium and style and more on ideas.
As a studio, SOFTlab, embraces projects that are strange, difficult, blurry, and straddle multiple mediums. The constraints of each project are treated as opportunities that are tested through a collaborative studio environment with the hopes of solving typical problems in new ways, with new tools. Through the studio’s unique blend of backgrounds as designers, artists, architects and educators we are able to approach every project from a fresh perspective to create rich spatial, graphic, interactive and visual experiences. SOFTlab privileges adaptability and infuses every project with the capacity to evolve and grow into something new and unexpected. Rather than thinking of a project as finished, the studio thinks of a project as a chance to cultivate intelligent change. By mixing research, creativity and technology with a strong desire to make working fun, SOFTlab attempts to create new and unique experiences.
SOFTlab has produced a wide range of design projects and collaborated with various artists, designers, publications and institutions including MoMA, The Metropolitan Museum of Art, The New York Times, eVolo Magazine, Surface Magazine, Columbia University and Pratt Institute. The studio has also exhibited work in galleries throughout New York City.
Go to the SOFTlab >
Design Team: Carrie McKnelly and Elliot White
Installation: Julia Schleppe and Brandt Graves
Photo Credit: Softlab and Alan R Tansey
The Unsound Festival is a Polish Based Festival taking place since 2003. Over the last two weeks, events and exhibitions occurred around New York City in multiple venues involving dozens of artists. Stephen Cardinale was the festival’s official photographer, however his photos go beyond just documentation. The images themselves are mysterious and enigmatic much like Cardinale’s original photographic prints.
These are photographs of artists.
They are intended to summon vivid recollections of the performances of New York’s Unsound Festival. As our minds mold our impressions, the photograph stands in as a tangible representation of experience. While viewing these images, our memories will re-formulate to create new interpretations. For those not present, these photographs will inevitably shape the imagination’s projection of the events.
Thank you to the artists for allowing this cooperative effort to unfold.
Stephen Cardinale is a personal journalist. His work captures the critical moments that make an experience memorable. He produces photographs that rely on chance and intuition, while deconstructing conventional photographic techniques. Through the static image, he dictates personal experience from within his community.
A New York native, Stephen went West to receive a B.F.A. in Film Studies from the University of Colorado. He now resides in Boulder.
This exhibition at Devotion Gallery is co-preseneted by the Polish Cultural Institute in New York.
Unsound Festival New York, Presented by:
Fundacja Tone, the Polish Cultural Institute in New York and the Goethe-Institut New York
In Cooperation With:
Trust for Mutual Understanding, German Federal Foreign Office, the City of Krakow, Krakow Festival Office, Romanian Cultural Institute New York, Austrian Cultural Forum, Consulate General of Finland in New York, Pro Helvetia, Netherlands Consulate-General in New York, Fonds Pop Over Zee
Anticipate Label, Beyond Booking, The Bunker, Devotion Gallery, EMF – Electronic Music Foundation, Film Comment selects, Halcyon, ISSUE Project Room, Kiss and Tell, Treehouse, Wordless Music, Communikey, Todays Art, ICAS – International Cities of Advanced Sound
Media Partners: Brooklyn Vegan, The Fader, Last.FM, Little White Earbuds, The Onion, A.V. CLUB New York, Resident Adviser, Self-Titled, URB, XLR8R
Unsound Festival is festival based out of Poland. http://unsound.pl/
Opening Sunday February 7th, 2010 at 7pm. On view until 02.14.2010
During 60s and 70s communism in Poland, at a time when vinyl records hard to get, sounds postcards became extremely popular. They looked like standard postcards on the back, but on the front an analogue recording was engraved in a thin layer of laminate. Sound postcards were usually made by tiny firms, and the recording quality was low, but very often they represented the only available possibility of having access to hit songs from The West. In the late 70s, the cards were replaced by cassette technology. The designs on the front of Sound Postcards ranged from the primitive and weird, to the very beautiful.
Designer Rui Silva and Unsound director Mat Schulz have collected hundreds of cards, to curate an exhibition, which has previously appeared in Krakow and London. This exhibtion not only reveals the forgotten artistic merit of thes cards, but allows the public to listen to songs on the cards transferred into mp3 format, drawing attention to the way that sound recording technology changes across time.
The exhibition at Devotion Gallery is co-preseneted by the Polish Cultural Institute in New York. Monika Fabijańska, director of the Polish Cultural Institute will give a brief talk.
Unsound Festival New York, Presented by:
Fundacja Tone, the Polish Cultural Institute in New York and the Goethe-Institut New York
In Cooperation With:
Trust for Mutual Understanding, German Federal Foreign Office, the City of Krakow, Krakow Festival Office, Romanian Cultural Institute New York, Austrian Cultural Forum, Consulate General of Finland in New York, Pro Helvetia, Netherlands Consulate-General in New York, Fonds Pop Over Zee
Anticipate Label, Beyond Booking, The Bunker, Devotion Gallery, EMF – Electronic Music Foundation, Film Comment selects, Halcyon, ISSUE Project Room, Kiss and Tell, Treehouse, Wordless Music, Communikey, Todays Art, ICAS – International Cities of Advanced Sound
Media Partners: Brooklyn Vegan, The Fader, Last.FM, Little White Earbuds, The Onion, A.V. CLUB New York, Resident Adviser, Self-Titled, URB, XLR8R
Unsound Festival is festival based out of Poland that is coming to NYC starting 02.04.2010 full line up here: http://unsound.pl/
Opening Saturday January 16th 2010. On view until January 30th 2010
Impromptu focuses on two artists who approach the creation of work with a spontaneous methodology. Combining a visceral reaction to form seamlessly with the internal act of seeing, these two artists create experimental visual landscapes.
View Benton-C Bainbridge’s Artist Page >
View Phoenix Perry’s Artist Page >
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