[hlysnan], it is all about listening

[hlysnan] in old English means to listen with intention and attention. The exhibition and the publication titled [hlysnan] The Notion and Politics of Listening prepared by the curators Berit Fischer and Kevin Muhlen for the Casino Luxembourg – Forum d’art contemporain presents sounds that inspire to reflect on spatial and sociopolitical relations. The selection of recordings presented in the Casino carries meaningful messages that examine usually unexplored territories, like the impact of drone surveillance on civil communities in FATA, the voice as a tool to gain position in society, historical speeches as a source of recreation of history, the concept of mimesis as resistance, etc. As for the publication that accompanies the exhibition, it is a conceptual piece that records some aspects of work made by sound artists who take part in the [hlysnan] project. The book contains, among others, a very interesting essay by Peter Cusack who is a ‘sonic journalist’ and records sounds in dangerous places like Chernobyl. Anther essay worth mentioning is a piece about the linguistic diversity under threat of disappearing by John Wynne.

The exhibition focuses rather on sound than an image. There is a sense of emptiness in the rooms which enhances the experience of listening. The artists invited by the curators presented powerful projects that made me listen and think about some of the aspects of sociopolitical dependencies I didn’t realize existed. The curators wanted as little visuals as possible. For me that was an invitation to produce some drawings. The images below are some of the drawings I made while listening to the recordings in the Casino Luxembourg.

The sonic bleed of a circling drone that one cannot necessarily see, but hear, is a constant reminder that a deadly strike may come at any time, quite literally out of the blue.

Susan Schuppli, Uneasy Listening: The Chronic Sonics of Life under Drones

Subliminal Projection Company is an experiment  to transduce memories of the artist to the visitor. The method applied — subliminal text concealed under nature sounds — imitates the self-hep CDs that are widely used in the hope of effortless self-improvement. Instead of the inspirational self-improvement messages, Menick infiltrates recollections of his childhood.

From the booklet for the exhibition, John Menick’s Subliminal Projection Company

The future’s past has caught up with itself. In the Citadel residents are equipped with special auditory mechanisms for acute hearing. Communication has been stripped down to its most basic level; the voice and its aural residuals. Here, voice recognition technology controls the flow of social exchange. The Interlocutors of the Citadel control the social order as well as the very limited resources of life. The voice is the key to pass. The Interlocutors guard vocal codes with full authority. Those in the half-light exist on the periphery without access.

Angel Nevarez and Valerie TevereWhat we might have heard in the future is a science-fiction based radio drama

 

Julien Mier, Shawn Decker and Small Instruments

imagine a place…

Dutch sound designer Julien Mier.

errant behaviors

julienmier2(errant behaviors is a video installation by Anne Wilson)
Shawn Decker is an American sound artist.

small instruments


Small Instruments is a Polish group playing music on the smallest possible instruments.

Small Instruments performing Chopin.

Sambor Dudziński performing Chopin on toy piano.

avant cello

 

Zoë Keating is a DIY artist, musician, sound architect. Her music belongs to a subculture of musicians and artists who exist mainly on internet. Inspired be early german electronica and the way it was produced she’s creating the music that surrounds you and makes you dive into it. Zoë Keating has an amazing gift to combine the classical sound of cello and technology. To listen to her is an experience that is both unforgettable and addictive.

http://www.radioeins.de/programm/sendungen/mofr1921/interviews/zoe_keating.html

I love that feeling of getting swept up just in sound of music and that feeling of being a cellist in the middle of a hundred people crowd that are playing a pice of music, and you are just like getting swept up, like in this wave (…) you are in a sort of three-dimensional landscape of sound.

The Avant Cellist Zoë Keating made by A Visibly Smart Film

http://www.zoekeating.com/

http://www.zoekeating.com/gallery.html