You and Me and the Sounds in Between
06 You and Me and the Sounds in Between
Wednesday January 25th , 2012
At the GYM in the main building of the Rietveld Academie
Does Tony Dig Metal?
(Or an attempted portrait of a Lebanese disposition)
by James Beckett
Each week a spoken column offers a personal reflection on the topic of the previous edition. This week artist James Beckett looks at vampires, Lucifer, gore and the occult, all supposedly important allegorical figures. People pick their imagery intuitively, instinctively, born of direct surroundings and as a vessel through which to process or escape them. Following the emotive and highly associative lecture of Tony Chakar, One Hundred Thousand Solitudes, Beckett seeks a parallel between the musings of artists and thinkers from a turbulent nation (Lebanon) and the aesthetics of Heavy Metal from Birmingham, eventually posing the question, ‘Does Tony Dig Metal?'
James Beckett is a South African artist based in Amsterdam. One of his main focuses has been on industrial history, and more importantly industrial decline. As we see Europe moving away from a production based economy, he is interested in what remains, and how it is not necessarily a proud heritage. His work is an experimentation with how such histories can be presented and enacted through tertiary objects, and inevitably how they can be manipulated toward a variety of absurd and confusing fictions. His work has been shown at GAM Turin, The Kitchen NYC and Kölnischer Kunstverein.
You and Me and the Sounds in Between
by Brandon LaBelle
Sound moves between inside and outside. It disturbs what may appear static, while also providing moments of deep connection. It flows through the environment as temporal material. These features point toward an appreciation of sound and listening as sensorial events that lend dramatically to the lived experiences we have of being in particular places.
Working with installation and performance projects, I'm interested to produce work that sets the stage for acts of participation, that invites noise, error, and play, and that supplements existing spaces with something more. I've been curious to research the ways in which the social is mostly a community of strangers, using sound and experiences of listening to figure ways of being in the crowd that might also lead to moments of intimacy, generosity. My presentation will explore these aspects, mapping sound's relation to social space and listening as a process of interference, multiplication, othering, to suggest a more pronounced relational perspective on what it means to hear.
Brandon LaBelle is an artist and writer living in Berlin. His work addresses the relation of the public and the private, sociality and the narratives of everyday life, using sound, performance and sited constructions as creative supplements to existing conditions. His work has been presented at Image Music Text, London (2011), Sonic Acts, Amsterdam (2010), A/V Festival, Newcastle (2008, 2010), MuseumsQuartier/Tonspur, Vienna (2009), 7th Bienal do Mercosul, Porto Allegro (2009), Center for Cultural Decontamination, Belgrade (2009), Casa Vecina, Mexico City (2008), Fear of the Known, Cape Town (2008), Netherlands Media Art Institute, Amsterdam (2003, 2007), Ybakatu Gallery, Curitiba, Brazil (2003, 2006, 2009), Singuhr Gallery, Berlin (2004), and ICC, Tokyo (2000). He is the author of Background Noise: Perspectives on Sound Art (Continuum, 2006) and Acoustic Territories: Sound Culture and Everyday Life (Continuum, 2010). He is currently professor at the National Academy of the Arts in Bergen, Norway.
Blue, 1993, excerpt
by Derek Jarman
"The image is a prison of the soul."
Blue goes beyond the image to weave a hypnotizing texture of vivid sound and verbal imagery. Polemic and without self-pity, Blue is a very personal testimony about Jarman's experience with AIDS and the gradual loss of sight. Jarman's own words are delivered by John Quentin, Nigel Terry, Tilda Swinton and Jarman himself; with an extraordinarily rich soundtrack by Simon Fisher-Turner.
Derek Jarman (1942 - 1994), an English film director and one of the few openly gay public figures in Britain, a queer activist, he worked to raise awareness of AIDS. His practice as a filmmaker reflected these commitments. For Caravaggio (1986) he worked with the actress Tilda Swinton, who features in most of his later works. Caravaggio marks the development of central features of his aesthetics: depictions of homosexual love, narrative ambiguity, and superb visuals. During the making of his film The Garden (1990), Jarman became seriously ill. Edward II (1991) is his most politically outspoken work, and Wittgenstein (1993) is a portrait of the life and thought of the philosopher Ludwig Wittgenstein.