Berichte/Features
Woche 30-36 / 28.07. - 07.09.08
Irish Focus 1: "The artists Anthony Kelly and David Stalling" curated by Johannes S.Sistermann
01. Anthony Kelly & David Stalling / Nightward (unreleased track) / 2007/08 / 3:00
02. Anthony Kelly & David Stalling / radios silent! (from the audio cd ‘radios silent!’) / 2006 / 14:00
03. Anthony Kelly & David Stalling / reheat (from the audio cd ‘small audience’, aphasia recordings) / 2006 / 01:00
04. Kelly & David Stalling / Retracing Steps (from the audio cd ‘Urban Utopias’, aphasia recordings) / 2007 / 03:01
05. Anthony Kelly & David Stalling / Valve (from the audio cd ‘Urban Utopias’, aphasia recordings) / 2007 / 04:46
06. Anthony Kelly & David Stalling / Powerstation, Two (from the audio cd ‘Urban Utopias’, aphasia recordings) / 2007 / 10:52
07. Anthony Kelly & David Stalling / Voyaging (from the audio cd ‘Urban Utopias’, aphasia recordings) / 2007 / 05:54
08. Anthony Kelly & David Stalling / Ghost signal (from the audio cd ‘Urban Utopias’, aphasia recordings) / 2007 / 02:21
09. Anthony Kelly & David Stalling / Street field (from the audio cd ‘Urban Utopias’, aphasia recordings) / 2007 / 04:37
10. Fergus Kelly / Fanfare For An Uncommon Man (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 01:50
11. Jurgen Simpson / Kepler (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 04:02
12. David Beattie / Shadow I (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 01:00
13. Grainne Mulvey / Swirling Sea, Frightened Fish (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 02:25
14. Danny McCarthy / (Re)sounding Memories/Cleaning the house (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 04:25
15. Jennifer Walshe / Grove of Drift (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 01:50
16. Mick O’Shea / Raum der Stille (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 04:05
17. Anthony Kelly & David Stalling / Sonic Postcard from Newfoundland No. 1 (unreleased track) / 2008 / 01:16
02. Anthony Kelly & David Stalling / radios silent! (from the audio cd ‘radios silent!’) / 2006 / 14:00
The title "Radios silent!" was seen on a small sign at the entrance of a New York City bus coach, providing an idea and momentum for the composition. The work encompasses the composers’ shared practice of recycling objets trouveés of sound material - field recordings (taken in New York, Jan 2003 on a small cassette tape recorder) which have been incorporated into the fabric of the composition. These include traffic and city noise, snatches of street conversations, and other unidentified sound distortions culled from the peripheries of these recordings. The piece operates primarily on a background level initially signing an undertow of slight unease. As the piece progresses more recognisable elements permeate to the foreground, moving, probing, and then quietly receding.
03. Anthony Kelly & David Stalling / reheat (from the audio cd ‘small audience’, aphasia recordings) / 2006 / 01:00
"reheat" is a collage of noise taken from recent field recordings and old cassette tape archivals.
04. - 09 Urban Utopias
At the beginning of the 20th century a group of Italian artists and poets, led by F. T. Marinetti collaborated to write the Futurist Manifesto. It was a declaration of Modernist intent, in which the machine would play a part in creating a Utopia for mankind and a celebration of a world in which the old must be replaced by the new. They saw man's role "...at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit." By invoking the image of the wheel, one of the key human inventions, they used the language of mechanics and engineering to suggest a new destiny for humanity. Of course they had entered an age when idealism was seldom tempered by doubt and almost a hundred years later we must view their optimism through a century where progress was more often towards war than towards a better world. Today we are less inclined to Utopian philosophies.
(Excerpt from Urban Utopias by Jay Roche, April 2007)
This 34-minute audio cd contains compositions and field recordings based on work from the recent exhibition commissioned by the Arts Council of Ireland and Engineers Ireland.
10. Fergus Kelly / Fanfare For An Uncommon Man (rom the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 01:50
"Fanfare For An Uncommon Man" (for Paul Burwell 1949 - 2007) was composed using various fireworks recordings taken from my back garden in recent years. I first came across Paul Burwell through his work with The Bow Gamelan, a lively and inspiring UK performance group that used clapped-out machinery, metal percussion and pyrotechnics to stage raucous, shambolic shows once described as being like “a cross between Turner and Apocalypse Now”. Paul loved fireworks, considering them a form of percussion, always integral to Bow Gamelan’s shows. As a wild spark himself, the celebratory nature of fireworks seems like a fitting tribute.
Fergus Kelly is a visual and sound artist/improvisor based in Dublin. In 2005 he established a CDR label and website, www.roomtemperature.org as an outlet for his solo and collaborative work, producing the CDs Kelly/Lacey/McNulty/Vogel (2005), Unmoor (2005), Material Evidence (2006), Bevel (with David Lacey) (2006), A Host Of Particulars (2007) & Strange Weather (2007). He works live with an invented instrument called The Cabinet of Curiosities or a range of found metal percussion. Apart from regular collaborator David Lacey he has worked with Jürgen Simpson, Dennis McNulty, Paul Vogel, Danny McCarthy and Max Eastley.
11. Jürgen Simpson / Kepler (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 04:02
This is a short homage to the German mathematician and astronomer Johannes Kepler. Apart from contributing to many of aspects of both science and the practice of science, he presented a new solution to the problem of polyphony as opposed to that offered by the Pythagoreans. For him just intonation and polyphony prevailed because they were natural and corresponded to archetypes in the mind of God. The piece can be viewed programmatically, or not. It is a piece with wildly contrasting materials and probably best appreciated on a full range sound system, or not.
Jürgen Simpson’s output includes electroacoustic works, music for film, dance, two operas, and three albums with Irish rock band The Jimmy Cake. Collaborators include Michael Nyman, Kevin Volans, Raymond Deane, Judith Ring, John Scott, Shobana Jeyasingh, Davey Spillane and Clare Langan. His second opera Thwaite (librettist Simon Doyle, director Dan Jemmet) received the 2003 Genesis Opera Projects top prize. He has a specific dedication to live electronic music performance and has played electroacoustic works by Stockhausen, Cage and Nono as well as his own work. He is director of the Centre for Computational Musicology and Computer Music at the University of Limerick.
12. David Beattie / Shadow I (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 01:00
David Beattie is an artist currently based in Dublin, Ireland. His work primarily takes the form of sculptural installation, and utilises video, sound, photography and sculpture. Recent exhibitions include The Important Thing Is That Tomorrow Is Not The Same As Yesterday, Pallas Contemporary Projects, Dublin (2007), Broadstone XL, Dublin (2007) and Utopias, Éigse06, Carlow (2006). Recent curating projects include Lighthouse (London) and Homemade (Dublin) as part of House Projects (2007). 'Shadow I' is part of an ongoing series that investigates the relationship between sound and predetermined environments and structures.
13. Grainne Mulvey / Swirling Sea, Frightened Fish (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 02:25
This is the final section of a substantial work for flute and tape, scored primarily for piccolo (the entire piece calls for the full range of flutes from piccolo to bass). The darting, furtive nature of the flute figuration (which suggested the title of the work) is contrasted with a gradual accretion of computer-synthesised sound, from isolated pitches at the start to mass textures at the end. The number of voices is regulated by the Fibonacci series, ensuring a natural progression in density. The tape part was realised entirely in Csound, using granular synthesis.
Gráinne Mulvey’s music has been widely performed and broadcast worldwide. Much of her work is intimately bound to a sense of place – with particular locations or with mankind's place in the natural order. She holds a DPhil from the University of York, where she studied under Nicola LeFanu and has attended courses with Peter Maxwell Davies, Boguslaw Schaeffer, Kaija Saariaho (at IRCAM), Louis Andriessen and Jonathan Harvey, amongst others. She has been the recipient of numerous awards and prizes, and has twice represented Ireland at the ISCM International Rostrum of Composers. In January 2007 she was featured in the NSOI Horizons series.
14. Danny McCarthy / (Re)sounding Memories/Cleaning the house (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 04:25
This work started a sound installation I presented in CAP House, Kobe, Japan in 2007 and forms part of an ongoing series of work which also has a visual element as well as the aural. The sound I use was taken from a family home belonging to very close relatives who were recently deceased. It had also been my grandfathers and great grandfathers home. My own father was born there so it had very clear resonances for me but the house was being sold. So I recorded the furniture, objects, surfaces and spirit sounds of the house and from these recordings built up the work. Amazingly the sound seemed to develop as a liquid form which only occurred to me later that the house is part of a flooded area in the town and was regularly flooded. Further installations on the same theme are due and it is intended to release a limited edition CD with visuals shortly.
Danny Mc Carthy studied at the National College of Art and Design. He has pioneered both performance art and sound art in Ireland and he continues to be a leading exponent exhibiting and performing both in Ireland and abroad. He has just returned from a very successful tour to Japan where he presented his sound installation “(Re)sounding Memories/Cleaning The House” in CAP House Kobe and where he performed a live sound performance work. He also presented a live sound performance in Kobe leading contemporary art space The Hyogo Prefectural Museum of Art (www.artm.pref.hyogo.jp/eng / www.galinsky.com ) He is a founding director of Triskel Arts Centre and of the National Sculpture Factory and is a director of Art Trail and the Sirius Arts Centre.
15. Jennifer Walshe / Grove of Drift (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 01:50
Jennifer Walshe was born in Dublin, Ireland in 1974. She studied composition with John Maxwell Geddes at the Royal Scottish Academy of Music and Drama, Kevin Volans in Dublin and graduated from Northwestern University, Chicago, with a doctoral degree in composition in June 2002. Her chief teachers at Northwestern were Amnon Wolman and Michael Pisaro. In 2003-2004 Jennifer was a fellow of Akademie Schloss Solitude, Stuttgart; during 2004-2005 she lived in Berlin as a guest of the DAAD Berliner Künstlerprogramm. From 2006 to 2008 she is the composer-in-residence in South Dublin County for In Context 3. In 2007 she was awarded a grant from the Foundation for Contemporary Arts, New York.
16. Mick O’Shea / Raum der Stille (from the audio cd ‘the sound we are now’, aphasia recordings) / 2007 / 04:05
Raum der Stille (Room of Silence) is a room next to the Brandenburg Gate, Berlin set up in 1994 five years after the wall came down. It is a non-denominational space where everyone is encouraged to remain silent, relax and reflect on “the dark but hopeful events, to meditate and to feel gratitude for the achievements of recent years”. I recorded this room using binaural microphones. The floor is tiled and the chairs and door creak making the room anything but silent this created a self-conscious and uneasy feeling (most people staying no longer than three minutes). I used the raw sound with adjusted sound to represent the full experience in the room.
Mick O’Shea lives and works in Cork city and is a member and director of the Cork Artists Collective and has exhibited in Germany, Lithuania, Belgium, Scotland, Tasmania, Japan and Finland. He studied instrument physics in C.I.T. and works as an instrument technician in UCC.
All of his works spring from his essential experience in drawing.
His medium includes sculpture, drawing, sound and cooking. O’Shea formed Domestic Godless with Stephen Brandes 2003 to create cooking events and recipes that transgress our food taboos. He also works with various sound artists both national and international. In 2006 he formed The Quiet Club with sound artist Danny McCarthy to promote and showcase improvised music and soundworks.
17. Anthony Kelly & David Stalling / Sonic Postcard from Newfoundland No. 1 (unreleased track) / 2008 / 01:16
From the forthcoming exhibition ‘Auralog’ – first draft : Audio Postcards, at This Is Not A Shop gallery, Dublin, as part of the Dublin Electronic Arts Festival (DEAF) 2008.
Dublin based artists Anthony Kelly and David Stalling have been collaborating on a series of sound and visual pieces since 2003, which have been widely exhibited. They were recently commissioned by the Arts Council of Ireland to create the sound art exhibition Urban Utopias.
Some of their recent shows include The Felt Experience Project, Catalyst Arts Centre, Belfast; Components, Sirius Arts Centre, Cork; Binaural Audio Art Symposium, University of Lancashire, UK; Cead in China, Shanghai and Bejing, a screening at Anthology Film Archives in New York and the sound art exhibition Two Places at Ormeau Baths Gallery, Belfast and Limerick University. Their recorded work has been released on the sound art label aphasiarecordings.com, on the recent cd project soundwearenow.org, and a track from their 'treehouse' EP was released on Wire Tapper 16 with the December 2006 issue of Wire Magazine.
Future projects include participation in the group projects Auralog and Shorelines, Newfoundland, as well as solo exhibitions in the Basement Gallery, Dundalk and Visualising Carlow during 2009.
Kelly and Stalling run the online record label www.farpointrecordings.com
About ‘the sound we are now’ audio project:
'Sound can move from being a specific composed entity to sound as the aurally perceivable part of a much longer conceptual continuum. Work may use one specific space only as a creative unit. It may be performable anywhere appropriate. It can technically combine several sites as a single simultaneous event. Whatever the approach, creative sound is becoming a continuum rather than a fixed unit. Sound does come in waves' Seán McCrum?, 2007 During 2007, David Stalling and Anthony Kelly asked a number of artists and composers to respond to a simple idea: to send a short track that in some way reflected their creativity at that particular moment. The rest was left open – the track could be a work in progress, an excerpt from a larger piece, a live recording, sound fragment, field recording or composition. The results of the project are to be found on this CD. For full information about the project please visit www.soundwearenow.org
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