SoundScape Park during Film at Art Basel in Miami Beach curated by David Gryn (from the 2013 screening of Mickalene Thomas, Happy Birthday to a Beautiful Woman: A Portrait of My Mother). Image: courtesy Art Basel
The Artists Surround Sound Project
Film at Art Basel in Miami Beach 2015
Sofie Alsbo, Alice Jacobs, Mariele Neudecker, Camille Norment
Curated and organised by David Gryn of Daata Editions and Artprojx worldwide
SoundScape Park, New World Center, Miami Beach
December 2-5, 2015 at 6pm
FREE
Soundcloud trackshttps://soundcloud.com/david-gryn/sets/the-artists-surround-sound
New World Symphony https://www.nws.edu/events-tickets/art-basel-at-soundscape-park/
Facebook event https://www.facebook.com/events/140052276352255/
Talk at the New World Symphony – http://www.nws.edu/events-tickets/concerts/insights-artists-film-and-sound-with-david-gryn/
Wednesday, December 2: Mariele Neudecker
Thursday, December 3: Sofie Alsbo
Friday, December 4: Camille Norment
Saturday, December 5: Alice Jacobs
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Every evening at 6pm during Art Basel in Miami Beach, prior to the Film program, sound works by Sofie Alsbo, Alice Jacobs, Mariele Neudecker and Camille Norment will be presented at 6pm (until 8pm) on the state-of-the art surround sound system with its 160 speakers in SoundScape Park.
Nothing is going to sound quite like this …
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Art Basel in Miami Beach – Talks Program
Salon talks panel (full talks program pdf)
Saturday, December 5, 2015, 2pm to 3pm
The Artists Surround Sound Project
Mariele Neudecker, Camille Norment, Sophie Alsbo, Alice Jacobs
Moderator: David Gryn, Curator of Art Basel’s Film sector and Founder of Daata Edition and Artprojx
Sofie Alsbo, Close Encounter, 2015
Sofie Alsbo
Close Encounter (2015)
Close Encounter (2015) is a surround sound piece made specifically for Miami Soundscape Park as part of Surround Sound Artists Project.
Signals reaching for a wave. Roaming. Vibrations and heartbeats. Clap. A drone that bites its own tail. A circulating loop around the crowd. The body in a mass. Clap. Close Encounter enters the arena with sporadic fragments as the soundscape sway in the contrast of the physicality and transparency of the presence of sound.
Sofie Alsbo (b. 1982, Denmark) received a BA in Fine Art from Central St. Martins UAL and a Postgraduate Diploma from The Royal Academy Schools in London. Working with video, animation and sound a relationship between technology and the human body is explored as the work focuses on the pull between the internal and external space of the body and mind.
credits:
Pete Jones Music
Arge
Sound Designer
Envy Post Production
James
Producer
Envy Post Production
Alice Jacobs, The Intent I Owe, 2015
Alice Jacobs
The Intent I Owe, 2015
Alter our fear, you frown me,
With her, with her, will feel form.
How dear and fairs, and soul, won’t be.
So kind, giving of being, inhabited here,
She laughed in dear o mourning.
For plans hath loved so grow,
For you, sigh and frown, whore again,
On hold, for hell or high, bitter end,
Alter our fear.
Alter our fear, who, bears flight,
When here, descend our endeavours,
So last, untold and shouts bear down.
Mere time near heart and first once stood,
Don’t lie, the bruise in the family,
In deed, were told fairs and cold.
Oh mother, her again, her screaming!
Oh you, frown hiding by our lost youth,
Alter our fear.
All men here, right, men now,
Dear here, it wont hurt to hold them,
One died, is how this all turned out.
Stay close, and hear the mothers womb,
Her voice still shakes, but I warned her,
The wounds, will hide across her face.
Dear you, only the holy shall save you,
Take care, this fear and thought of you,
Ave Maria!
The Intent I Owe, (2015) is based on Ave Maria by Schubert. Originally sung in German, here the lyrics have been transposed into an English poem. The harmonic sounds focus on religious notations of women, the iconic figure of Madonna and, by contrast, how in reality, men perceive the female as mother and sex object.
Alice Jacobs (b 1992, London) MA Royal Collage of Art (2017). BA (Hons) Central Saint Martins (2015). Uniwersytet Artystyczny w Poznaniu (2014). Jacobs addresses a feminist perspective to create a platform for the female gaze via performance, sound and sculptural media. She is interested in the visual representation of gender interaction as delineated by a patriarchal society.
Credits:
Theo Zeal, Sound Producer, UK
Milly Forrest, Voice, Royal Academy of Music, UK
Rodrigo Canas, Royal Collage of Art, UK
Louis Dowdeswell, Assistant Sound Engineer, UK
Mariele Neudecker, Figure of 8 (Rainforest, Ecuador, sound recorded at height: 1.39m, 9.78m, 22.59m, 30.79m and 37.26m), for 5.1 surround, 16 minutes looped, 2015 (courtesy Galerie Barbara Thumm, Berlin, Germany) PHOTO: Laurie Lax
Mariele Neudecker
Figure of 8 (Rainforest, Ecuador, sound recorded at height: 1.39m, 9.78m, 22.59m, 30.79m and 37.26m), for 5.1 surround, 16 minutes looped, 2015 (courtesy Galerie Barbara Thumm, Berlin, Germany)
’Figure of 8’ aims to create a soundscape that is artificially collaged from 3-dimensional sound-recordings that, at the time of capture, observed and co-responded with the circadian rhythm of the place. The sound implies and animates a physical shift through a physical space and a horizontal timeline, a sound experience of ‘a night in the jungle’. Going beyond the image, Neudecker, at times, works with classical music and ‘sound data’, exploring the pathos and evocative power of ‘audio’ that is rooted in ‘ground truth’, a term used in remote sensing to describe data collected on location. In this particular location: no image, moving or still, can possibly capture what the sound manages to convey. Tiputini Biodiversity Station [Ecuador] where these recordings were taken – for a permanent, commissioned work for the new Cancer Centre at Guy’s Hospital, London, which is due to open late 2016 – is one of the most bio-diverse forests in the world. Its sounds never stop.
Mariele Neudecker [b.1965 Germany] lives and works in Bristol, UK and uses a broad range of media including sculpture, film, photography as well as sound. Her works have been exhibited widely internationally both in group- and solo-exhibitions. Her practice investigates the formation and historical dissemination of cultural constructs around the natural world and notion of a Contemporary Sublime. Neudecker often uses technology’s virtual capabilities in order to reproduce a heightened experience of nature & landscape, thus addressing the subjective and mediated condition of any first hand encounter.
credits:
Guy’s & St Thomas’ NHS Foundation Trust, London, UK
Guy’s & St Thomas’ Charity, London, UK
Futurecity, London, UK
Bath Spa University, Bath, UK
Laurie Lax and John Taylor, Bristol and Bath, UK
Jan Meinema, Creative Music Technology @ Bath Spa University, UK
Manus Pitt, BBC Natural History Unit, Bristol, UK
Tiputini Biodiversity Research Station, Universidad San Francisco de Quito, Ecuador
Camille Norment, Toll – Dissonant Image (Re-mixed and mastered from Toll, 2011 for 5.1 surround), 2015
Camille Norment
Toll – Dissonant Image
(Re-mixed and mastered from Toll, 2011 for 5.1 surround), 2015
Three instruments – the rare glass armonica, the Norwegian Hardanger fiddle, and the electric guitar – each, once banned for fear of the psychological, physical, or social effects they had on the body – come together in a visceral soundscape of resonance and overtone that levels beauty and noise. The title composition was influenced by Arvo Pärt’s “Fratres,” meaning ‘brotherhood,’ and puts the notion of social harmony and dissonance to question through lulling, taunting, and abrasive textures.The enveloping sonic image invokes the instruments’ relationships to notions of magic and the uncanny, hypnosis and trance, and noise as a psychological atmosphere. The powerful sonic worlds they create resonate through a tantalizing union of the instruments’ voices and their paradoxical cultural histories.
The work of artist Camille Norment guides an investigation of socio-cultural phenomena through particular instances and significations of sound and music. The aim is to produce critical artworks that are equally occupied with experiential form, and conceptual narrative. There is a particular interest in both sonic and socio-cultural tension – parallels of dissonance – and an underlying interest in the physiological effects of sound on the body that may exceed the cultural boundaries of perception.
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David Gryn
Curator Film and Sound at Art Basel in Miami Beach
Director, Daata Editions and Artprojx
david gryn blog 