Ma Voix

A short video by Gilles Paté of the exhibition ‘Ma Voix’, at LE SILO U1, Château-Thierry, France from earlier this year.  The exhibition curated Jerome Lefevre featured works by Gary Hill, Jérôme Poret, Giulia Anderani, Damien Deroubaix and myself.

The exhibition featured my video ‘N(I)B’, a recent soundwork ‘Mmmmm’ and two banner works, ‘You can’t hate nature’ and ‘Natures laws are not set by the bounds of human reason’

‘Built on the theme of the voice, the show actually plays on a double meaning. The term is understood as both the voice in the strict sense ( speech, cry, singing) but also by extension as speaking (the assertion or claim of his voice) .

Several works chosen thus refer to the vocal material. This is the case of Gary Hill with a historic work called ‘Mediations (Towards a remake of soundings)’ in which a voice disappears in a given amount of sand gradually over a loudspeaker .

It is also the physical capabilities of voice and sound explored by Jérôme Poret in its approach . In the installation ‘Reload’ Jérôme Poret in which a bass amp becomes a body transcribing the voice of the exhibition itself.

The rooms of Giulia Anderani and Giulia Anderani there already operates a shift in meaning :the sound itself has disappeared, the word and the cry is raised here. In his acrylic on canvas , Giulia Andreani refers to cult scenes of Italian cinema . The sound is quite explicitly suggested in ‘Burzum tree’ Damien Deroubaix, referring in turn to metal music .

The work of Mark Titchner, English artist nominated for the Turner Prize in 2006, plays on the same report. In the video installation N (I) B, the artist collaborated with musician Nicholas Bullen, the viewer sees only the mouth. Here the sound disappeared , whereas in the soundwork ‘Mmmmm’ the body disappears, while the sound is integral with the space.

But my voice shows another aspect of the work of Mark Titchner. Several banners designed by the artist directly refer to quotations from philosophers or phrases from events streamers. It is now defending a position in question through the voice, in this case through Spinoza’s thought. The sound material gives way in the sense of what is said.

The exhibition My Voice meet a proportion of any sound pieces that silent parts. And yet they are quite discreet: a spoken becomes whisper, a sound held in drone that fills the space as much as he is drowning in it … The voice here is to understand that advantage hear. This results in a silent exposure, where the sound is assessed across physical characteristics. Also, very different aesthetics coexist on the basis of additional formal reports.

Jerome Lefevre

Exhibition curator

(This text has been translated from  French using Google)

The original text in French

Construite sur le thème de la voix, l’exposition joue en réalité sur un double sens. Le terme est entendu à la fois comme la voix au sens strict (la parole, le cri, le chant), mais aussi par extension comme prise de parole (l’affirmation ou la revendication de sa voix).

Plusieurs œuvres choisies se réfèrent donc au matériau vocal. C’est le cas de Gary Hill avec une pièce historique intitulée Mediations (towards a remake of soundings) dans laquelle une voix disparaît sous une quantité de sable apportée progressivement sur un haut-parleur.

C’est aussi aux capacités physiques de la voix et du son qu’explore Jérôme Poret dans sa démarche. Dans l’installation Reload de Jérôme Poret dans laquelle un ampli basse devient un corps retranscrivant la voix du lieu d’exposition lui-même.

Dans les pièces de Giulia Anderani et de Damien Deroubaix s’opère déjà un glissement de sens : le son lui-même a disparu, la parole et le cri sont ici évoqués. Dans ses acryliques sur toile, Giulia Andreani se réfère à des scènes cultes du cinéma italien. Le son est suggéré de manière assez explicite dans l’arbre Burzum de Damien Deroubaix, se référant quant à lui à la musique metal.
Le travail de Mark Titchner, artiste anglais nominé pour le Turner Prize en 2006, joue sur le même rapport. Dans l’installation vidéo N(I)B, l’artiste a collaboré avec le musicien Nicholas Bullen, dont le spectateur ne voit que la bouche. Ici le son a disparu, tandis que dans l’œuvre sonore Mmmmmm c’est le corps qui disparaît, alors que le son fait corps avec l’espace.

Mais Ma voix montre un autre aspect du travail de Mark Titchner. Plusieurs bâches conçues par l’artiste font directement référence à des citations de philosophes ou de phrases provenant de banderoles de manifestations. C’est désormais de défendre une position dont il s’agit à travers la voix , en l’occurrence à travers la pensée de Spinoza. Le matériau sonore cède sa place au sens de ce qui est dit.

L’exposition Ma Voix réunira une proportion de pièces sonores moindre que de pièces silencieuses. Et encore se font-elles assez discrètes : un parlé qui devient chuchotement, un son tenu en bourdon qui emplit l’espace autant qu’il se noie dans celui-ci… La voix, ici, est à comprendre d’avantage qu’à entendre. Il en résulte une exposition silencieuse, où le son s’apprécie par delà les spécificités physiques. Aussi, des esthétiques très différentes cohabitent sur la base de rapports formels complémentaires.

Jérôme Lefèvre

Commissaire de l’exposition

Live the life that you imagine – Documentary

Two documentary films that follow the development, construction and installation of two artworks by Mark Titchner in One St Peters Square Manchester

Film by Moe
Original Music by Daniel O’Sullivan

The artworks were commissioned by Argent, Glenn Howell Architects and on-site art consultants InSite Arts.

‘Live the life that you imagine’ – New book

Marking the completion of two new works by Mark Titchner, Live the Life that You imagine and Dream after Dream after Dream, is a new book published by InSite Arts.  Designed by Axis it documents the development, construction and installation of the artworks at One St Peters Square, Manchester.

MARK-TITCHNER-INSITE-ARTS-1933

MARK-TITCHNER-INSITE-ARTS-1938

MARK-TITCHNER-INSITE-ARTS-1937

MARK-TITCHNER-INSITE-ARTS-1939

MARK-TITCHNER-INSITE-ARTS-1936

MARK-TITCHNER-INSITE-ARTS-1935

MARK-TITCHNER-INSITE-ARTS-1934

MARK-TITCHNER-INSITE-ARTS-1940

The artworks were commissioned by Argent, Glenn Howell Architects and on-site art consultants InSite Arts, the works employ multi-layered gold and silver acrylic extracts of text, adapted from Henry David Thoreau’s Walden 1984 and a pamphlet published post Peterloo in 1819, The Political House that Jack built.

Design, photography and print management: Axis
Essay: Simon Grennan
Print: De Coker, Antwerp

Book images by Axis Graphic Design

‘Mmmmm’…… New on Bandcamp

mmmmm

As part of an occasional series I’ve uploaded a new sound work to Bandcamp.

‘Mmmmm’ was produced for a performance with Daniel O’Sullivan and Alexander Tucker at Raven Row, London on the 13th December 2014 as part of the ‘Plastic Words‘ exhibition.

It can be streamed or downloaded free here.

happy sad

MT Soundworks at Bandcamp

face

I’ve begun uploading my sound based works to Bandcamp where they are available free for download in a variety of audio formats.

The first three uploads are ‘Kali Girls’ from the performance ‘Shitter beware the evil eye’ at DKUK in 2013, ‘Six Chairs’ from a performance at Art House Foundation in 2012 and ‘The restoration of the submerged’ from a performance for Focal Point Gallery, Southend in 2012.

Follow the links below to download, they’ll be more added in the near future.

eye

Shitter beware the evil eye

6 chairs

Six Chairs

ends thou

The restoration of the submerged

happy sad

ROSE AT THE ROUNDHOUSE

rose small hi con

As part of the Illuminations Festival, on November 6th at the Roundhouse Studio, LondonGrumbling Fur will performing a long form version, live score for my recent video installation ‘Rose’.

‘Rose’, is an immersive  video work specially commissioned for Dilston Grove. The work combines large format text with fast cut images relating to the four elements; water, fire,air and earth.

Moving through increasingly unsettling hypnotic sections, affirmative texts of the kind encountered in self-improvement manual and corporate speak, creep gradually towards something more sinister. This seemingly affirmative, commonly used language contrasting the imaginary landscape of individual aspiration with our real conditions of flawed existence. The work was influenced by interrogation techniques found in the declassified CIA Kubark manual.

The title ‘Rose’ refers to the symbol of the Rosy Cross. The cross features the letter formula INRI, the letters commonly found above the head of Jesus in depictions of the crucifixion and representing the Latin ‘Iēsus Nazarēnus, Rēx Iūdaeōrum’ in English, Jesus the Nazarene, King of the Jews. However in Esoteric traditions the INRI formula has many alchemical interpretations many relating to cleansing or renewal. For instance ‘Igne Natura Renovatur Integra’ (Nature is completely renewed by Fire’) or ‘In Neci Renascor Integer’ (In death one is reborn intact and pure). The formula is also attributed to the Hebrew words Iam, Nur, Ruakh and Ieveshah, which represent the four elements water, fire, air and earth. The soundtrack for the work is an original piece written and performed by Daniel O’Sullivan and Alexander Tucker, using a 7.1 Surround Sound.

Tickets for this show are priced at £12 and are available from the following links:

SEE TICKETS / WE GOT TICKETS