Returning the Ear / Tim Shaw & Jacek Smolicki

Datum: 
2 Dec 2018 - 19:00

Photo: Jacek Smolicki

Entrance: 60 kr

7PM

As an extension of their collaborative art/research residency at Inter Arts Center in Malmö, Shaw and Smolicki invite you to a soundwalk performance in Stockholm. The performance will showcase the artists' modes of approaching public space as a complex, sensory milieu in which various sources of information and organized infrastructures compete with noise, incident and disruption. Through a collective walk and performative sound collage at the Inter Arts Center, Smolicki and Shaw will also demonstrate how field recordings can capture and communicate this complexity and how listening technologies might alter the way we hear and comprehend our surrounding.

The soundwalk will start at the entrance to Fylkingen and will be concluded with a performance therein. More instructions will follow before the performance.
Besides the soundwalk performance, Shaw and Smolicki will share their ongoing explorations through individual sets.

8 PM

In a form of a sound collage, Smolicki will introduce his 'Para-Archive of Quivering Stillness'. Quivering Stillness is an ongoing exploration of sites affected by military conflicts, political unrest and ruination, performed through the means of sound and video recording.

In these places just as in a myriad of other sites affected by difficult historical events, present soundscapes seem to camouflage the ones of the past. What one confronts there visually is a hybrid of the past (gradually obsolete yet continuously persistent), with the cultural and natural practices, rhythms and everyday life events taking place at the moment, and not much is concerned with the gone. With soundscape, the case is much different. What one confronts sonically is merely the present. Against the backdrop of these visually hybrid places, their soundscapes seem oddly misplaced and unfitting. What is presently aural there seems not so much representative of the current, but rather misrepresentative of the gone and absent. Even though sounds associated with joy, such as human laughter and birds chirping, tend to refurbish the atmosphere, these places seem to resist them; they reject the condition of today and instead remain stubbornly suspended somewhere between the gone and the present.

(From the forthcoming publication in PAD, Public Art Dialog journal dedicated to experiments in sound and site)

8:45 PM

During his set Shaw will improvise with field recordings, microphones, modular synthesisers, sculptural loudspeakers and resonant sound objects which, when combined, create complex, layered listening environments. He uses a variety of self-constructed technologies to playback and manipulate his recordings. The unfolding composition incorporates elements of uncertainty and indeterminacy processed through room acoustics, computational systems and networked infrastructures.

Photo: Jacek Smolicki

Tim Shaw ’s practice is concerned with the many ways people listen, specifically how listening environments can be constructed or explored using a diverse range of techniques and technologies. He has a background in recording sound and his practice is anchored in the creative use of field recordings. He is interested in appropriating communication technologies to explore how these devices change the way we experience the world.

He is particularly interested in the relationships between site, sound and technologies. Presenting work through musical performances, installations, walks and site-responsive interventions his practice attempts to expose the mechanics of systems through sound to reveal the hidden aspects of environments and technologies. Tim works as a lecturer in Digital Media at Newcastle University.

He presents work at galleries, festivals, museums, through residencies and cultural events nationally and internationally. Recently his work has been presented at New Ear Festival, New York (2018), History of Bosnia Museum, Sarajevo (2018), ARC, Switzerland (2018), bb15, Linz (2017), Stereolux, Nantes (2016), Baltic, Gateshead (2017), FACT Liverpool (2016), Eastern Bloc, Montreal (2016) and The Wired Lab, New South Wales, Australia (2016).

More on: https://tim-shaw.net/

Photo: Sally de Kunst / Arc Artist Residency

Jacek Smolicki is a Stockholm-based cross-media artist, designer, researcher and walker working at the intersection of aesthetics, technology, archiving and everyday life.

Besides engaging with existing archives and heritage, he is interested in forging and testing new techniques for experiencing, recording and para-archiving space, time and everyday life, especially through the medium of sound. His work is manifested by the means of experimental soundscape compositions, sound installations, soundwalks, site-specific para-archives, disparate cartographies and performances.

In parallel to these activities, for the last several years Smolicki has been committed to a set of documentary practices in which a systematic experimentation with various recording techniques and technologies leads to the construction of a multifaceted record of contemporary everyday life (On-Going Project). One such practice is the para-archiving of one-minute field recordings executed daily ever since July 2010.

He has exhibited, presented his works and gave workshops internationally (e.g. Madrid, Moscow, Helsinki, Stockholm, San Francisco, Sarajevo, Vienna, Budapest). He holds a PhD from the School of Arts and Communication / Malmö University where he was a member of the Living Archives, a research project founded by the Swedish Research Council. His largely practice-based thesis explored how technological transformations have been affecting aesthetic, material, performative, political and ethical aspects of personal archiving and memory practices, historically and presently, in the times of 'capture culture', which is how he defines the state in which the digital has become the unescapable norm.

More on www.smolicki.com

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Medlemsproduktion: Jacek Smolicki