from LMAKseries; part of LMAKprojects monthly performance series.
performing in order:
Andy Graydon : (plate i)
Joyce Kim : (plate ii)
MOSTRA - Gabriela Monroy and Caspar Stracke : (plate iii)
Nils Karsten : (plate iv)
Tmm Mulligan : (plate v)
Nathan Carter : (plate vi)
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With the volume of the Atlantic Ocean as a lens between bodies, this architectural interventional audio performance gathers and further iterates ideas from Andy's gallery installation at PROGRAM, Berlin.
Gallery goers were encouraged to listen and use audio tools to map the parameters of the gallery's architectural space.
The tools being Andy Graydon's 12 acetate recordings, dubplates pressed from field recordings of the ambient sound of NYC museums and exhibition sites.
For the LMAKseries performance, the dubplates of the PROGRAM installation were displaced into the hands of six guests who mixed them to manipulate the aural environment of the gallery. By process of overlapping their performances and building on the others contributions the guest artists dubbed the space of exhibition, remixing and overlapping the artifacts of audio of other exhibition spaces. The dubplates' acetate body decays through the friction of play yet the live spontaneous reworking yields possibilities for new material, new plates, new structures.
"By installing excavated stones from New Jersey in a gallery, Robert Smithson, in the late 1960s, revealed the dialectic between abstract and actual locations. Sometimes in containers, sometimes piled, the stones in the gallery represented a far away location without resembling it. Something of New Jersey, Smithson maintained, was held in those rocks and their displacement resulted in the expansion of the original site, both physically and conceptually.
The Site Non-Site dialectic, as Smithson called it, feels particularly familiar today as our daily lives are continually reshaped by place-defying technologies in communication, information and travel."
- Carson Chan : notes on the installation at PROGRAM, Berlin.
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Special thanks to Richard Garet.
