White Wall Mounted Speakers
Strange chants echo in the nature of the area Abaddia, adding to the sounds of the sea and the protected environment. In the distance, a strange melody, dissonant slightly confusing because the field encompasses. Small Ensembles is a ballad sound that takes us in the middle of Abaddia landscapes, meeting small groups of white pedestals with speakers that broadcast these songs. The voices recorded independently of one another, in the form of improvisation, are then aggregated to produce an original composition which I am the conductor. I want to raise voices do not sing together, find ways to make them resonate, shocking each other, that emerges from these mixtures sensitive language, a singular harmony with always a little humor. In the late-modernist gallery, the audience something artificial. They are aware of being aware - awareness is quoting itself. Although the time in the white wall mounted speakers cube is always changing, the space maintains the illusion of a time motionless, as if placed on a pedestal. The challenges of my work revolve around the codes and objects belonging to the exhibition. I recycle items such as stand, photo frame or microphone to create a visual and audible questions the viewer's own behavior in the exhibition space. My job is to be seen but comes alive when you listen. The white wall mounted speakers pedestals began to laugh, another says his depression, a micro wondered if would not be a singer, senior pictures without trying to pronounce words . . . etc. The objects come to life, the audience participates as that of them in the exhibition when it mechanically laughs with the bases when he becomes a therapist to the subject when he is faced with the microphone to listen to . . . . Each of my pieces is not acting alone but with the complicity of the spectator and it is only then that the room is. allows us to see. Each story told by the voice actors is developed so that the ambiguity of language allows a wide range of interpretations both funny and deep and where the identity of the dialogue with the viewer of the work. While some may find common ground with the base which depresses the other may see the process of building a minimalist. Considering my objects as instruments, and my texts as the basis of many interpretations, I try to give the other the opportunity to confront it, to navigate or distance themselves, at the present time of 'exhibit space. The first speaker gives voice lessons in the second, embodied by the author / composer / performer Gerald Kurdian (This Is The Hello Monster) who tries to get to the second voice to sing his song Science. Between false notes and difficulty pronouncing certain English words, repetition and readjustments this room offers private listening to a course that becomes a sensitive dialogue. The facility has three pairs of frames, which interact together while addressing the audience. The frames feel observed and communicate their genes, are wondering why you look like that, addressed the audience, trying to hide by not making any noise. With this piece I try a new experience, to observe the coexistence between objects and people, always questioning the viewer's presence in the exhibition space. This foundation holds its particular form of the position of a person lying on the couch of a shrink. The viewer installed on a chair at the speaker, listening to the evil of the object analysis. By the device the viewer finds himself transformed into a psychotherapist. The base said his depression by asking existential questions about its role among us: He feels invisible. The text tells the object provides a common ground where spectators can stand and navigate. Here I try to create a sort of proximity between the viewer and the object while questioning each of these two statutes specific to the context of the exhibition. . . .
