Ori Gersht, Big Bang, 2006 from
Noga Gallery of Contemporary Art on Vimeo.
From our good friend Mr Mills.
(Watch big and loud.)
Watching this - and importantly listening to it - made me think of Alvin Lucier's I am Sitting in a Room, in which the artist's words are repeatedly played and rerecorded and replayed, until the words lose all meaning, becoming mere abstract echoes and vibrations in the space. It's not that the two pieces are in any way similar, but they both make me consider two things which I think we could reflect on in our own works: sound and speed/stillness.
The sound in Gerscht's Big Bang is so effective - I knew it was coming, the title and preceding stillness gave it away - and yet I still jumped and yelled all three times that I watched it. How will we consider sound in our own ideas of exploding matter? (Does it synch with the film, is it played in a different space?) And also Gerscht's explosion… he slows it down. Do we want realtime or to play with and extend reality?
With Lucier's piece, I'm interested in the way the sound defines a physical space. And a domestic space too, judging by the image that accompanies it. For me there's something that is potentially quite powerful in that, particularly with our own subject matter. Can we find a way to create sound for our film (or perhaps a separate sound work altogether?), that creates an ambience of a domestic space, therefore heightening and highlighting the discord between home and this explosive intrusion. Perhaps its a filmic piece with a partner sound work exploring the power of the explosion from within a space and far beyond it? Not sure…
Noga Gallery of Contemporary Art on Vimeo.
From our good friend Mr Mills.
(Watch big and loud.)
Watching this - and importantly listening to it - made me think of Alvin Lucier's I am Sitting in a Room, in which the artist's words are repeatedly played and rerecorded and replayed, until the words lose all meaning, becoming mere abstract echoes and vibrations in the space. It's not that the two pieces are in any way similar, but they both make me consider two things which I think we could reflect on in our own works: sound and speed/stillness.
The sound in Gerscht's Big Bang is so effective - I knew it was coming, the title and preceding stillness gave it away - and yet I still jumped and yelled all three times that I watched it. How will we consider sound in our own ideas of exploding matter? (Does it synch with the film, is it played in a different space?) And also Gerscht's explosion… he slows it down. Do we want realtime or to play with and extend reality?
With Lucier's piece, I'm interested in the way the sound defines a physical space. And a domestic space too, judging by the image that accompanies it. For me there's something that is potentially quite powerful in that, particularly with our own subject matter. Can we find a way to create sound for our film (or perhaps a separate sound work altogether?), that creates an ambience of a domestic space, therefore heightening and highlighting the discord between home and this explosive intrusion. Perhaps its a filmic piece with a partner sound work exploring the power of the explosion from within a space and far beyond it? Not sure…
