Issue Project Room, NYC

17 February 2010, 8:00 pm

By Cedrick Eymenier (2002- 2008)

P#01 EuraLille – music by Giuseppe Ielasi
P#02 London (Canary wharf + City) – music by Motion & Sogar
P#03 La Defense (Paris) – music by Sogar
P#04 Dalle Beaugrenelle (Paris) – music by Pirandèlo
P#05 Porte de Bagnolet (Paris) – music by Sebastien Roux
P#06 Porte de Bercy (Paris) – music by Sebastien Roux
P#07 Aéroport Roissy CDG (Paris) – music by Sebastien Roux
P#08 Frankfurt – music by Cats Hats Gowns
P#09 Chicago – music by Fennesz
P#10 Miami – music by Stephan Mathieu
P#11 Rotterdam – music by Vladislav Delay
P#12 Tokyo – music by Akira Rabelais, Oren Ambarchi, Taylor Deupree

At the Old American Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215

Moderna Museet, Stockholm

Studion: Interference
28 januari - 21 februari 2010
Moderna Museet, Stockholm

Curated by Michael Capio & Tina Hanssen

Konstnarer: Ultra-red, Support Structure: Celine Condorelli & Gavin Wade, Il Faut, Freq_Out Orchestra, Mika Tajima, Carsten Nicolai, Brandon LaBelle, Jacob Kirkegaard, Mattin, Kirsten Reese, Cedrick Eymenier, Miki Yui, Liam Gillick, Henrik Plenge Jakobsen, Sebastien Roux, Carl Michael von Hausswolff och Henrik Andersson. 

INTERFERENCE: Fields for Listening and Praxis is a group exhibition that aims to bring together practitioners and collectives who adopt sound-based practices as an interventionary tool for focusing on sonic interferences in public environments and social space, while providing a platform for critical discussion within the installation environment with recordings, screenings, performance, printed materials and a micro-conference scheduled later this year. The exhibition takes its subtitle from French sociologist Pierre Bourdieu who used the term 'fields' to describe groups of interrelated social actors that reflect objectified forms of economic interest. For many sound artists this has become a guiding principle for work that introduces field recordings or ambient sounds into institutional spaces, which become instrumental for providing a context that places sound within a broader set of questions about public and private space, mediation, commercial space and second nature. Our intention is to open a dialogue between architectural practices and sound-based initiatives to foreground sound's inherent functionalism within the built environment.

Most urgent here are artistic practices that address the institutional space and its claim of 'neutrality' in an effort to bring attention to its commercial equivalent in retail space - repurposing the conventional function of the installation environment for onsite production. We are particularly interested in artistic practices that engage with background music and the production of 'atmosphere' in public spaces and the gallery environment for observing the conflated or smoothed out relationship between the two. This means that it becomes crucial to critically approach the relationship between sound and public space to trace its impact on human behavior, modes of listening and social relations.