THE LEAP SESSIONS AND RE-ACTION
LEAP presented two sound installations: Anders Fjøsne & Jan Christensen with their performance installation “The Leap Sessions 2011” and Michele Braga and Enrico Fiocco with their installation “Re-Action” and “Performance of Concentric Paths”.
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Opening 25. June 2011, 20:00 and 26. June 2011, 14:00-21:00
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Anders Fjøsne & Jan Christensen - The Leap Sessions 2011
Consider contexts for experiments combining avant-garde music or sound with visual arts (a tradition going from Nam June Paik, to contemporary artists like Ryu Han-kil, Yangachi and even club music, like Thomas Fehlmann and Ricardo Villalobos). As a moment of contextualization and confrontation with other practices, this long-term project opens up to new perspectives and possibilities for participation and artisitic engagement.
The installation consists of several synthesizers and samplers, audio distorters and equipment that modulate and manipulate audio. The participants generate sound by interacting with the devices. Audio can also be fed into the devices through the several inputs of the samplers and audio distorters from microphones which are provided, or by connecting the visitors’ mp3-players, mobile phones and tablets. Simple instruments create patterns of rhythm and sound when they are recorded and distorted through the various devices.
The public was invited to engage in an improvised jam session. The artists were not necessarily in control, but merely the initiators of the situation and the means for others to develop a soundscape or free momentary musical composition.
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Michele Braga and Enrico Fiocco
Installation Re-Action 24. June 2011, 17:00-21:00
25. June 2011 and 26. June 2011, 14:00-late
Performance Concentric Paths 26. June 2011, 19:00
RE-Action
RE-Action was an evolving installation based on the actions of two performers on a system of eight sounding iron plates and on the consequent reaction of the environment itself.
For three consecutive days the performers acted over the blank iron sheets triggering their transformation, in a process that involves the phenomenon known as oxidation, progressively converting the iron into rust. Several means are used to wear out the iron, such as water, bleach, salt and hydrogen peroxide, as well as hand instruments and objects.
The sound implication of the gestures on one of the plates is captured, processed and arisen again on the other plates of the system, in a concurred or a delayed relation.
The mutual forces of action and reaction between two entities always occur in pairs: if a force acts upon an object, then a corresponding force will act upon the subject that exerted it.
In psychology, awareness is defined as the humans ability to perceive and feel, being conscious of a condition, an event, or a sensory pattern. It refers to a variety of aspects of the relationship between the mind and the world which interacts with. Re-action tries to enlighten the importance of being aware that every action done by us will cause a modification of the system in which we live.
The sounds coming from the actions on the metal plates, together with the ones coming from the windows facing the city, are used to create a sound-sensorial memory of the system, a juxtaposition between the inner space of the gallery and the outdoor setting of the city. This way the plates are gradually transformed into emotional windows, layers expressing and testifying the experience of those days.
The corrosion of iron starts an irreversible process that won’t stop until the iron itself is converted into oxide. The plates are bound to fade and to be completely converted into dust with the process of time.
As a conclusion of the act, the piece concentric paths was performed by the two artists using the signs and the voices acquired by the plates and now marked on the eight rusted windows. Those fields recordings will merge with the musical piece, providing a site-specific contextualization.
Concentric Paths was composed in Autumn 2010 upon this custom multichannel system made of plates and speakers. It is a musical composition that comes from a sound experiment in which a metal inert matter becomes creator of harmonic oscillations. The tangible dimension of matter is combined with the dimension of its new intangible sonic nature. These two elements merging together trigger the formation of a non-space made of tonal illusions and timeless fragments.
The iron surfaces take on a second life and are made to vibrate through piezoelectric transducers. The substance of the illusory space is instead originated through acoustic propagation of four diffused sound sources.
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Anders Fjøsne & Jan Christensen
Michele Braga and Enrico Fiocco
