Solodovnya space / “
The temporary yet forever”
sound Anatoli Esaulov
@rudebwoi4x4
curator Maria Kramar
Photo Anastasia Soboleva
Video Nikita Green
Three performers in three rooms offer three parts of a scientific description of the physiology of the visual apparatus, which is accompanied by three initially dissonant layers of one soundtrack.
The first part is about the structure of the eye, the intensity of light, and its effect on the retina and optic nerve. This basic mechanic of visual perception roughly corresponds to the bass as the basis of a musical composition.
The next layer is samples, borrowed fragments of other music tracks, a kind of audio hyperlinks, and invisible connections between musicians. This layer corresponds to a story about different sensory flows, in the case of an exhibition — about the viewer’s sequential (or chaotic) acquaintance with the works.
The third layer of the composition is the repeating rhythmic pattern of the drums, a sonic metaphor for the economy of perception, which is always based on patterns formed by previous experience. In the finale, the initial fragmentation turns into a solid experience: the sound becomes harmonious, the text is consistent, and the space is unified.
The first part is about the structure of the eye, the intensity of light, and its effect on the retina and optic nerve. This basic mechanic of visual perception roughly corresponds to the bass as the basis of a musical composition.
The next layer is samples, borrowed fragments of other music tracks, a kind of audio hyperlinks, and invisible connections between musicians. This layer corresponds to a story about different sensory flows, in the case of an exhibition — about the viewer’s sequential (or chaotic) acquaintance with the works.
The third layer of the composition is the repeating rhythmic pattern of the drums, a sonic metaphor for the economy of perception, which is always based on patterns formed by previous experience. In the finale, the initial fragmentation turns into a solid experience: the sound becomes harmonious, the text is consistent, and the space is unified.
This is a journey through fragmented replicas of performers and heterogeneous sound, which will become a search for the composition’s integration point.
The inclusion of a performance into the exhibition of printed graphics is a deliberate attempt to shift the usual perception of works of art through the discovery of non-obvious connections between visual and auditory perception. The artist offers her own solution by opposing the acts of looking and listening. Listening, like looking, is the other side of what is happening. By listening, performers show the vulnerability of looking. With inconsistent and fragmented sound, they question the act of looking, which usually seems to be a stable and precise sensation. Listening is often a shared experience. Looking almost always maintains a distance from the Other.
Does the Other see the same as I? There is no doubt that they hear the same thing as me. But is this really so?
RU
The inclusion of a performance into the exhibition of printed graphics is a deliberate attempt to shift the usual perception of works of art through the discovery of non-obvious connections between visual and auditory perception. The artist offers her own solution by opposing the acts of looking and listening. Listening, like looking, is the other side of what is happening. By listening, performers show the vulnerability of looking. With inconsistent and fragmented sound, they question the act of looking, which usually seems to be a stable and precise sensation. Listening is often a shared experience. Looking almost always maintains a distance from the Other.
Does the Other see the same as I? There is no doubt that they hear the same thing as me. But is this really so?
RU
