Sound art
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Exchanges across a dinner table. SIMON WHETHAM, SLAVEK KWI (Tentacles Of Perception 2013) Review by Maria Papadomanolaki After almost five years of stirring, cutting, peeling, poaching, boiling, beating, blending, chilling, dicing, grinding, kneading, melting, grapping and mincing, and pouring, and…
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Only presence KOSTIS KILYMIS (2013) Review by Chris Whitehead Audiovisual installation -July 2 Hardy Tree Gallery, London- ‘A lot of it for me is about conditioning observation. Not about field recordings, not about minimalist video, but about how these can be…
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270
Sunset Soundrise. FRÉDERIC NOGRAY (Very Quiet 2012) Review by Maria Papadomanolaki Frederic Nogray’s Sunset Soundrise falls into the rainforest field recordings category. I was intrigued when I read on the press release that during the process of installing his equipment…
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Island Terminus. ADRIAN DZIEWANSKI (Gruenrekorder 2013) Review by Caity Kerr Adrian Dziewanski is a Vancouver based sound artist who, in his own words, ‘believes in the potency and poetry of musical happenstance and advocates for the benefits of active listening’.…
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Niche constructions. THOMAS BESLEY (Impulsive Habitat 2013) Review by Cheryl Tipp There’s little wonder why field recordists choose to visit Madagascar. Cloaked in an air of exoticism and full of intriguing species that can be found nowhere else on Earth,…
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Shards Of Splinters – Fragments Of Scratches / Killustiku Killud – Kriimude Killud. TARAB -Eamon Sprod- (Semperflorens 2012) Review by Daniel Crokaert Actuator of sonorities & tireless surveyor, Eamon Sprod (Tarab) goes through his environment on the permanent alert, on…