Sounding Painting


Sounding Painting
(to be published 2020)

NOTES:
SOUNDING PAINTING – slow looking and deep listening

PROPOSITION
Paintings are being exchanged with four composers for sound. Each composer agrees to install the work in their domestic space or workplace and create a sound piece with title in response.

Archetype Painting, niche (series three, four, five and six)

PREMISE
The resulting sound pieces will be published as a vinyl record. This move toward sound was inspired by a beautiful description of materiality and sonority that David Abram evokes when he writes: “looking and listening bring me into contact, respectively, with the outward surfaces and with the interior voluminosity of things”. I wonder what the interior voluminosity of a painting might be? and how this could resonate with the interior voluminosity of a viewer – an exploration of depth and surface that starts with a painting, then unfolds into a multiplicity of forms.

BACKGROUND
Sounding Painting is part of a body of work that uses systems of exchange to test structures of distribution and interpretation. In these works, paintings circulate through multiple modes – encounter, dialogue, writing and sound. This open approach to the reception and circulation of an artwork comes out of a search for a new mode of operation – a value system that replaces a capitalist transaction with something generative and participatory. Painting becomes a speculative object, a synthesis of interpretation and response. Through this process the painting exists at the nexus of a growing network of collaborators – each contribution adding new layers of complexity and individual insight to the Archetype.

COMPOSERS
Claudia Molitor is a composer whose work articulates a dynamic pluralism which draws upon the tradition of classical music but also extends across contemporary art practices, such as video art, installation art, sound art and visual art. In her practice, the score often becomes a site of exploration in which the conventions of notation, the qualification of sonic phenomenon and the historical hierarchies of sound are interrogated.

Niels Vermeulen is a composer, performer and artistic researcher using material and systems to connect artistic actions to life itself. Spoken word, movement, musical instruments in traditional and non-traditional forms, analogue (modular) synthesizers and behaviour all inform his cross arts practice.

Fred Frith is a multi-instrumentalist, composer, and improviser who has been making noise of one kind or another for almost 50 years, starting with the iconic rock collective Henry Cow, which he co-founded with Tim Hodgkinson in 1968. Fred is best known as a pioneering electric guitarist and improviser, song-writer, and composer for film, dance and theatre. His compositions have been performed by ensembles ranging from Arditti Quartet and the Ensemble Modern to Concerto Köln and Galax Quartet, from the BBC Scottish Symphony Orchestra to ROVA and Arte Sax Quartets, from rock bands Sleepytime Gorilla Museum and Ground Zero to the Glasgow Improvisers’ Orchestra.

Pia Achternkamp (loh) is a sound artist, working on sound installations, scoring music for performances and building self-made instruments. She is also involved in jazz projects as a drummer, guitarist, and contrabassist. Pia also collaborates with Ariel William Orah and Maximilian Kupi under the group name grau& – grau und – (= grey and). They articulate the never-ending curiosity about the “inbetween” and the search for anti dualism through music and noise, tonality and atonality.

See Archetype Paintings