The invited artists have been busy putting the finishing touches to their work. We begin installing the show on Monday. Just in case you can't wait to see (and hear!) Sounding Bodies, here's a sneak preview:
In this work the composer uses recordings of vocals performed by his friend and colleague Motje Wolf. These are then cut, looped, edited and montaged. The work is both playful and reflective, exploring the musical possibilities within edited sound and shifting between moods to reflect the complexities of the vocal material and human sound source.
Silence is Golden & Silencer
Suzi’s work as part of Sounding Bodies focuses on the role noise plays within our daily life. The poem Silence is Golden addresses the proliferation of noise, and through forming these words aloud, the viewer is inadvertently, yet actively, contributing to this cacophony.
The Silencer is an object that allows the user to "escape" the aurally present world, and retreat into their own thoughts. Requiring a connection to headphones, it ensures that any user from the "plugged in" generation is still able to seek comfort in their own personal environment, but exchanges the presentation of noise for that of silence. With perseverance and consistent application, the user's reliance on sound will diminish and their sense of awareness in everyday life will dramatically improve.
In August, 2011, Heloise was the resident artist in Milkwood Gallery’s basement space in Cardiff. She turned the space into a massage salon and offered free massages in return for permission to record what went on. Some of these exchanges were confessional, others non-verbal. Lizzy’s Back was a piece of work that came out of this residency; it charts the watery sounds that result when oiled hands work on skin.
Feminine Sensibility 2: Sometimes I love myself.
This 2-part installation questions notions of female pleasure in screen representation. Through a fractured expression of arousal (sound) purposefully separated from the mirror-projected image, it is framed as a self–portrait of the artist. It is understood that such an expression of female pleasure in cinematic viewing is linked to masculine desire; which this installation seeks to disrupt through a highly processed approach to sound and its separation from the image.
In a digitalised age, where our relationships with one another are increasingly based on virtual communication, and the images of human bodies we consume in advertising, media and porn are airbrushed, photoshopped and surgically ‘enhanced’, the reality of functional human bodies becomes increasingly fraught with anxiety. Natural bodily processes become problems we can buy solutions for and bodies become transformable objects, a sign of our status, separate from ourselves. Mummel, a mass-produced object in a state of flux, rumbles and squelches in sympathy with this sense of embarrassment and alienation from the reality of our physical selves.
The Other Foreign Body, Camera As Probe
In this work the artist explores what lies beneath the skin in those ‘hard-to-reach’ places. Video and sound forge a relationship between the external use of medical apparatus and the internal workings of the body. The mouth draws to our attention the portal for accessing this place while the drawn-out sound from medical investigations forges the relationship between this world and that.
Reading about these works doesn't quite do them justice; they're all about being there 'in the flesh'. We look forward to seeing you in Bath!
The deadline for submissions has now passed. We're currently reviewing all the proposals and we are really pleased with the range of work we have received. We'll be in touch with contributors within the next couple of weeks. A huge THANK YOU to all the artists who have submitted proposals!
From the moment Edison first cranked his phonograph into action, recorded sound has been considered disembodied, immaterial and occasionally uncanny. This is largely due to the separation of sound from its source and the elimination of the performer’s body. This trope has continued into the digital era; with the machine-like qualities of early sound synthesis leading to the performer’s body seeming even more remote and lacking in human expression. However, such thinking obscures a complex history of relationships between the body and audio technologies.
Themes may include, but are not limited to:
- Histories and technologies of listening
- Mediumship and the psychic transmission of sound
- Medical techniques of listening to the body (including mediate auscultation, or stethoscope listening)
We welcome proposals for works that consider the (human) body as both a producer and receiver of sound, and its relationship to other sounding bodies in space. In addition to installed material or performances (that may or may not make direct use of sonic materials), we are also interested in proposals that draw on internet or broadcast technologies. All artists will be need to provide their own materials and equipment; however, small contributions towards expenses may be available.
Please send a brief description of your proposed work (c. 300 words), a brief bio, and any accompanying images and sound files (mp3, flac or wma) to: firstname.lastname@example.org
or: Sounding Bodies, Fringe Arts Bath (FAB), 103 Walcot Street, Bath, BA1 5BW, UK.
The deadline is 17th February 2012.
Please note, submission is free but there will be a £10 fee for artists who are selected.