LIQUIDSHELL

Session5

LIQUIDSHELL
SEP 9– 24, 2011
OPENING: FRIDAY, SEP 9, 7PM
IAC Berlin
Brunnenstr.29 13355Berlin

IDOLON STUDIO is pleased to present "LIQUIDSHELL" curated by WANG Chun-Chi(TW). The exhibition will open on Sep 9 and will be on view until Sep 24. The opening reception scheduled for Friday, Sep 9 at 8pm and will include a live concert by sound artist WANG Fujui(TW) and Shingo Inao(JP) beginning at 9.00 pm.

The exhibition "LIQUIDSHELL" are brings together of "Sound Disc" by WANG Fujui(TW), "Foreground" by Shingo Inao(JP), "Vibration Lake" by LIN Kuo-Wei/ SUMO STUDIO(DE), "relativity +/- RAW" by CHANG Yung-Ta(TW), "Window, Projector and Magnifying Blinds" by Kim Westerström(SE) and "Permeable Super Real" by Elke Marhöfer(DE) /sound by Olaf Hochherz(DE).

"Sound Disc" by WANG Fujui(TW)
We are now living in an era of the information explosion. The hard-drive of computer with the function of thinking and memorizing, almost substitutes the brain. Numerous information passing through the internet has being storage to the hard-drive. Today we cannot imagine to live without computers, which functions as the brain prosthesis. Once the hard-drive being damaged, it will cost the price of information-losing, brain-disability and the amnesia.
So that human has the needy for computer. The idea of this work "Sound Disk" is oriented from the specific connection between human and the computer, and the fear of the possible loss of the hard-drive damaging. This sound-installation is using the feedback in-between microphone and hard-drive. In contrast to the idea of the Musique Concrete refers to the composition by numerous notes, the "Sound Disk" is structured by countless sound dots signifying the "0" and "1" of digital world. All of these randomly dots sound, is metaphorically composing to the seemingly tranquil but actually dynamic information sea.

"Foreground" by Shingo Inao(JP)
"Foreground" is a sound installation that consists of eight sounds. Each Ob-ject has a speaker within its body, within the hung objects and within the base. The seven hung objects project the sounds of dripping water, breaking glass,flowing water, engine noise , squeaky wood, deep engine noise, a high squeak-ing wood sound and a deep water sound that comes up from the floor. Each sound has its own frequency in order to create different sound conditions. Many sounds have frequent silent pauses. The quiet sounds, water drops from above and water sounds from below, have little breaks so that the public can discovers these quiet sounds during the silence of the other objects. Thus,"Foreground" forms a changing soundscape.
"Foreground" ist eine Klanginstallation, die aus acht Klängen besteht. In jedem der hängenden und einem liegenden Objekt befindet sich je ein Laut-sprecher. In allen der sieben aufgehängten Objekte sind folgende Klänge hörbar: tropfendes Wasser / zerbrechendes Glas / Fließendes Wasser /Maschinengeräusche (hoch- bzw. tieffrequent) / knarzendes Holz (hoch- bzw. tieffrequent) - Ein tiefer Wasserklang ist vom unten hörbar. Jeder Klang erscheint unterschiedliche Häufigkeit, um verschiedene Klangzustände zu schaffen. Manche Klänge enthalten oft stille Sequenzen. Die leisen Klänge (Wassertropfen von oben und Wasserklänge von unten) besitzen weniger Pausen, sodass während dieser Stille in anderen Objekten leise Klänge entdeckt werden können. So bildet "Foreground" eine wechselnde Klanglandschaft.

"Vibration Lake" by LIN Kuo-Wei / SUMO STUDIO(DE)
Eight speakers float in the center of the lake. Waves are drawn on the surface of the water by the different sound frequencies. It a metaphor for the tension between human beings and the surrounding natural environment, is the border? How does one define a territory? The sounds under water and the recordings of barking sounds from the city of Chiang Mai (near the red water lake), are struggling to compete, deaf with the water.

"relativity +/- RAW" by CHANG Yung-Ta(TW)
The slight changes in our daily lives are hard to detect; perhaps it is doable, but it is difficult for our senses to describe precisely these changes using numerical and quantitative data. During the residency period in Tokyo, Chang Yung-Ta noticed that aluminum windows created a minute sounds due to its shrinking and expanding in winter. When these shrinking and expanding happen because of the subtle temperature change, our skin is a great detector of the difference but it is unable to differentiate precise and subtle changes-it can only be compared to one another.
With a special heating device, the internal special structure undergoes a slight change of temperature, causes a contraction and breathing like rhythm. Under the relatively calm exterior, a faint delicate sound pulsates. "Relatively +/-" Raw has two metal heating devices, with one of these heating devices cut open to show the internal structure and state, including the glowing red hot electric system. The other heating device keeps its original form, letting the audience directly see the heating and cooling as well as the changes is sound due to this change of temperature. The heating device heats and cools with a loop of 17 minutes. When one of these heating devices heats up, the other cools down. Two microphones, each recording the sound of a heating device separately, stream the two sets of sound into a pair of earphones so that the left ear and right ear are playing contrary sounds. Two monitors display sounds and images of each heating devices that recording in a studio room separately.

"Window, projector and magnyfing blinds" by Kim Westerström(SE)
In the work Window, projector and magnifying blinds (2010) three objects are put together, a super-8 projector, a magnifying glass and a discarded window with blinds.
If the distance between the objects is correct three circles of lights occurs in the room. One direct on the window, one reflection and one with shadows filtered through the window blinds. The installation consists of two parts, one that is concrete, with familiar objects, all connected to seeing and one that is beyond reach, the light, that cannot be captured with other than visual appearance.
The window is framing the reality, either you look into a lightened window in the streets at night or seeing parts of a garden from inside. The blinds that are separates the inside reality from the outside. The magnifying glass represents another way of constructed way of looking at objects by enlarging them. Looking for something so small not meant for the eye to see. The Super 8 projector, with its aura of nostalgia connects the everyday seeing to the memory and the wish to remember and capture the present.

"Permeable Super Real" by Elke Marhöfer(DE) /sound by Olaf Hochherz(DE)
The film begins with a long pan of a bamboo forest, before presenting a stone circle, and then a grassland. From there, in a backwards movement, the images are shown to us a second time. The setting ends where it began. Difference is deployed as a virtual temporality, and everything that exists in it is constituted as varying. After the initial setting follows a series of images of landscapes, animals, ghosts and humans. Images that are not psychologized or objectified by abstraction. Static settings are contrasted with irrational, performative, fantasy-events or insertions of Chinese pop culture. There is little differentiation between clear and non-clear ideas. The length of the settings is based on Henry Bergson's concept of "duration", which he opposes to "time" as a linear, divisible, countable size (seconds, minutes, hours). Duration is the indivisible movement itself, the permanent, irreversible and unpredictable becoming-other. After having watched a few minutes of a single setting, the effect of duration on the body is physical and powerful, since it indicates the becoming-other, and is readily accepted as such. Although the film takes up the empirical nature of the documentary, it questions problematic relationship between the documenting camera and the different protagonist.

PRESS:
iquidshell - podcast
http://reboot.fm/2011/09/04/liquidshell-sound-video/

Left: Artist Shingo Inao and WANG Fujui. Right: Berlin-reboot Host Diana McCarty and Curator WANG Chun-Chi.

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