DIJOUS 24 de NOVEMBRE
ACTE INAUGURAL

17h FLUX VIDEOCAPSA VIDEOINSTAL·LACIÓ COL·LECTIVA
AMB VÍDEOS D’ADOLF ALCAÑIZ, GLÒRIA BASTÉ, HARMONIA CARMONA, LLUÍS ESCARTÍN, XAVI HURTADO, ART LARSON, FRANCESCA LLOPIS, JORDI MITJÀ, MAITE NINOU & XAVIER MANUBENS I LLORENÇ SOLER

18h AUTORETRATS 2011 PROJECCIÓ + COL·LOQUI
VÍDEOS D’IÑAKI ÁLVAREZ, JUAN GAMERO I ALBERT MERINO

19.30h INFLUX ACTUACIÓ
xmarx “DIRECT TO VIDEO”

DIVENDRES 25 de NOVEMBRE
11h-21h FLUX VIDEOCAPSA 
11h-21h REFLUX VÍDEO A LA CARTA
18.30h JUAN GAMERO PROJECCIÓ MONOGRÀFICA + COL·LOQUI

DISSABTE 26 de NOVEMBRE
11h-21h FLUX VIDEOCAPSA VIDEOINSTAL·LACIÓ COL·LECTIVA
11h-21h REFLUX VÍDEO A LA CARTA
18.30h ALBERT MERINO PROJECCIÓ MONOGRÀFICA + COL·LOQUI

DIUMENGE 27 de NOVEMBRE
11h-21h FLUX VIDEOCAPSA VIDEOINSTAL·LACIÓ COL·LECTIVA
11h-21h REFLUX VÍDEO A LA CARTA
18.30h IÑAKI ÁLVAREZ PROJECCIÓ MONOGRÀFICA + COL·LOQUI

ENTRADA GRATUÏTA A TOTS ELS ACTES

Barbara Held – Yapci Ramos (Share the Applause) and Matt Davis

photography and video by Yapci Ramos,   music by: Matt Davis, Barbara Held, Angharad Davies, Rhodri Davies, and Tom Chant

13 November to 11 December 2011
Open Friday, Saturday and Sunday
12pm – 6pm

Unit 1A Canterbury Court
Kennington Park Business Centre
London SW9 6DE

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info@soundproofexhibitions.com

The energy and optimism of Barcelona during the 1992 Olympic games is contained for me in one joyful, almost photographic memory, and this project is an exploration of the possibilities of working with photography and music, to celebrate the individual creative actions that write the real Legacy, in spite of the official planning of these big cultural events.  I invited 5 very special artists whose personal and professional connections to each other branch out from the period of time of Barcelona’s emergence from the years of dictatorship as a culturally affirmative, outward looking society, willing to absorb the culture of the rest of Europe and the world, to create a legacy of excellence of artistic practice, emotion, memory and friendship. We made a series of 5 photographs of Barcelona locations with personal significance, and printed them on huge billboard paper. Yapci Ramos “performed” them on location at the construction site of the 2012 London Olympic Park, filming the changing light and reflected images that mixed with the still images. The visual composition that results is a 35 minute video. The soundtrack of our installation recreates the recording of a concert that Matt Davis gave in Barcelona 20 years ago as a score to be interpreted by 5 musicians, 5 solos. “Overtime” rebuilds the future reflected in the Barcelona past as in the title of one of our photographs, “I want to see you shining”.

solos by: Matt Davis, Barbara Held, Angharad Davies, Rhodri Davies, and Tom Chant

Resonance FM live broadcast, November 13, 2011

Green Matters by Mia Mäkelä, was produced as part of the Curated Expedition project by Capsula.

live performance with video by Mia Makela, hydrophone recordings by Barbara Held and Juan Matos Capote, Saturday, October 15, Museo de la Naturaleza y el Hombre, Tenerife

Overtime

Barbara Held – Yapci Ramos (Share the Applause) and Matt Davis

photography and video by Yapci Ramos     performances by: Matt Davis, Barbara Held, Rhodri Davies, Angharad Davies and Tom Chant

The energy and optimism of Barcelona during the 1992 Olympic games is contained for me in one joyful, almost photographic memory.  Our personal and professional connections to each other branch out from that time, a legacy of excellence of artistic practice, emotion, memory and friendship. A series of 5 photographs of Barcelona locations with personal significance interact and become part of the landscape of the construction site of the 2012 London Olympic Park.  The soundtrack of our installation recreates the recording of a concert that Matt gave in Barcelona 20 years ago as a score to be interpreted by 5 musicians. “Overtime” rebuilds the future reflected in the Barcelona past as in the title of one of our photographs, “I want to see you shining”.

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As in many dreams, what our senses perceive is on different planes depending if you are close or far away. The soundtrack mixes camera sound with a recording of 10,000 Harley Davidson motocycles passing through Barcelona.
“A Dream” will be exhibited in Moscow at Na Solyanke Gallery within the first festival of Spanish Video Art “Jokes and Nightmares”, between 1 July and 30 August. Sponsored by Spain-Russia year, 2011, and BAC Festival, Barcelona

7 channels of video and audio were recorded from the 15th floor of an apartment complex in Mumbai. In this installation, 7 videos, each with specific sound, are shown simultaneously. The sound of the air and droning 50 Hrz hum of overhead fans recorded on video mixes together in the space with the noise of the fans of the 7 video projectors, becoming soft white noise that ebbs and falls with the energy of the fans. From time to time the directional signals of traffic noise, found in any field recording made in India, are heard around the space. The beams of the projectors fill the room with white light, and the choreography of the images transmits a series of sensual optical effects that alter the perception of space. Each video is labeled with a museum-style ticket that indicates the room in which it was recorded, and a color.
This installation is a collaboration by “Recibir juntas los aplausos” (Barbara Held & Yapci Ramos). It reflects some of our experiences of being immersed in the “social body”, the famously tolerant people of India, represented here by the horns of vehicles in the country’s dense traffic that are used as a sort of national language. We plan to edit a booklet that is somewhere between an artist’s book and a hand program.

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view from Issue Project Room

concerts by:
Leslie Ross, Philip White, Carver Audain, Richard Francis, Jesse Stiles, Andrew Neumann, Dafna Naphtali, Bora Yoon
Kaffe Matthews, John Butcher, The Please, MV Carbon, NRA (Nakatani, Rawlings, Arias), Sebastien Roux, Barry Seroff, Barbara Held, Volume (III) (Thorpe, Chavez, Burgon, Moore), Blevin Blectum, Cecilia Lopez, Tucker Dulin, Lee Patterson, Jascha Narveson, Lainie Fefferman w/ Matt Welch, Micah Silver, backbreakerneckbrace

Centre Mediterrani d’Investigacions Marines i Ambientals del CSIC
From the beaches in front of the Barcelona Olympic Harbour, a number of permanent devices continuously measure different parameters of the coastal zone. Every daylight-hour the cameras get one picture per second for a ten-minute period (see photos and monthly movie), and wave and current data is gathered.

Notes on State of the Sea – About measuring and naming, scientific and artistic study

When the Zeppelin Festival 2009 invited me to perform with their 8-channel sound system, a series of events lead me to a meditation on nature and technology. While listening to the weather report on my car radio, for the first time I noticed that the state of the sea, the “estat del mar”, was included in the weather forecast. “Marejol”, such a beautiful word to name a certain waviness of the sea. I investigated a bit more, and found that scientists have developed the Douglas Scale, an international table of categories to name the states of the sea in the major European languages, and in keeping with the character of each language, the names sound more or less poetic. The categories for “wind sea” in Italian, for example, (quasi calmo, molto agitato, molto grosso) sound like music notation, and in Catalan they appear to come from the traditional terms used by seagoing people. I also recalled reading the news about a giant wave (26,13 meters) that was measured off the coast of Santander during one of last winter’s major storms. The buoy belonging to the Instituto Español de Oceanografía (IEO) that made the measurement was actually broken from its mooring and carried away as far as San Sebastian. Scientists of the sea are constantly measuring the levels and movements of water, and that data is available online. The Coastal Monitoring Station of Barcelona, ICM-CSIC, maintains a system of a number of permanent devices continuously measuring different parameters of the coastal zone and systematic (monthly) surveys assessing environmental factors. This information is available as a series of daily photographs of a segment of the coastline, a monthly composite movie, as well as numerical data and graphs. The scientists who are using the data received from the system of buoys up and down the Catalan coast have made it available to me to use in this piece. Interestingly, Jorge Guillen of the Institut de Ciencies del Mar, CMIMA, is a specialist in beaches, the “line” between the dry land and the sea.

Specialists in acoustics use sensitive instruments to measure and record the resonance of real spaces in order to reproduce them digitally and create recordings of music or movie sound tracks that sound more realistic, approaching 3D sound. I was fascinated to discover that the special microphones and sensors that are used to capture the reverberation of an architectural space use heat to measure acoustic particle velocity, a translation of data that is similar to the way marine scientists measure the pressure of water in order to calculate the height of waves.

For the past three months I have been living with a beautiful book called Goethe & Palladio, Goethe’s study of the relationship between art and nature, leading through architecture to the discovery of the metamorphosis of plants. Goethe and Palladio, David Lowe/Simon Sharp, Lindesfarne Books, 2005
Inspired by the poet Goethe’s scientific approach of “knowing – from the inside”, so similar in spirit to Pauline Oliveros’ life-long practice of deep listening, I have approached the creation and performance of the State of the Sea as a classically trained flutist exploring natural acoustic space, as well as the electronic synthesis and reproduction of sound by using “real seeing/listening” – what Goethe called an “exact sensory imagination”, basic to both scientific and artistic study.

State of the Sea is a sonification of data from measurements of the sea including the famous storm in December of 2008 that reshaped the beaches of Barcelona. The data creates sound and controls the volume or movement of music through a multi-speaker system, translating one kind of natural movement into another perception of movement, sound vibrations, interacting in architectural space. In his Quattro Libri, Palladio defines architecture as “the transformation of space”. Music, as in all the creations of nature, is perceived as a “vibrant field of formative processes”. (Gordon L. Miller, Introduction to Goethe’s The Metamorphosis of Plants, MIT Press, p. viv)

“When man’s nature functions soundly as a whole, when he feels that the world of which he is part is a huge, beautiful, admirable and worthy whole, when this harmony gives him pure and uninhibited delight, then the universe, if it were capable of emotion, would rejoice at having reached its goal and admire the crowning glory of its own evolution. For, what purpose would those countless suns and planets and moons serve, those stars and milky ways, comets and nebulae, those created and evolving worlds, if a happy human being did not ultimately emerge to enjoy existence?” (Goethe, Essays on Art, p101)

Many thanks to Carlos and Elmer, Stephan Moore, Sam Roig, Jorge Guillen and Marta Martinez, Oscar Chic, Pauline Oliveros, Nil Tous.

More Links:
The State of the Sea
The “wind sea” is the motion of the waves generated by the wind blowing directly on the observed sea area or in its immediate vicinity

“Color is less a trope of indeterminacy than a way to re-create an almost visceral experience of our impossible desire to name our perceptions.”
Spencer Finch

Het Visboek, Adriaen Coenen
16th century scientific observation of the creatures of the sea.