The online touring talks are a selection of works taken from SOUNDWORKS by a guest artist-narrator, and published here. Patricia Esquivias has responded to her chosen pieces through her own work: Soundwalk.
Esquivias creates videos that link images drawn from diverse sources, creating fragmented narratives that present interpretations of the everyday as well as of historical events. Employing low-fi technology and a decidedly DIY aesthetic, Esquivias’s videos may seem improvised and typically involve the artist filming herself as she clicks through slide presentations on her laptop or manually selects and displays photographs, computer printouts, handwritten notes, magazine pages, and other ephemera, which serve as visual references for her stream-of-consciousness monologues.
SOUNDWORKS embraces sound art in its purest, naked form, void of any selected visual input, and being forced fed some obscure conceptual ideas. It is pretty unique what the ICA has created: an easily accessible and a diverse library of sound art, which can be enjoyed within one’s personal space at any time.
SOUNDWORKS is a celebration of the medium, and embraces listener interaction. I am using this blog to undertake a small experiment – can the notion of ‘See What You Want To See‘, a saying so prevalent within visual art, be adapted to sound art?
As a listener my own personal preference for enjoyment is when artists explore the ephemeral. Moving away from its descriptive nature, sound is very similar to photography, it has a reality which is hard to avoid.
Not In This Land Alone, Tim Skinner, Video Triptych, 2012
When photography and film fail to capture the live moment in performance, how can it be documented? What are the consequences of choosing non-visual documentation, on the authorship of the artwork, on maintaining a legacy that reflects the artist’s practice, and on the control the artist has?
The London based Anglo-Swiss-Slovakian artist collective JocJonJosch negotiated these issues around Existere, a project in which they worked with naked volunteers to create a living performance sculpture in July 2011. This audio was recorded live this May, at the ICA’s panel discussion on the subject.
The panel, which includes Jo Melvin, art historian, curator and lecturer; David Gothard, director and former artistic director of Riverside Studios, poet John James; and Rye Holmboe, PhD candidate and writer, respond here in conversation to Existere and the issues of documenting performance art without images. A publication on the Existere was launched, email JocJonJosch for more details.