Biennale Arte 2024
Exhibition Overview
1. LED Screen
2. Organ
3. Red Polished (Glitch) Ware
4. Tyre Track
5. On the Right to be Forgotten, Part I:
Wayback Machine to Sun City
6. Beacons and Pillars
7. AVRION PROIN EN NA DEIS /
TOMORROW MORNING YOU WILL SEE
8. I stay oriented towards you, weak as you make me
9. Crossover Frequency Spectrum
10. Despite our severed connection,
11. قد تملكون القناديل لكن الضوء لنا الحلقة الثانية: كحل الليل /
You May Own the Lanterns but We Have the Light, Episode Two: Eyeshadow Dark as Night
12. Gaming Tower
Vigil Workspace
Publication
1. LED Screen
2. Organ
3. Red Polished (Glitch) Ware
4. Tyre Track
5. On the Right to be Forgotten, Part I:
Wayback Machine to Sun City
6. Beacons and Pillars
7. AVRION PROIN EN NA DEIS /
TOMORROW MORNING YOU WILL SEE
8. I stay oriented towards you, weak as you make me
9. Crossover Frequency Spectrum
10. Despite our severed connection,
11. قد تملكون القناديل لكن الضوء لنا الحلقة الثانية: كحل الليل /
You May Own the Lanterns but We Have the Light, Episode Two: Eyeshadow Dark as Night
12. Gaming Tower
Vigil Workspace
Publication
Rafailia Tsiridou, Emiddio Vasquez
PVC pipes, steel, omnidirectional microphones, amplifier, full range speaker. Technical support by Jean-Frédéric Gohy and Erwin De Muer.
Photography by Ugo Carmeni 2024
Collecting the undulating movements of the canal that come into contact
with the structure, the Organ blends these tones with the soundscape of
its environment through a feedback network of transmissions.
Composed of six amplified PVC pipes that allude to infrastructure pipelines through which information travels, microphones pick up sounds that are reproduced inside the pavilion. First, through a hidden speaker attached to a severed subsea cable coming out of the ceiling (AVRION PROIN EN NA DEIS, Alexandros Xenophontos, Endrosia) and then, through the speaker horns in the courtyard (Crossover Frequency Spectrum, Lower Levant Company).
Through these activities, the Organ starts behaving like an eavesdropping agent, turning sounds into potential data points of interest and the surrounding presence into something that can be harvested and gathered. The dynamic soundscape created, however, is never reproducible. There is no model that fits the aforementioned data points; in its contingency, the ongoing soundscape refutes the calculative logic of information technologies.
In this sonic encounter, presence turns into apparition. With the same intangibility of data and its ethereal quality, the pulsating air filling up the space and resonating with the ear also fits the structure like a glove as it plays music with its pruney fingers.
Composed of six amplified PVC pipes that allude to infrastructure pipelines through which information travels, microphones pick up sounds that are reproduced inside the pavilion. First, through a hidden speaker attached to a severed subsea cable coming out of the ceiling (AVRION PROIN EN NA DEIS, Alexandros Xenophontos, Endrosia) and then, through the speaker horns in the courtyard (Crossover Frequency Spectrum, Lower Levant Company).
Through these activities, the Organ starts behaving like an eavesdropping agent, turning sounds into potential data points of interest and the surrounding presence into something that can be harvested and gathered. The dynamic soundscape created, however, is never reproducible. There is no model that fits the aforementioned data points; in its contingency, the ongoing soundscape refutes the calculative logic of information technologies.
In this sonic encounter, presence turns into apparition. With the same intangibility of data and its ethereal quality, the pulsating air filling up the space and resonating with the ear also fits the structure like a glove as it plays music with its pruney fingers.
Photography by Demetris Loutsios 2024