I went to artist duo LoVid’s performance as part of Lampo’s, Chicago non-profit that promotes experimental music and intermedia projects, performance series at the Graham Foundation last week.
LoVid, Tali Hinkis and Kyle Lapidus, were presenting two new pieces using their Sync Armonica, a handmade A/V synthesizer they made during a residency at EYE BEAM in 2005. They use the Sync Armonica to control wave frequencies and transfer them into sound and video outputs. The second piece I saw, used two performers’ bodies’ electrical outputs to create the sound a video.
The performers hold a wire sort of contraption and press down on a button with their hands to send their electrical waves through to the Sync Armonica. These waves then get transferred in different parts of the synthesizer into either sound waves or video information. The performance was long, 40 minutes, and an extremely intense viewing/listening experience. The beginning of the performance started off slowly – the screen projected red and the sound was a rhythmic low bass tone. As the performance went on, the sound became louder and more textured, and the video more varied in color and movement. During the talk back, the artists explained that the performers’ bodies were contributing to the changes in sound and image – their electrical outputs were different inputs to the synthesizer. Not only was the Sync Armonica an instrument, but the performers bodies’ were as well – their own electricity became a source for sound and images.
Bodies as instruments, or bodies as information, was the most interesting aspect of this performance to me. What kind of information do our bodies hold? What can they say or emit?
To check out LoVid and their other projects, click here.
To check out Lampo and their events scheduled, click here.
And, for the Graham Foundation for Advanced Studies in the Fine Arts, click here.
I went to Green Lantern Gallery this afternoon for the final day of David Moré’s exhibition Normal Bias. For the exhibition he was offering to make portraits of gallery visitors and passersby. Though, he was not drawing or painting these portraits, he was making them in sound.
I entered the gallery and he was in there. I told him that I had come for my portrait sitting. He told me, like for any other portrait, to sit in a chair that he had placed in the gallery. He told me that he was going to play for 7 minutes: 3.5 minutes per side of the tape he was recording on to. Then, he pushed record and started to play.
The chair that I was sitting in for my portrait was in a corner of the space and all of his “idiosyncratic and unconventional instruments” (to quote from the exhibition catalogue) surrounded me as an installation. He first started playing what seemed like a copper wire running along the length of one wall connected to a styrofoam box and some coils with a bow. It sounded not too unlike what a bow instrument, like a cello, would, but with a different quality. He then moved to a cymbal placed atop another styrofoam box, but before sitting down, shuffled a spring across the floor that rolled towards me and stopped right at my feet. He put his keys in the cymbal and started to play it with his bow while manipulating the angle of the cymbal. The sound started to get really big. The sound, not quite a drone, mesmerized me and I started to drift into another place – but then the tape stopped – side A had filled up.
For side B, he switched to a a dj stand looking set-up that had some electronic equipment. He started to play and then came out from behind and moved a speaker on the floor out from underneath a slinky hanging from a speaker contraption. He went back to playing. The speaker on the floor started to vibrate and something inside it started to dance, jumping with every vibration: it was cinnamon. I watched the cinnamon fountain up out of the speaker and then recede. I could smell it becoming stronger. Then, I closed me eyes and listened. I was using all senses: I could smell the cinnamon and almost taste it; my body was reverberating with the sound; I was listening fully to the instruments; I could watch Moré perform with the instruments and their movement. Side B then ended and so did my session. He gave me the tape to take with me.
So much of what I loved about this performance was the fully body experience. The portrait made for me was an embodied portrait, not a purely visual likeness of me. I wonder what to do with the tape now. If I played it for someone who could not see me, would they be able to tell what I looked like? Would hearing it provide an embodied experience of me, one that is not just optical?