| Context Galleries
Opening 8pm Friday 7th March
Slavek Kwi; Cliona Harmey; Allan Hughes; Paul Murnaghan
Exhibition runs until 15th
Context Galleries presents 'Intimacies' a weeklong exhibition by Cliona Harmey, Allan Hughes, Paul Murnaghan and Slavek Kwi investigating the Main Theatre Space in St. Columb's Hall using the medium of sound.
Kwi's new submersive 4D_soundwork 'Morpheme (Signals from the Outer Zone
of Human Perception - Movement 2) on 5.1 system uses recordings of sounds
that exist on the periphery of human perception, such as underwater recordings,
ultrasound and electromagnetic signals. Composition combines sounds generated
from ultrasounds as sonar of bats and echo-location clicks of pink dolphins
and other sounds of nocturnal amazon rainforest with signal-sounds from
urban environment and inside airplane. The work was created February 2008,
Cliona Harmey's 'Seating Set' work takes the form of a series of differently sequenced recordings using the sound of the on site theatre seating. Cliona Harmey is an artist who works across a variety of media including video, photography, sound and the Internet. Much of her work is about the process of recording, particularly small mutable everyday phenomena.She is currently based in Dublin and is a lecturer at The National College of Art & Design, Dublin. She studied Sculpture, graduating in 1992 and has exhibited in curated shows in Ireland and internationally. In 1999- 2000 she completed a one year residency at Arthouse Multimedia Centre, Dublin, which introduced her to working in the area of moving image and sound. She recently completed a multidisciplinary MA in Visual Practices at Dun Laoghaire Institute of Art Design and Technology which combines students of curating, writing and art practice. She is also one of the founding members of Blackletter.ie an online open publishing system for artists.
Allan Hughes' 'Auditoria' work
sets down somewhere inside a narrative of surveillance and counter-surveillance
and begins to negotiate a course through our relationship to the surrounding
audio environment. The work consistently makes reference to instances
of looking but withholds this privilege from the spectator and instead
establishes a system of auditory mise en scené by locating the
listener in a series of audio settings (5.1 surround, stereo and mono).
This not only locates them in the listening space but works to reproduce
other spaces, repositioning their listening experience within the diegesis
and the technologies that appear within. The course the work takes, aims
to reflect our constantly fluctuating relationship to recording and mediated
technologies and their impact on our understanding of events, people and
places around us. That despite the promises to "bring us closer"
they also function to produce a more precarious and detached subjectivity,
maintaining a network that constantly keeps us apart.
Paul Murnaghan's work Time
loss recognition for heat exposure in humans (A sound work composed from
the utterances of domestic pets) explores connective phenomena within
the psychology of belief. Research within this area has led him to advertise
his memory capacity for sale (Memorious - 2006) and to publish a contract
in which an art space agreed to commission work that no one would ever
see (Auto Da Fe - 2007).
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