7/30/2019 VOLUMES for SOUND - Henie-Onstad Kunstsenter

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VOLUMES FOR SOUNDNOVEMBER 18 DECEMBER 16

The sculptural installation Volumes for Sound combines immaterial, ephemeral and physical elements: sound,

performance, sculpture and photography.

Melissa Dubbin & Aaron S. Davidsons Volumes for Sound combines immaterial, ephemeral and physicalelements: sound, performance, sculpture and photography. These volumes can be encountered as objectsthat silently evoke the potential for sound, be played and reconfigured by performers using them foramplification, and appear in photographs of their various configurations.

The exhibition presented at the Henie Onstad Kunstsenter includes an ensemble of sculptures that alsofunction as speakers, black and white photographs, and a performance.

The funneling, folding and porting of sound derives from and requires physical structures. Electric guitaramplifiers and cabinets exploit a deliberately imperfect architecture for energy, while acting as totemsdelineating an ancestry of sound amplification. Volumes for Sound describes objects whose surface is

coded with intent while acting as a method of enveloping and directing the content of sound delivered asacoustic energy.

These nested forms descend from familiar objects which are manufactured independently and then drawntogether as a result of relationships in domestic and architectural situations - such as the triangulation thatoccurs when a listener sits in a chair in front of a pair of stereo speakers. This triangulation has beencollapsed into objects containing several variations for configuration. They can be encountered in spaces asforms that silently evoke the potential for sound, be played and reconfigured by performers using them forsound amplification, and appear in photographs of their various configurations, providing a record of theseinstances.

The basic shapes realized in these forms and the surrounding photographs simultaneously attempt toaccess the staggered geometries of time-alignment within loudspeakers, and the pre-electrical harnessingof sound within architecture (archaeoacoustics). While electric guitar amplifiers and cabinets exploit theslurred voicings of phase cancellation and non-linear behaviors, time-alignment staggers the position of

the individual loudspeakers to create a temporally coherent sound-field, reducing the slurring of sound.

Black and white film renders an optical compression and distortion of tones akin to a guitar amplifiersdesirable distortions in the audible realm. Optical compression in the processing of sound has historicalroots in musical production, defining a relationship between sound and photography.

During the opening day Three Planes of Silver (Melissa Dubbin, Aaron S. Davidson and Shawn Onsgard)and Alexander Rishaug will perform with the volumes at the opening reception held Nov 18th at 3 pm aspart of Kurt Schwitters Day at the museum.

The installation will be closed Saturday 1, December.

Volumes for Sound is commissioned by Henie Onstad Kunstsenter, curated by Lasse Marhaug. Parts ofthe project are produced in collaboration with the Living Art Museum, Reykjavik, and the 2012 Reykjavik

Arts Festival.

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7/30/2019 VOLUMES for SOUND - Henie-Onstad Kunstsenter

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