 | Aaron Hull Aaron Hull |  | Aaron Hull in Berlin Aaron Hull in Berlin |  | Camilla Hanna Camilla Hanna |  | Monika Brooks Monika Brooks |  | PA PA |  | Peter Newman Peter Newman |
Corroded Memories 2.1
Group exhibition: curated by Aaron Hull and Greg Hughes
Artists: P.A.’, 'Clocks & Clouds', Aaron Hull, Peter Newman, Monika Brooks, Camilla Hannan, Greg Hughes, Scott Sinclair, Ben Byrne, Terumi Narushima and Kraig Grady
10-28 April 2008
1/4_Inch present an exhibition titled Corroded Memories 2.1 featuring innovative new video and sound works by Australian and international artists. Supporting the exhibition will be two outstanding live concert performances of original music and visual responses to be held in Wollongong and Sydney.
The exhibition will be on display in the FCA Gallery, at the University of Wollongong, from 10-28 April 2008. The first concert will be held in conjunction with the exhibition opening on Thursday 17 April at 7.30pm in the FCA Gallery, and will feature performances by well-known local and international acts including performance duo ‘P.A.’ along with Ben Byrne, Camilla Hannan, Terumi Narushima and instrument builder/puppeteer/film-maker and musician, Kraig Grady from Los Angeles, USA. Entry to the exhibition and concert is open to all and light refreshments will be served.
The second Corroded Memories 2.1 concert will be held at 8pm on Thursday 24 April at Serial Space, 33 Wellington Street, Chippendale, Sydney.
Both events will showcase exciting new music with beautiful sonic textures as well as audiovisual components and improvisation.
1/4_Inch, curated by Aaron Hull, is a monthly concert showcase of new directions in creative sound and visual performance. This platform for both established and emerging artists provides a unique forum for people of all ages to experience the innovations being developed in both conventional and experimental forms of music using electronics, acoustic instruments, surround-sound and digital visual media.
Aaron Hull, who recently returned from a performance tour in Europe, is a Sydney sound and video artist who takes his inspiration from film sound tracks, noise and the Australian landscape. Aaron’s performances can vary from an intimate sonic landscape to an all out assault of noise and shattered glitch. He has promoted electronic arts in Australia by curating the monthly 1/4_Inch performance series in Sydney and Wollongong since 2002. His video installations have been included in John Kannenberg's Stasisfield's yearly label sampler in 2003, the Media Hexa exhibition in Seoul 2002 and he has contributed work to shows in Melbourne at the Goya Gallery, the Performance Space, Sydney, the Moores Building Contemporary Arts Gallery, Fremantle and the Museum of Contemporary Art, Sydney.
2 x gigs:
When: Thursday 17 April 2008 at 7.30pm
Where: FCA Gallery (room 112), building 25, Faculty of Creative Arts, University of Wollongong
Performing artists include: ‘P.A.’, Ben Byrne, Terumi Narushima and Kraig Grady
Bookings: not required
Cost: $5 concession, $7.50 adults
When: Thursday 24 April 2008 at 8pm
Where: Serial Space, 33 Wellington St, Chipendale, Sydney
Performing artists include: ‘P.A.’, Ben Byrne, Terumi Narushima and Kraig Grady
Bookings: not required
Cost: $7.50 concession, $10 adults
About the exhibition and concerts:
Corroded Memories 2.1
Memories blur and intersect combining to become one. Important or unimportant facts are forgotten or ignored. For better or worse we forget, and as a result our memory is a fractured landscape of interlaced images and feelings.
The human brain is not a computer data bank of dates, times, feelings and places that can be recollected perfectly at will. It is a stock of retained knowledge and experience, the knowledge or impression that somebody retains of a particular person, event, period, or subject.
About the artists:
::Camilla Hannan:: http://www.camillahannan.com
Camilla Hannan is a sound artist working across the fields of composition, installation and performance.
Camilla uses location recordings as source material for her work. These raw recordings are digitally processed into abstracted representations of site. She is interested in the way field recordings become 'essences of place' The manipulated sounds may not be recognisable in their source but by their sonic texture become iconic representations of time and place.
Camilla has exhibited and performed both in Australia and internationally. This has included a recent residency at MoKs Centre for Art and Social Practice, Estonia and performances in the USA and Europe.
Au Natural. Sound Installation, 9:35min
“This work was composed from field recordings made in and around Mooste, Estonia in August 2007. Previously my work had revolved around industrial sources and at this time I was artist in residence in a small village in the Estonian countryside.
As a response to what I found as a 'surreal quiet', I looked to the natural sonic sources that in my previous practice I had chosen to ignore. What I found were new depths of frequency and texture that provided inspiration for my work. I wanted to poke fun at my own long held resistance to the natural soundscape and to the loaded Connotations of acoustic ecology. Consequently I manipulated the sounds into a thematic of hyper reality and composed an abstracted representation of that original environment.” Camilla Hannan
::Monika Brooks::
Monika Brooks hails from the Blue Mountains, only finding electronic music of any interest during first year of uni (which was 2002 UWS, Penrith). Since that time, there has been many a musical adventure in both experimental/improvised electronic and acoustic fields. Two collaborative groups in particular have influenced the development of practice: ubercube (with Emily Morandini as latoptop duo performance), and The Splinter Orchestra (as an accordionist since 2004). Also enjoys dabbling in 'sound sculpture', as crude forms of surround sound are rearranged as miniature mono tracks, compiled into the one ghastly multi-speaker composition.
'push rust and desk' - Sound Installation, 6:04min
“Degrading memory, degraded representation. Other than the outcome of composed sounds providing sheer enjoyment through motor-skills based action, perhaps a concept could be churned out of a want to recollect more correctly certain circumstances that have passed. Ie: the fondness one may have felt during a period is manipulated to be so in order to fulfill a need for completeness or meaning in it's ending (fin). There seems little satisfaction in the unaffected past. Inadequacy, inaccuracy, belligerence.” Monika Brooks
::Peter Newman:: http://www.demux.org/Artists.html
Peter Newman uses sound, projections, paint, found objects and sculpted forms to generate open-ended aesthetic systems. His installation works often incorporate sculptural projection surfaces and immersive multi-speaker sound arrays. He frequently performs improvised sound shows accompanied by original projections. Newman has exhibited solo at Canberra Contemporary Art Space, the Institute of Contemporary Art Newtown, Pelt, Firstdraft and Penrith Regional Gallery. He has contributed to numerous group shows in Australia and overseas. He has performed at Big Day Out, Res Artis, Liquid Architecture, Electrofringe, Now Now, and with the Damo Suzuki Network. Newman recently released a DVD of work through Demux.
I N H A L E / C E D E - DVD installation, Stereo, 16:9
“This work addresses the terms of surrender.” Peter Newman
::Aaron Hull:: http://www.halftheory.com/hull/ah/Aaron%20Hull.html
Aaron Hull is sound artist, curator and video artist who has performed and exhibited in Australia and abroad. Taking inspiration from film sound tracks, industrial noise, the Australian landscape and malfunctioning audio devices, Aaron’s performances vary from an intimate sonic landscape to an all out assault of noise and shattered glitch. Most recently he has become fixated on the idea of Corroded Memory.
B L E A C H - Video Installation
“Bleach investigates the evaporation, disintegration, modification and combination of memories.” Aaron Hull
::Clocks and Clouds::
Clocks and Clouds (Kraig Grady - metaslendro vibraphone & Terumi Narushima - metaslendro laptop)
Kraig Grady has been active in the Los Angeles new music scene over the last three decades, building and/or modifying acoustic instruments to explore the phenomena unleashed by different tunings. He has performed on bills ranging from innovative punk band The Minute Men to experimental composer Mauricio Kagel. He recently moved to Australia following his performance at the Interface Festival in Berlin.
Terumi Narushima has composed music for such varied mediums as concerts, films, installations and even games. At home with instrumental or electronic music, she likes to explore different ways in which music can be used outside the conventional concert hall.
Just as memories blur with the passing of time, single tones and melodic fragments melt into beating strata and textures that can be quite different to what is actually played, just like memories can transform the past into unexpected forms.
::Greg Hughes:: http://www.whitecubecreative.com/
Greg Hughes considers himself a modest 'creative', happy to be a jack of all trades, probably not a master of any. Greg moves between drawing, painting, printmaking, graphic design, Web and multimedia design, music performance (guitar and yidaki), sound and analogue effects pedal design and exploration. Greg has currently settled into his first year as a PhD candidate at the University of Wollongong focusing on analogue remediation in a digital realm along with Information aesthetics/representation/design within the school of Art and Design.
Corroded Memories 2.1- Temporal Exhibition Signage
“ This piece explores the theme of the exhibition through contemporary 'codes' of memento mori. Today, reminders of our mortality stem from our relationship with exponential technical advancement of the digital apparatus, digital representation and information exchange. As individual minds fighting for a sense of place within the many facets of digital globalisation, our mortality is no longer only reinforced through the body, religious connotation and the image of a skull.
Our analogue minds struggle to keep up with the seemingly immortal yet corruptible logic and rigid language of digitalisation. Our corroded memories are mortified when compared to digital efficiency and perhaps oxidised further by our new dependence on it. We are also constantly reminded that we are 'past our time' whenever we struggle to interact with a new commonly accepted digital object. The analogue mind, like a well worn piece of film, shows more and more character over time —dust, scratches, jitter—evidence of use and wisdom through its mortality. A definite positive and one up on digital data banks as we all move towards terminal corrosion.” Greg Hughes
::P.A::
Andrew Gadow and Phil Williams have been performing experimental improvised sound and video since meeting in 2001 at UWS, where they both studied their BA fine arts.
“Reviving redundant home and professional audio equipment including reel to reel tape machines and a Moog modular, PA generate improvised soundscapes : “beautiful sonic textures comprising of found sound recording, controlled feedback, tape manipulations, electronics and analog synthesisers these guys can take you from a sublime plateau to a gritty electro chill out room.” [Aaron Hull, 2006]
Gadow & Williams transpose these sounds direct to video, simultaneously projecting visual textures derived from the audio.
Further information on the exhibition and artists is available at http://www.1-4inch.com/
FCA Gallery
Room 112, Building 25
Faculty of Creative Arts
University of Wollongong
Opening Hours: 9am-5pm, Monday to Friday
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