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Casino Luxembourg

Exhibitions

Daniela Brahm & Les Schliesser, eins und eins sind eins, 2009. 2 fichiers audio. Vue d'installation au Casino Luxembourg, 2014. © Patrick Galbats.

Angie Atmadjaja, 492.40m3 51.7HZ TILT, 2014. Vue d'installation au Casino Luxembourg. © Patrick Galbats.

Angel Nevarez & Valerie Tevere, What we might have heard in the future, 2010/2014. Pièce radiophonique. Vue d'installation au Casino Luxembourg, 2014. © Patrick Galbats.

17.5 — 7.9.2014

Hlysnan: The Notion and Politics of Listening

artist(s): Lawrence Abu Hamdan, Angie Atmadjaja, Kader Attia, Nina Beier & Marie Lund, Daniela Brahm & Les Schliesser, Peter Cusack, Clare Gasson, Marco Godinho, Christine Sun Kim, Brandon Labelle, Andra McCartney, John Menick, Angel Nevarez & Valerie Tevere, Udo Noll, Emeka Ogboh, Yoko Ono, Susan Schuppli & Tom Tlalim, Christine Sullivan & Rob Flint, John Wynne
curator(s): Berit Fischer, Kevin Muhlen

Exhibition, publication, performances and workshops

In the Old English word hlysnan, "to listen", the focus is on the notions of attention and intent. Similarly the emphasis in the project HLYSNAN: The Notion and Politics of Listening lies on the active act not merely of hearing - usually referring to automatic or passive sound perception - but rather specifically on listening; hearing with intent.

Listening requires intensified concentration and attentiveness towards what one is listening to; it is linked to the notion of desire, anticipation and understanding, a striving for a possible meaning. HLYSNAN: The Notion and Politics of Listening understands listening as agency, as gesture, as attitude and as taking a position. The  exhibition attempts to reconcile audio practices with contemporary social and political realities and invites the visitor to actively experience, listen and engage with the sense of hearing to the various complex interplays.

Part of the investigations is for example the vocal gesture in specific situations like political speeches, legal and juridical contexts, or recording techniques and their impact in regard to documentation, writing and (re)creating history, and in the shaping of our culture and reality. The soundscapes and sonorous textures emanating from specific works presented in the exhibition may provoke immediate physical reactions, whereas other audible stimulus may address and question socio-political issues.

The 21st century, as much as contemporary exhibition making, is undeniably marked as an era of imagery and viewing. Despite many current exhibitions around the subject of sound in which the focus often lies on the visualisation of sound waves or the technicalities and materiality involved around it, HLYSNAN: The Notion and Politics of Listening departs from the representation and visual rendering of acoustic space and submits the auditory perception for consideration. Rather than displaying works destined for the eyes, the emphasis lies on the immaterial, the non-consumerist and the non-spectacle, in order to achieve a heightened concentration on the targeted sense.

Publication
The accompanying HLYSNAN: The Notion and Politics of Listening publication is considered an extending and supplementing format to the exhibition. Not only the concepts materialised in the exhibition are developed and contextualised further, but with complementing contributions by additional artists, the project offers a comprehensive overview on the various questions around the notion and politics of listening.




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Bibliographie, discographie et sitothèque dans le cadre de l'exposition


PUBLICATIONS
Seth Kim-Cohen, In the blink of an ear, toward a non-cochlear sonic art, Continuum, London-New York, 2009.
Mladen Dolar, A voice and nothing more, The MIT Press, London, 2006.
Jim Drobnick, Aural Cultures, YYZ Books, Walter Philips Gallery Editions, Toronto, 2004.
Steve Goodman, Sonic Warfare, sound, affect, and the ecology of fear, The MIT Press, London, 2010.
Garret Keizer, The unwanted sound of everthing we want, a book about noise, PublicAffairs, New York, 2010.
Alain Licht, Sound art beyond music, between categories, Rizzoli, New York, 2007.

REVUES
Art Inculture, Sound/Art
, no.4 2012.
Art press 2, L'art des sons
, trimestriel no.15, 2010.
Volume, what you see is what you hear
, revue d'art contemporainn sur le son, 2006.


ARTISTES

Lawrence Abu Hamdan

Word. Sound. Power
, Project Space Tate Modern, London, 2013.

Angie Atmadjaja
www.angieatmadjaja.com

Daniel Brahm & Les Schliesser
www.danielabrahm.de
www.lesschliesser.de
www.exrotaprint.de

Peter Cusack
Sounds from dangerous places
, ReR MEGACORP Beliner Künstlerprogramm des DAAD, 2012.

Clare Gasson
http://www.youtube.com/watch?v=-5e1nnxJKVw
Salomé Voegelin, Listening to noise and silence, Towards a philosophy of sound art, Continuum, New York-London, 2010.

Marco Godinho
http://www.marcogodinho.com/

Brandon Labelle
http://www.brandonlabelle.net/
Brandon LaBelle, Handbook for the Itinerant, Sideways, Belgium, 2012.
Brandon LaBelle, Dirty ear, Errant Bodies Records, 2008.
Brandon LaBelle, The Sonic Body, no. 06, Errant Bodies Records, 2011.
Brandon LaBelle, Lecture on Nothing, no. 07, Errant Bodies Records, 2008.
Brandon LaBelle, Radio Memory, Audio Issues vol.4, Errant Bodies Records, 2006.

Andra McCartney
andrasound.org
http://soundwalkinginteractions.files.wordpress.com/2010/10/homing-ears2.pdf
http://soundwalkinginteractions.wordpress.com/
http://www.youtube.com/andrasound
http://hernoise.org/interactions/soundgenderfeminismactivism/sound-works/
http://coms.concordia.ca/faculty/mccartney.html

Andra McCartney, Listening to traffic with guts and antennae, presented at Resonant Bodies: Landscapes of Acoustic Tension. International Cultural Institute, Concordia University, Berlin, June 2013.

Andra McCartney, Performing Soundwalks for Journées sonores, canal de Lachine, in: Performing Nature, explorations in ecology and the arts, Bern, Peter Lang, 2005.

Andra McCartney, Soundscape works, listening and the touch of sound, in: Aural Cultures. Edited by Jim Drobnick. YYZ Books, Walter Philips Gallery Editions, Toronto, 2004, pp.179-185.

Udo Noll
http://radioaporee.blogspot.de
http://www.franceculture.fr/emission-l-atelier-du-son-berlin-premiere-avec-jacob-kirkegaard-udo-noll-2013-11-08

Angel Nevarez & Valerie Tevere
http://www.nevareztevere.info
http://vimeo.com/nevareztevere

Emeka Ogboh
http://www.14thmay.com/news.html

Yoko Ono
http://www.a-i-u.net/

Yoko Ono, Half-a-wind Show, eine Retrospektive, Schirn Kunsthalle Frankfurt am Main, 2013.
Yoko Ono, Impressions
, Villa Tamaris, La Seyne-sur-mer, 2001.
Yes Yoko Ono
, CID F XXX

Susan Schuppli
http://www.forensic-architecture.org

Christine Sun Kim
christinesunkim.com
http://now.lincoln.com/2014/03/christine-sun-kim-the-future-of-listening/

Read more
partners

Exhibition realised with the support of: L'Institut Français du Luxembourg

Media Partner: Odds and Ends by Radio Ara

The project "October 2013 - obsidian flow" piece retitled February 2014", 2014 by Clare Gasson has been supported using public funding by Arts Council England and British Council.

images

Daniela Brahm & Les Schliesser, eins und eins sind eins, 2009. 2 fichiers audio. Vue d'installation au Casino Luxembourg, 2014. © Patrick Galbats.

Angie Atmadjaja, 492.40m3 51.7HZ TILT, 2014. Vue d'installation au Casino Luxembourg. © Patrick Galbats.

Angel Nevarez & Valerie Tevere, What we might have heard in the future, 2010/2014. Pièce radiophonique. Vue d'installation au Casino Luxembourg, 2014. © Patrick Galbats.

Sullivan and Flint, The Thing Is, performance at Motorcade / FlashParade in Bristol, 2012. © Thomas Heming.