The Municipal Gallery bwa in Bydgoszczis 7 FONOMO Music & Film Festival 2018 partner.
This year we can see in Gallery exhibition.
The exhibition will be open 25.10.2018 6 pm
Anna Zaradny (PL) – video „Theurgy Two”
Adam Basanta (CA) – installation “Curtain”
Matěj Frank (CZ) – installation “Monolog”
The Kissinger Twins (PL) – VR „Lucidreams”
Martyna Kielesińska (PL) – video
Concerts after opening
Anna Zaradny (PL) – show
Visible Cloaks (US) – show
Exhibition is open until November 4, 2018.
Anna Zaradny is a visual and sound artist, composer, improviser, instrumentalist, and the co-founder of the Musica Genera label and festival.
As a composer and an instrumentalist, Zaradny utilizes a wide spectrum of ideas, from acoustic improvised music with minimalist contemporary idiom, to structurally complex and fully electronic compositions of experimental form. Zaradny creates visual works in the form of installations, objects, photography and video.
In her works, the artist makes various uses of abstraction, of sonic and architectural micro-objects, of light and space. These works are characterized by the ambiguity of their concept as well as the relationship between ideas and the medium of the form.
Anna Zaradny’s “Go Go Theurgy” concert relates to last album of artist of the same title. Performance includes both compositions contained on the record.
Live performance brings those piece to another lever of the experience, linking material of original constructions, improvisation and aspect of space of the sound.Intense and frequency packed music teems with sensuality and anxiety,
while its palpably dense and detailed texture is constantly filled with tension and sense of urgency.
The crystal-clear narration of performance creates a framework for Zaradny’s uniquely intricate and emotional sound.
Her music is often said to defies genre limitations. Although bravely experimental, it is precisely structured at the same time,
and sometimes builds a momentum usually connotated with pop music.
“Go Go Theurgy” recalls the primordial but also cultural references, creating its own idiosyncratic value.
“Theurgy Two” video 2017
Theurgy Two, a film by Anna Zaradny, is one more in the series of recordings of the artist’s performances, primarily prepared while working on the Go Go Theurgy album, and then performed as part of the “Rondo Means Wheel” art show. The video, traversing the convention of pop music videos and attempting a dialog with experimental music, shows Zaradny during a process ritual: the artist, standing in a black space, draws a picture around herself with chalk, inscribing her body into the shape of a circle. The repetitive choreography – the recording of movement in time and space – is rendered more powerful by the intense sound of analog synthesizers. The exalted nature of the musical piece itself, however, is stripped of any kind of pathos or melodramatic affectation. The experience of monumental and abstract sonic masses in space as well as in moving pictures transforms Theurgy Two into a unified formal and semantic structure with a strong emotional and energetic charge.
Adam Basanta’s work explores technological practices as active, participatory, multi-sensory performances which are distributed throughout a variety of human, cultural, material and computational agencies.
His work has been awarded several international prizes, including the Japan Media Arts Prize (2016) and the Aesthetica Art Prize (2017). In 2018 he was longlistes for the Sobey Art Award. He is currently represented by Ellephant Gallery (Montreal, CAN).
The ubiquitous white earbud headphone creates an interior sonic environment into which one can retreat from the external world. Within this personalized sonic bubble, the headphones function as a visual “do not disturb” sign.
Curtain plays on this notion by creating a 3m long “curtain” which sections the gallery space visually and sonically. Patterns of white noise – a sound which masks surrounding sounds, often used in “sleep machines” – sweep across the curtain. Despite the synthetic production techniques, the sound mass evokes organic memories of waves, wind, rain, and insects.
Curtain was made possible by financial support from the Canada Council for the Arts and The Agosto Foundation.
Matěj Frank is a visual artist currently based in Wrocław, Poland and Opava, Czech Republic. In his work he deals with a space in relation to time, motion, body and sound. He is interested in layering of information, illegibility and coincidence while maintaining the simplicity of the form and/or process. Frank usually focuses on basic phenomena, processes it with his own sensitivity and then re-creates and re-presents it through own perspective. He draws inspiration from the immediate surroundings and the changes taking place in it. He uses various media: performance, drawing, sound, although the starting point of his activity is sculpture. He participated in many international projects and exhibitions. As part of the Bludný kámen association, Frank also deals with the promotion of contemporary art. Currently, he teaches sculpture at the Academy of Fine Arts in Wroclaw.
Monologue is a device for listening to ‘small’, overlooked sounds of our surroundings. The soundscape is concentrated to one point and gives the opportunity to listen to the details of the environment. The device of the simple cone shape was used in small scale as a listening aid, while on an elarged scale it was used as an „acoustic locator” to locate enemy aircraft in pre-radar era.During the exhibition with the focus on the sound in various forms, the recipients will be able to interact with the sculpture and by turning the object, they will be able to move through the sound landscape and choose the area to listen to.
Dawid Marcinkowski and Katarzyna Kifert AKA The Kissinger Twins are film and interactive director duo. In their works, they mix digital technologies with film, music and literature to create new forms of storytelling.
They are authors of artistic projects such as Sufferosa or Webby Award winning The Trip, but also interactive films and experiences for brands such as Expedia, Honda or Philips. Some of those projects have been awarded and presented at film and new media festivals including SXSW, Vancouver IFF, Reykjavik IFF, onedotzero or Institute of Contemporary Arts in London.
“Lucidreams” is a cinematic virtual reality project, accompanied by a photographic series, exploring the intersection of dreams and sensuality.
The first chapter is entitled “Distraction”. The experience will take the viewer on an immersive journey to a pristine river. It starts with a meditative
Voice Over of your personal assistant, then suddenly a seductive beauty appears. This series aims to demonstrate a style that excites us – something that we refer to as ‘Poetic VR’.
Martyna Kielesińska – Born in Kielce, Poland, she’s a visual artist, a graduate of the Faculty of Painting at the Academy of Fine Arts in Krakow. She studied at the Academy of Fine Arts in Warsaw as well as the Academy of Arts in Berlin in the class of Hito Steyerl. Her field is video art and installations; in her collage work she experiments with mood as well as assembling of found images and sounds. She lives and works in Krakow.
Visible Cloaks – Portland, Oregon-based duo of Spencer Doran and Ryan Carlile are the open-source musical entity known as Visible Cloaks, whose debut album Reassemblage and affiliated mini-album Lex both beamed to the world via RVNG last year.
“Reassemblage” finds Doran and Carlile incorporating an international array of virtual instruments to advance the idea of pan-globalism through digital simulation, with tones and colours cohering into a living, breathing pool of sensorial experience. With the “Fourth World” leanings of 80s Japanese ambient and pop (as explored by Spencer on his radiant ‘Fairlights, Mallets, and Bamboo’ mixes) a crucial touchstone amidst a breadth of worldly musical influences, Visible Cloaks filter and form source material to become young again. Often the duo strip tonal elements of their specificity or randomize melodies so they become stirring and lucid. Essential patterns emerge, conscious experience heightens. In these moments, the musical language of Reassemblage finds unlimited resonance and presents a path to uninhabited realities.
Live, this becomes an inviting and immersive multi-sensual feast, with the pitch-perfect visual aesthetic of digital and installation artist Brenna Murphy (also responsible for the Reassamblage artwork and accompanying videos, including the short film ) extending the album’s exploration of global headspace into a visual, visceral reality.