Kim Gordon & Jutta Koether, Emma Hedditch,
Christina Kubisch, Kaffe Matthews, Hayley Newman
Curated by Lina Dzuverovic & Anne Hilde Neset
South London Gallery, London
10 November - 18 December 2005
Her Noise was an exhibition which took place at South London Gallery in London in 2005 with additional events spread across other London venues such as Tate Modern and Goethe Institut. The ambition of the project was to investigate music histories in relation to gender and to bring together a wide network of women artists who use sound as a medium.
Her Noise featured five newly commissioned works by international artists whose practice shares the use of sound
as a medium to investigate social relations, inspire action or uncover hidden soundscapes. New works by Kim Gordon &
Jutta Koether; Emma Hedditch, Christina Kubisch, Kaffe Matthews and Hayley Newman all involved high levels of
participation and were set in motion only when used by visitors or performers forming a base for events, live
music and performances.
In Reverse Karaoke Kim Gordon and Jutta Koether enabled audiences to record their own piece accompanying Gordon's pre-recorded vocal track, demystifying the process of music making while exploring the disembodied voice in the space. In the evenings the work opened up as a performance space to a large range of bands including Jenny Hoyston (Erase Errata, Paradise Island), Heather Leigh Murray, Christina Carter and Ana Da Silva (The Raincoats).
In her installation MiniFlux, London-based artist Hayley Newman tried to reproduce, in miniature, every object used in the 60s Fluxus movement's musical scores. Accompanied by a printed list of over 1000 objects, the installation became a score in itself through Newman's invitation to guest artists to devise performances based around the items on the list. Artists performing in Newman's space included the Bohman Brothers, Bruce Gilbert and Margarita Gluzberg.
Berlin based artist Christina Kubisch has for many years been developing 'electrical walks' which make audible the otherwise undetectable electromagnetic signals that surround us. Across town, visitors could pick up headphones from the Goethe Institute to discover the hidden soundscape of the area according to Kubisch's map. With Security, installed in the gallery itself, visitors were invited to navigate Kubisch's maze of wires containing sounds from city walks using the specially designed headphones.
While lying on Kaffe Matthews's Sonic Bed the visitor became physically affected by a spectrum of sound vibrations shifting underneath and around them. The 12 channel sound system immersed in the bed played a specially constructed sound work, vibrating through and around the visitor. The composition used an architectural map of the human body and the frequencies it is tuned to as its score.
In We're Alive, Let's Meet, London based artist Emma Hedditch set up a series of 'get togethers' to discuss and explore
relationships between historical acts, ways of forming collaborations and ways in which we perform and record sound.
Hedditch's weekly events took the form of meetings, workshops and talks with guests including filmmaker Vivienne Dick,
Tobi Vail and Alison Wolfe (of riot grrrl bands Bikini Kill and Bratmobile).
Hedditch also worked collaboratively with the show's curators to develop the Her Noise Archive which combined a research area, listening posts and a viewing space filled with documentation of both historical and contemporary luminaries working in the field of sound installation and performance. The space contained books, fanzines, catalogues as well as exclusive on camera interviews and concert footage with artists including Pauline Oliveros, Maryanne Amacher, Diamanda Galas, Marina Rosenfeld, Thurston Moore, Kevin Blechdom, Kembra Pfahler, Kim Gordon, Lydia Lunch, Peaches and many others filmed in the process of developing Her Noise and aimed at forming a research archive which remains publicly accessible. The archive has since toured and been re-installed in locations throughout Europe.
Her Noise was curated by Electra and produced by Electra in association with Forma. The Her Noise catalogue was published by Forma.
Electra gratefully acknowledges the support of the following funders for the Her Noise season:
Arts Council England, South London Gallery, Elephant Trust, Feminist Review Trust, Goethe-Institut London, Henry Moore Foundation, Performing Rights Society Foundation and Women In Music. Media Sponsor: The Wire Magazine.