Film screening and participatory lecture
Wednesday 21 September, 7:30 PM
LUX / Electra
Third Floor Shacklewell Studios
18 Shacklewell Lane
London E8 2EZ UK
Electra and LUX jointly present an evening of film and listening; including a participatory lecture by Salomé Voegelin followed by a screening of
Manon de Boer's latest film Think About Wood, Think About Metal.
Listening To Things, a participatory lecture by Salomé Voegelin
Voegelin's interactive talk, Listening to Things is a participatory lecture on listening without code or causality. Together with the audience, she will discuss and practice a listening that hears not objects, plot lines and signifiers, but sound, and that builds from these sounds the seen as a contingent and reciprocal thing 'thinging' its own existence and ours. Scheduled to precede the screening of Manon de Boer's film Think about Wood, Think about Metal, this talk is an exploration and preparation of how film in general, and this work in particular, can be seen through the heard.
Salomé Voegelin is an artist and writer, who is concerned with listening as an aesthetic practice. She is the curator of clickanywhere.crisap.org, and most recently she has organised two sound events at the Swiss Church in London. Other recent projects include an urban pod-cast for RADAR in Loughborough, UK and a site-specific piece for the Bregenz Kunstverein, Austria, produced in collaboration with David Mollin. She is the author of Listening to Noise and Silence: towards a Philosophy of Sound Art, Continuum, NY, May 2010. www.salomevoegelin.net
Manon de Boer, Think about Wood, Think about Metal (2011)
Think about Wood, Think about Metal is de Boer's third cinematic portrait in a trilogy on the 1970s alongside Sylvia Kristel - Paris (2003) and Resonating Surfaces (2005). Fragments of the life and thinking of percussionist Robyn Schulkowsky are situated in the history of avant-garde music during and after the 1970s. Schulkowsky has worked with composers such as John Cage, Karlheinz Stockhausen, Derek Bailey, John Zorn, Frederic Rzewski and Christian Wolff. In the film, percussion improvisations by Schulkowsky form a soundtrack, one that resonates with a larger exploration of rhythm and the non-linear structuring of time. Here many of the themes central to de Boer's practice, including questions of the nature, impact and nuances of memory are explored, as well as aspects of stillness and movement, and the relationship between the two.
In the words of Salomé Voegelin, DeBoer's film focuses on a room, a sound room which becomes my room, which...
"has sound behind its walls, under its floorboards and on top of its ceiling. They make it shrink and expand, move and be still. What is in the room is visible, present, objectively here. The sound is invisible, not here, but present all the same. It is generated in my subjective hearing of it: Rushing into the objective and changing what I see. The walls are less stable in sound, wobbly even, permeable, letting things in and out; testing notions of intimacy, neighbourliness and safety. The visual room is the set on which sound plays invisible narratives: some sinister, some cheerful, some unnoticed. Unseen protagonists who might really be there or just invented by me play-out fantastic scenarios that might be real, involving aliens space ships, cats, dogs and microwaves. - Anything can happen."
Manon De Boer was born in 1966 in Kodaicanal, India. She studied at the Akademie van Beeldende Kunsten, Rotterdam and at the Rijksakademie van Beeldende Kunsten, Amsterdam. Curently the artist lives and works in Brussels.