{"id":11654,"date":"2012-11-22T07:44:00","date_gmt":"2012-11-22T07:44:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=11654"},"modified":"2023-04-27T07:48:08","modified_gmt":"2023-04-27T07:48:08","slug":"taxonomy-of-sound","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/taxonomy-of-sound\/","title":{"rendered":"Taxonomy of Sound"},"content":{"rendered":"\n

\u201cDistinct Factures. A Return from Langsdorff\u201d <\/strong>(solo exhibition by C\u00e9dric Maridet)<\/p>\n\n\n\n

2P Contemporary Art Gallery<\/strong><\/a> (G\/F, 23 Po Tuck Street, Sai Ying Pun, Hong Kong) Oct 18 \u2013 Dec 5, 2012<\/p>\n\n\n\n

French artist C\u00e9dric Maridet describes his recent solo exhibition as a wunderkammer<\/em> \u2014 a room of curiosities where artists and scholars from the Renaissance onwards displayed eclectic objects not yet defined or categorized. One can find this depiction infelicitous \u2014 the exhibition appears to exist as one whole organism constructed by a continual churning and proliferation of primary materials. The words one sees on the works are epitomized through layers of historical references and scientific methodical codification. Through Maridet\u2019s artistic treatment, this torrent of information creates minimal and exquisite interpretations of the coexistence of two parallel microcosms<\/p>\n\n\n\n

This series of works originated in Maridet\u2019s field-recording trips in the rainforests of the Amazon and Penang\u2019s National Park. Reexamining fieldwork theory, the artist dwells on Jacob von Uexkull\u2019s idea of umwelten<\/em> \u2014 different spatio-temporal worlds connected by \u201cfactures\u201d [1]. Maridet analyzes and reconstructs the sound reality of microcosms \u2014 in this case the beehive and the rainforest itself \u2014 and materializes the data and experience in the form of prints, video, installation, and sound composition. He samples aspects of these two \u201cbodies\u201d from an observable distance, and situates the spectators in an external position beyond language, thereby attempting to question our ontological certitudes of the everyday world.<\/p>\n\n\n\n

Continuing his appropriation of sound and space through the work \u201cBiocenose,\u201d Maridet plants two transducers at the bottom of the glass door of the gallery and expands its full fa\u00e7ade into the playback medium \u2014 the door carries the voice of a man and a woman reciting taxonomical terms that are also displayed on the long roll of cardboard book pages laid out to the side. The recording rotates through unfamiliar Latinate terms. In the end, the peculiar utterances create an acoustically beautiful composition.<\/p>\n\n\n\n

The installation \u201cThe Soft Science Cabinet, Apis Cerana\u201d consists of a stainless steel cabinet in which dead bees, honeycomb, hive residue held in lab glassware, and two beeswax LPs that resonate with a third one spinning on a turntable a meter away. The needle hovers over the rotating wax plate, creating a tension in which a perfect surface flirts with destruction. A 35-minute sound piece features an emotionless reading of a piece of research on bee habits; the track is edited with sound that was carefully captured in a beehive, with the bee buzz adding a background hum to the voice. Eventually this long talk about an alien-seeming species takes over one\u2019s thoughts through the immersive sonic experience, elevating the listener to a strange level where narration is completely lost in the limitations of rational human perspectives relative to the existence and life of another being<\/p>\n\n\n\n

\u201cNavigating Langsdorff\u201d is a set of three embossed prints. These abstract and minimal graphics are pencil markings on sonograms processed by computer analysis of photographs that the artist took in Penang. Meanwhile, \u201cLatent, Still\u201d shows two looping videos of trees and shadows; two saplings are placed vertically from the ceiling, sprouting in the air.<\/p>\n\n\n\n

Maridet represents an intimate, primarily sonic experience in unexpected formats. He adapts the early method of sound visualizations \u2014 making notations by time and frequency intervals, and drawing a clear line between rationality and sensual pleasure. The gallery space he created is sounding out, growing and disclosing traces of decay, in the hope this will incubate new ways of interpretation and perception. This nonetheless puts weight on our faculty of hearing, so often blinded by visual stimuli that our eyes cannot detect in an age of visual supremacy.<\/p>\n\n\n\n

\n\n\n\n

[1]\u00a0Pierre Schaeffer\u2019s theory of sound object as the qualitative criteria that sustain sound or the way that the sonorous energy is communicated in manifests itself in time.<\/p>\n","protected":false},"excerpt":{"rendered":"

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