BAISD P6 A.Hudson: November 2010

Susan Philipsz was born in 1965 in Glasgow, and was nominated for the Turner Prize for presentations of her work Lowlands at the Glasgow International Festival of Visual Art and Long Gone in the group exhibition Mirrors at the Museo de Arte Contemporanea de Vigo, Spain. Philipsz uses her own voice to create uniquely evocative sound installations that play upon and extend the poetics of specific, often out-of-the-way spaces.

Susan Philipsz - LOWLANDS 2008 / 2010 - Clyde Walkway, Glasgow

The audio track taken from the Lowlands installation at Glasgow instillation for the Festival of Visual Art, was played into a white cube gallery at the Tate Modern for the Turner Prize 2010. Although I was not particularly overwhelmed by the track, after reading where it had originally played and watched the short film documentary on Suzan’s piece at the end of the exhibition, I became intrigued by here work as I could see parallels with our interests.

When I returned home I researched her further and found these two short videos of her work in-situ - which I feel give the tracks more substance and are very successful in proving that the aural additions can change the purpose, reaction and therefore atmosphere of space.

Susan Philipsz - Lowlands - You Tube from April Hudson on Vimeo.

Susan Philipsz, The Lost Reflection. from April Hudson on Vimeo. Susan Philipsz - Shallow Sea - You Tube from April Hudson on Vimeo.

In Upon interview Suzan explained:

“During my MA I began to think about working with Sound - I had always liked singing - and started to think about singing being quite a sculptural experience, how its affects the inner body space, what happens when you project sound into a room and how it can define space. The architectural concern when it comes to sound, the sculptural values of sound, the physiological and emotive effects of sound and song.”

She continues;

"As well as working with galleries I have often worked in public space. I think its interesting to when people happen upon a work unexceptionally and observe the reactions of an audience who don’t expect to encounter it.... When people experience my work, particularly when I use my voice, i’m an ok singer but I don't have a trained voice, and I think that is pretty obvious when you hear it...i don't do anything to it..it could be anybodies voice, allowing people to identify with it, and it has a more intimate sound to it.’

Before I en counted this work I was already interested in the prospect of sound. I feel a good starting point would be to project sound discretely through the concrete benches featured along the South Bank Centre. I have included some quick sketches showing this idea -

Or an intervention featuring the OXO Tower viewing gallery?

Following my investigation along the Southbank, I have focused upon the four themes mentioned in my last post: Eyes of the Jogger; Platforms of consciousness; Aural awareness and Sin overlooked.

With these ideas in mind I have spent most of my time observing the goings on of the centre at different times of day. With all of these themes, I found my interest kept falling on one reoccurring subject - the reaction of the participant - the way the people use the space as elements change. Documenting this, I believe can lead to an understanding of what is missing or wanted from the area.

EYES OF THE JOGGER

I felt the film I created previously on this theme is better than anything I have produced since. There is clearly an importance placed on the lighting down this strip, highlighting the enchanting areas and keeping darkness in places of no desire. I feel from this I know an intervention into the space should be carefully thought about in terms of light placement and whether it emits light itself and if so to clearly understand how and why certain light had been chosen in different areas.

Below are some images which highlight the varied lighting techniques used in the space which heighten the atmosphere so well:

PLATFORMS OF CONSCIOUSNESS

Concentrating on this platform particularly this week, I have tried to document through film how people react to the interactive sculpture and performers so famously found among the southbank. Through people watching and experiencing them myself I am aware of how individuals/couples often steer clear from the performance as it often brings attention to the viewer and in this situation they may feel insecure and therefore not enjoy the experience.

DISTANCE from April Hudson on Vimeo.

Distance

I filmed this band performing on on a weekday morning. In this short film you can see the public distancing themselves from the band, making them an obstacle on the path. This does not prove the public dislike the aural experience, however does indicate that people do not like to be in the lime light or risk the band interacting with them. The band members are aware of this also, as they stand close to the rails and place the collection hat at a far distance, in one point in the film you witness a musician moving the hat further away from them, therefore accepting and embracing this reaction.

BUSKER from April Hudson on Vimeo.

Busker

I filmed this busker performing on a Sunday evening. I spent over an hour observing the passers by and have tried to edit down the key reactions into a short film. The audience at night, particularly this weekend as it was Halloween, is extremely different then that of the audience I filmed in ‘Distance’. This evenings audience were in the forms of large groups, many dressed up/masked, mainly young and consumed alcohol. In this film you can see many couples and individuals passing by at a distance, however you can also see many groups crowding the performer, dancing and joking. It is as if within a group, dressed up or consuming alcohol removes inhibitions and the self awareness which stops most people from approaching the performers. This idea again backs up the idea that the enjoyment these sculpture/performers are suppose to provoke can often create self awareness as a by product.

AVIVA -

This sculpture is lit up and when becomes activated by the viewer emits voices from loud speakers. When I was experiencing this for myself, I felt very uncomfortable and found it difficult to concentrate on the purpose of the idea, as I was so self aware.

PROPOSAL

With this in mind I continue my argument that South bank would benefit from a series of interventions which the introvert can enjoy. Additions that could be stumbled across, gems hidden away that resting joggers, lone soldiers, couples and small groups can be part of quietly. Therefore, not being removed from the relaxed atmosphere of the South bank and thrown into the limelight, creating consciousness and deep self awareness.

The perfect place for this series would be within the benches, both wooden and concrete, as this is where the introverts seem to congregate.They provide a get away spot for those looking for a quiet, intimate place away from the crowds.

Perhaps a sensory experience can be activated when the area is inhabited? I could try to subconsciously encourage the viewer to grasp the experiences expressed in terms of one sense through another sense entirely. In other words I could represent the everyday soundscape I feel is prominent in the space into a visual, spatial and tactile form.

My aim is to keep my interventions only for those who are already intrigued, therefore a design which is subtle and only noticed once present within the space itself. As the majority of the users are in a peaceful and tranquil state of mind, or are looking for this, I believe their senses will be more perceptive to my work. I need to create objects that are unseen or extremely subtle until engaged with. It must be as ignorable as it is interesting.

The work produced is to be experienced in this specific location, therefore it must be about the place, reflect the qualities of the place and rely upon the place, to provide input to the process and therefore by its presences contribute a new dimension to the place.

Concentrating on the interplay between sound, vision and touch, the interventions could subsequently engage and immerse the user within the environment they inhabit, making them more aware of the affects of sound and how it is an integral part of how we experience the world. I believe an understanding of the work may be gained through a process of sensory interplay that develops over time.

CHOREOGRAPHING YOU

‘Choreographing you invites you to become a participant - or even a dancer in installations and sculptures by internationally renowned visual artists and choreographers.’ Southbank Centre leaflet.

I purposely visited this exhibition showing at the Hayward gallery alone. I was nervous about doing this as I knew what lied ahead. When I walked into the space it was full of children playing around within a gallery containing playground type elements. I walked around with my head in my notebook, trying to show parents I was a student and not staring at their children and to avoid eye contact with staff who encourage you to ‘get involved’. Whilst observing the activity I found the children had a free approach to the objects and were throughly enjoying being aloud to run around, banging and climbing. I felt jealous and nostalgic of this freedom and self awareness. Wouldn’t it be great if we could feel equally at home showing our excitement and enjoyment in such activities, I don’t deny we would enjoy it - its being able to ‘let go’ which is the problem. I do feel however many will never feel comfortable within this environment as an individual and there is a need for intimate spatial entertainment as well as works which create a sense of community and interaction.

ISAAC JULIEN - TEN THOUSAND WAVES from April Hudson on Vimeo.

ISACC JULIEN from April Hudson on Vimeo.

Isaac Julien video installation ‘Te thousand waves’ was a multi-screen film installation which created cinematic experiences in which art, architecture, dance, sound and movement intermix. This piece was striking and moving, although difficult to follow a story line as it was on loop, I cannot deny the power the style and showing had on my mood.

“It weaves together three separate stories which are presented as a montage of moving images oscillating between nine-free hanging screens. Viewers enter an immersive and frequently disorientating environment in which they are compelled to make their own experimental journeys, both in physical and phycological terms.” MOVEs Leaflet.

If this style could be recreated, it could be an interesting way to show different people experiencing objects I have placed into the Southbank environment in the same viewing time.

SIN OVERLOOKED

I am intrigued by the skate parks white painted boundary line and how it is obeyed and abused. I made a quick study through film of the segregation and how it is flipped at different times of day. ‘Boundary?’ shows the general public fascinated by the skater scene; in the morning when the skate park is empty they take the opportunity to look around and inhabit the space, yet a night when the skaters return they watch from afar, incited by the councils unusual acceptance of the taboo culture.

BOUNDARY from April Hudson on Vimeo.

Subject I want to investigate further the relationship between space/consumer/retailer at the OXO Tower Wharf created by Coin Street Community Group to provide a platform and affordable studios for creative people.