The Art of Sound: Imogen Stidworthy and Lauren Moffatt

21 October / 4pm - 6pm / The Box / Free, booking required

 

For this special event hosted by Kinicho’s Stefan Kazassoglou we shall explore how artists Imogen Stidworthy and Lauren Moffat interact with 3D audio systems. From conception to production and installation explore the various considerations for performance and interactions in their work.

 

4pm - Introduction to Imogen Stidworthy's work

5pm - Introduction to Lauren Moffat's work

6.15pm - Performance of Imogen Stidworthy's Balayer in Gallery 1.

Lauren Moffat's The Oculist Reason will be open to view in the FACT Connects Space in the foyer from 11am - 7pm.

 

Balayer

Commissioned by Sao Paulo Bienal 2014, Balayer - A Map of Sweeping (Varrer – A Map of Sweeping) reflects on the contemporary resonances of an experimental network for living with autistic children which existed between the late ‘60’s and the mid ‘80’s, around the village of Monoblet in the Cevennes (FR). The network was conceived by French educationalist Fernand Deligny as a space of living with rather than caring for, outside the institution. Conditions were rudimentary and improvised; the children carried out tasks with the adults and wandered in the countryside. A daily practice of the adults was to trace the movements of the children in their actions and wandering, following closely at a distance; mapping not in order to analyse or translate the child, but as a tool for concentration. Deligny’s ideas and writing evolved with the network, central to which was the importance of neither speaking for the other nor putting oneself in their place. He was particularly interested in the children who could not speak, and through all this work the questions persist: what place has language in relation to those who have none? What happens to our own language in the encounter with a stranger?

 

Balayer – A Map of Sweeping is an installation with ambisonic sound and video (27”00). The work engages in the relation between ‘we who speak’ (nous parlons) and others who do not. Gisèle Durand and her husband Jacques Lin were the first to live and work with Deligny in 1967; they still in Monoblet today with two of the autistic children of the network, Christoph Berton and Gilou Toche - now in their 50’s. In the installation two bodies of video are brought together: one is filmed by the artist in 2013-2014, and follows Christoph and Gilou engaging in a contemporary act of tracing, initiated by Gisèle Durand. The other is drawn from raw material filmed by Jacques Lin between 2000 and 2008, showing moments of daily life in and around the house - footage for a film to be made.

 

The Oculist Reason

The Oculist Reason is an interactive video installation, comprising an experimental 360° environment and a linear single-channel video, that investigates the transferral of physical space into the virtual realm. The work’s point of departure is a decaying mural in the former Unemployed and Trade Union Services Centre at 24 Hardman Street in Liverpool (also the former Royal School for the Blind). It was created in the mid 1980s, at a time when Liverpool was struggling with the effects of the conservative economic policy of the Thatcher government. Following this, The Oculist Reason presents events and personalities associated with a general movement for employment and solidarity in this era. At the same time it is a documentation of Mick Jones’ painting, whose future is uncertain due to renovation work at the building.


To make the documentation, 16mm film gathered in the building has been integrated into a digital scanning and modelling process in order to reproduce a virtual reproduction of the painting for viewers to explore. The Oculist Reason tells the story of the mural and the events depicted in it while opening up a line of questions about the viability of virtual archives and the prospects and difficulties for human connectedness in a tacit digital landscape.

 

About Imogen Stidworthy

Imogen Stidworthy has exhibited extensively in solo and group shows and biennales, including Documenta 12 (2007) and currently in Kiev Biennale at the Rodchenko National Film Archive, Ukraine and in British Art Show 8 at Leeds Art Gallery. She has also curated a series of exhibitions on the borders of language at MUKHA (Museum of Contemporary Art Antwerp), Fundacio Antoni Tapies, Barcelona and The Exhibition Research Centre, LJMU, Liverpool.  

 

About Lauren Moffat

Lauren Moffatt is an Australian artist working between video, performance and immersive technologies. Her works, often presented in multiple forms, explore contemporary subjectivity and connected bodies as well as the limits between virtual and physical worlds. Lauren is interested in how the dimension of depth in digital moving image can be used as a storytelling device. She has previously presented work at FACT as part of an EMARE EU Culture programme residency and exhibition Group Therapy: Mental Distress in a Digital Age.

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