Sound Development City

Sound Development City project, commissioned by Swiss cultural agency Sound Development. The project features a diverse range of practitioners from fields such as visual art, sound art, music, architecture and theater, as well as workshops and collaborations with artists including Sam Auinger, Mediengruppe Bitnik, Steve Goodman and Toby Heys, and Jacques van Poppel (Black Market International). After short residencies in each city, public interventions and work has been presented at The Wye in Berlin, at The White Building and performancespace in London, with the final presentation in Zürich at Annex/Manesse on 29th September.

One of the aims of the project is to encourage cooperation between artists and the development of new works. Besides collaborations and pieces that have been developed spontaneously in reaction to the particular situation in each city.

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Collaborative work between Israel Martinez and Ariel Bustamante, (Taken from the Book/Catalogue Sound Development City).
Since our first meeting in Berlin, Ariel Bustamante and I talked about the possibility to work in collaboration. We are both from Latin America and we constantly analyze some problems or issues from a different perspective than the rest of the group, sometimes we didn’t even find them “problematic”, due to the deep social and economic inequality conditions that we experience in our countries. The clock was ticking and we couldn’t set down anything, until one day we were having dinner and Ariel told me that days after the Berlin expedition he stayed in a friend’s house. One nigh he was really cold and he couldn’t find anything to cover up with, so he used the emergency blanket which was on a kit that was given to everyone at the beginning of the expedition. That’s how he managed to save his life that night, or at least not having such a harsh time with the cold. We started to think about working with these blankets, creating a refuge for the homeless, which could be used at the same time as a hiding place for unpermitted acts in public spaces. This refuge should be alive, move or vibrate. The next day in the studio, we started to build it, a slow process that resulted in a large object that allowed us to insert a pair of subwoofers inside. With those we reproduce some frequencies that made the material behave in different ways, including a notorious agitation that was at the same time silent: the sound traveling without being perceptible to the ear. We used a video recording I made from one tower of the shopping mall close to the Olympic Stadium, in which we see thousands of people moving, going in and out of the stadium; these people seem to surround the refuge, while someone, we do not know who, how or why, is doing something inside of it.
Israel Martinez:

Shelter from ARIEL BUSTAMANTE on Vimeo.

Shelter from ARIEL BUSTAMANTE on Vimeo.

A “humming” tent – either evoking protectiveness or menace – is pitched from a gold-and-silver emergency blanket meant to protect the body’s temperature. Images of crowds of people, caught on film on the streets of London during the 2012 Paralympic Games, are projected onto both the tent and the wall behind it. the name of this work is Shelter, it was conceived by artists Israel Martinez and Ariel Bustamante, and it was made during an expedition with Sound Development City,. This work processes a topic discussed during the residency: the blanket, which was included in Sound Development City’s survival kit, was repurposed as a readymade. A threatening sense of precariousness is imbued both in the ten’s frail structure as well as in the humming of the bass speakers that make the tent rattle and, in turn , make it come to life. Shelter, which implies a place of protection, is not something that our expedition sought. And yet it was precisely this expedition that lead to this piece, both figuratively and literally speaking.

If this humming tent signifies protection and, at the same time, a destabilizing of conditions, as well as the impossibility to reduce the complexity of the world to easily-consumed morsels, then the multiplicity of meanings in this-and in many other of the art works- bear testimony to a productive way of dealing with this world. Ultimately, the different outcomes manifested in the sheer curiosity and thought-provoking reactions are the confirmation that this expedition, and with it this entire experiment, have achieved their purpose.

Text by Gesa Schneider Taken from the introduction “THE EXPEDITION” and the conclusion”AFTER THE RAGE” Book/Catalogue Sound Development City

Donald Daedalus, Ariel Bustamante and D-Fuse collaboration:
A network of dozens of speakers were connected simultaneously in the floor so they could be used as sits by the audience, another network was arranged at the ceiling of the room, Me and Donald were moving and swinging some of this speakers around the audience heads.

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229290_4553519793125_594389475_nThe musical videos from Zurich sounds (part of a cultural initiative to brand Zurich as “the creative hotspot at the heart of Europe” within the House of Switzerland at the 2012 London Olympics) were remixed and projected by D-Fuse while a speaker was swung above an ignited speaker whose cone was filled with a slow-burning gel combustible that attempt to convert sound waves into visible flutuations in flames. text by Donald Daedalus.

Performance: The Famous Brocki-Land: A gigantic thrift store, is located in a former underground garage. the numerous Brockis Switzerland have long come to represent typical and popular establishments. Furthermore, they are a reservoir for local customs, favorite reads, and other oddities. We were allowed to burrow and rampage here, and choose objects for the next day’s performance, my objects were: Switzerland fan Scurf, wine glasses, ear care tips, trash bag and a red paint spray.

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Jana Burbach, Ariel Bustamante and Katharina Rohde. SOUND DETECTIVES:

Our cities are full of sounds that we can hardly distinguish. the general hum drowns out the detail. can you hear people on the other side of the street? what happens when you really listen to the sounds of the city? try to walk toward noise, away from noise. follow a noise, walk toward a place where you expect to have a listening experience. you may find yourself still following visual stimuli. Observe how acoustic spaces change, how your perception and behavior are altered, how certain acoustic phenomena makes you feel.

(Installation view)

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There was one experience that made me think of something really interesting, although it isn’t yet resolved in my mind. it was really profound for me and yet something apparently very stupid: doing this listening experiences I found myself chasing a bike, I mean chasing the sound of a bike. The act of running after it created a specific situation that would have never happened if I hadn’t been exposed to this exercise of listening. listening puts you in a very strange state: you are almost an invalid in terms of your senses. the fact that ou are in a situation that slows down your thinking, can take you again to some thought-provoking places. (Taken from the Book/Catalogue Sound Development City).

SOUND DEVELOPMENT CITY TEAM

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Sound Development City, The Book

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