Solo-Exhibition by Mary Sherman (USA) in collaboration with Florian Grond (CA/AT)
OPENING with TALK by Sherman / Grond Friday, October 24, 2014
18:00 – 21:00 OPENING 18:30 TALK
The exhibition runs from October 24 - November 2
Open from 5 pm to 8 pm,
Weekends from 12 pm to 5 pm,
Closed on Mondays
For decades seismographs could chart earthquakes, tidal waves and volcanic eruptions, yet their resulting graphs looked too similar to predict which event was being described – it was only after their horrible aftermath that one could know. Today, though, by using audification and sonification, geologists can not only see but also listen the earth’s grumbles and know which topographical phenomenon is being recorded.* What if something similar could be done with paintings? What if we could hear a painting?
The psychologically cool, multi-sensory installation Delay consists of a painting that was scanned using advanced, medical imaging. It is presented as an artifact, as suggested by presenting it in the middle of a room, hung from a minimal, aluminum framework instead of, more traditionally, on a wall. When someone enters the installation space, the shuttered plate with motors swings in front of the painting. Once in place, the small shutters slowly open and close over the areas that were scanned and the sounds that were created from them can be heard.
Delay is both an illustration of a scientific exploration of form and materiality and more. It can be understood as a metaphor for love, the desire - and poignant impossibility - to intimately know something/someone completely. A sense of melancholy prevails. The 'beloved' is poured over, every aspect - its 'voice,' precedents, available data and details - are magnified and gathered. The senses are alerted and more fully engaged. These offer new points of entrée and depths of knowledge. The beloved becomes more multi-faceted. We can now hear a painting. It extends in space, sound, and time. The world takes on new possibilities.
* F. Dombois, “Auditory seismology on free oscillations, focal mechanisms, explosions and synthetic seismograms,” in Proceedings of the 8th International Conference on Auditory Display (R. Nakatsu and H. Kawahara, eds.), (Kyoto, Japan), 2002.
is an Austrian artist and researcher in the field of Human Computer Interaction living and working in Montreal. In 2013 he received a doctorate from Bielefeld University. Currently he is a postdoctoral fellow at Concordia University and an affiliate member at Centre for Interdisciplinary Research in Music, Media and Technology at McGill University Montreal. www.grond.at
Artists: Mary Sherman, Florian Grond Curator: Prof. Regina Maria Möller KIT - Exhibition Program: Mahmoud Khaled Technical Support: Charley Bennett, Odd Joar Oksås, Eivind Vedlog, Administration: Bente Dragsnes, Håvard Karlsen, Annelie Røros The artists would also like to thank: Brett Bouma and Martin Villiger at The Wellman Center for Photomedicine (Massachusetts General Hospital/Harvard Medical School) for the Fourier-domain Optical Coherence Tomography Scanning; Andrew Anselmo and George Bossarte for technical/systems controls assistance and special thanks to L. Alexis Emelianoff, Marc Fournel, Peter Plessas, William Stephens and Siyi Wang. Travel Expenses of Florian Grond has been kindly sponsored by CALQ http://www.calq.gouv.qc.ca/