Materiality of sound or acoustic forms?

Matérialité du son ou acoustique des formes?

Photo: exhibition Center of the University of Montreal
Eliazer Kramer, “Survival”, 2019

It is an exhibition to be sleek, which, at first glance, will seem like being almost empty. The space of the exhibition Center of the University of Montreal these days the look of the future, with rooms stripped plunged into the dark rooms from which emanate the sounds, and a few light reflections. The whole scene evokes the atmosphere of a science-fiction film.

Many visual artists have produced works that sound incarnation of the blurring of genres in our own time. Here, for this second edition of the event, The waveforms initiated in 2018, it is the music which seems rather to the source of the sound installations. Even though things may be more complex…

Simon Coovi-Sirois has produced a form of correspondence, of interconnection between the musical creation and the visual world. InS_fw_rQ2_kGE8s, every sound you hear is connected to a diode of a network of 96 DEL-producing forms of light. Sometimes this is the desired shapes by the artist that induce the sounds. Sometimes these are sound structures that turn into patterns radiating.

A version of this work was presented in the first place in show at the music Faculty of the université de montréal, but here the dialogue between the two systems produces an experience of five minutes in a loop, without beginning nor end, “an aesthetic experience in the continuity,” said the artist. The resulting sound will also discuss with intelligence some creations of Iannis Xenakis, but it falls more directly within the framework of electroacoustic music or digital. A work that creates a flicker effect…

Estelle Schorpp designed Ecosystem(s), an installation which takes the form of a soundscape intimate. A system is self-contained, self-regulating, listening to the ambient sound with pickups that look like the antennae of a cricket. And for good reason since it is a work that is based on the communication system of insects. An algorithm puts into action a fifty sound samples that mimic the sounds of insects… But each new one that comes on the scene, intervenes in the dynamics of the other, and modulates in intensity to create a balanced ” harmonious “. A sort of acoustic ecology. As explained by the artist, it is a more intimate ” which induces a posture of listening compared to a microcosm, rather than a sound journey “.

With the participation of Ariel St-Louis Lamoureux and Arnaud Guillard, Eliazer Kramer has made a piece that will make think of the sound experiments of Glenn Gould when he carried out The Idea of North (1967). As in the famous radio documentary of the renowned pianist, Kramer was pleased to work testimonials of individuals as a matter of sound. In Survival, these individuals speak of their experience of the war, the Second world War, the Korean war, the Lebanon war, the civil war in Syria… the superposition of The testimonies creates a dynamic, rich, amplified by the video projection in the abstract, which makes them feel the physical and emotional violence of the war.

In Spectrum, Laura Criollo has played intelligently about the limits of our senses. Thanks to a trick that I let you discover, it happens among other things to make us see the light waves that are beyond the spectrum visible to our human eyes. But it also happens that we do see sounds that are inaudible to the human ear through the use of the water… This game on the visible and the invisible, as well as the audible and the inaudible is staged here with great effectiveness.

The amateur will also be noted The flaws on your tongue, Marc-Andre Labelle, a work where the two sound waves, which, at first, seem to oppose, to thwart, will eventually align, creating a feeling of fullness in the visitor.

An exhibition, where the experimentation takes an important place.


The waveforms 2020

The exhibition Centre of the University of Montreal, until April 4,

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