Wednesday, May 11, 2011

[HvEXAS] Celeste Boursier-Mougenot exhibition | May 12 – September 1


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Installation view from Céleste Boursier-Mougenotʼs index, virus, solidvideo, detail
Paula Cooper Gallery, New York, NY (3/19 – 4/25/09) 
Céleste Boursier-Mougenot: untitled (Series #3) + index (v.4)
May 12 – September 1
Monday – Saturday, 12-6 PM

Two sound installations untitled (Series #3) and index (v.4) by French artist Céleste Boursier-Mougenot create a special sonic atmosphere in EMPAC's lobby spaces. The first involves floating bowls and glasses in several pools of moving water. As these objects touch, the space is filled with their fleeting, floating music.

The other sounds moving through the lobby come from two computer-played pianos. The music is an articulation of EMPAC staff's typing activity. Software written by the artist maps linguistic properties to musical properties, translating letters, phrases, and punctuation into aspects of musical language like pitch, dynamics, repetitions, and chords.

You can read more about the exhibition in this month's Chronogram.



International arts magazine Digitalarti recently put their focus on EMPAC article online, which includes an interview with curator Kathleen Forde. Give it a read - the rest of the site + the print magazine are definitely worth a gander as well.


Composer Hans Tutschku in residence at EMPAC - photo by Natt Phenjati

There's still time to sign up for EMPAC's unique one-week workshops this summer in music and audio: Composing for Large Scale Multi-Channel Loudspeaker Environments, taught by Hans Tutschku (Harvard) June 5 – 10, and Physical Modeling for Digital Audio Workstation Plug-ins taught by David Amels (New York) July 18 – 23. Apply today!

xxxy: The Ascent
Thurs. 05/12, 10 AM - 5 PM

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EMPAC 2010-2011 presentations, residencies, and commissions are supported by grants from the National Endowment for the Arts, the National Dance Project of the New England Foundation for the Arts (with lead funding from the Doris Duke Charitable Foundation; additional funding from the Andrew W. Mellon Foundation, the Community Connections Fund of the MetLife Foundation, and the Boeing Company Charitable Trust), and the New York State Council for the Arts. Special thanks to the Jaffe Fund for Experimental Media and Performing Arts for support of artist commissions.

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