Published by

Hearing Gravity

Hearing Gravity is a binaural sound experience. The work is an artistic exploration of black holes and the sculpting of time by gravity, developed in collaboration with relativity theorist André Füzfa. Bringing together sound storytelling, immersive theatre and spatial audio installation, the experience is for 1 person at a time and lasts 10 minutes per visitor.

Hearing Gravity relies on an intense audio illusion based on a bespoke binaural setup working in combination with a custom software. Binaural audio is a framework for the capture, process and restitution of hyperrealistic sound. 3D for the ears.

Developed in close collaboration with science, the artwork seeks to create new sensorial, emotional and mystical connections with a reality that appears out of reach to us, due to its astronomical proportions.

A technician is present at the entrance of the installation and gives headphones to the visitor. The visitor are instructed to follow a voice that will guide them throughout the experience, and enters a silent space with a faint light shining in a distant, and black volcanic sand covering the floor.

The headphones are augmented with a pair of binaural microphones, which magnifies the sound of the space in three dimensions. The listener discovers every audio detail (footsteps, breathing, rustling of clothes) in the infinite space they walk in, as they are woven into the audio narrative played in the headphones:

“Now that you’re standing here I will begin. This is a place that is in time. Slowly, make your way to the edge of the black pool ahead of you. Observe carefully the path that you are making with your feet. Notice the way each of your step is pushing the grains of sand to either side. Listen to how the sand crackles under the weight of your body. The more we learn about gravity the less we have come to understand about reality.

As they get closer to the source of light in the dark space, the visitor discovers a small black pool and a chair, on which the voice invites them to sit on. The voice tells the listener about what would happen if they were fall in a black hole, how their reality would distort like a trampoline under the weight go a heavy stone. They hear delicate sounds of wind brushing their ears. They walk in the sand, reach the black hole, we cannot reveal what will happen next…

➝ Info

Published by

36 days Diary

I have thought about numerous ways for the opening. I do nothing but just standing and smoking. I wove the wire to make a toy or bed. I lie under the bed. I hide in the toilet. I lie in bed dressed or undressed, etc. When it was only one hour before the opening, I decided to sleep in bed as usual.

➝ Website

Published by

(At least) 8 hours

¿Miras constantemente el reloj? ¿Hablas, caminas, comes más rápido que los demás? ¿Sufre usted de contar compulsivamente? ¿Estás cansado o aburrido en tu sueño?

Has llegado al lugar correcto: estas horas serán las más ineficientes de tu vida. Hay una cama disponible para cada visitante. Exploramos nuestro cansancio compartido y nuestros sueños colectivos. Estudiamos rostros dormidos y caminamos sonámbulos por Berlín por la noche. Nuestros hábitos de sueño están influenciados socialmente: cuándo y dónde dormimos, con qué frecuencia y durante cuánto tiempo dormimos. ¿Qué nos dicen nuestros sueños y nuestra forma de dormir sobre la sociedad en la que vivimos?

Turbo Pascal instala un laboratorio de sueño y fatiga en el salón de baile, un lugar donde todos pueden cansarse juntos. Un centenar de personas reunidas para dormir forman una célula resistente.

Una producción de Turbo Pascal. Con el apoyo del Fondo Cultural de la Capital y la Cancillería para Asuntos Culturales del Senado. En colaboración con TäF Charité y Kulturbüro SOPHIEN.

➝ Info

Published by

Edge

I sat at a small square table, only as long as my arms, in the center of the Boston Cyclorama, lit by a bright white light. The space is so big, more than 12,000 square feet, that once daylight had faded I was surrounded by darkness.

I sat at the table from 4:00 pm until 11:00 pm. Throughout those seven hours, I very slowly pushed two clear glasses filled with water across the table. They sparkled in the light, and reflected the space and the people standing nearby. I started with the glasses at the edge of the table just in front of me, and began to push them, nearly imperceptibly, across the table. My hands, and my focus, rarely left the glasses. At 11:00 pm they teetered at the edge, tumbling one after another to the floor, crashing and breaking, the water slowly spreading. I stood up and left, walking into darkness.

The other performances took place throughout the seven hours. They were sited along the perimeter of the space, moving in a circle around me. Their sound was sometimes loud, but when there was a break between performances, you could hear again the ticking of a clock echo throughout the space, emanating from my site.

A five hour version of this work was performed in November of 2014 at the at 7th Zagrebi! Festival, in Zagreb, Croatia.

➝ Info

Published by

The Maybe

For seven days, eight hours a day, Tilda Swinton performed The Maybe – an enigmatic and evocative work exploring a series of unanswerable questions from within the confines of a glass case. Glass display cases around the gallery contained objects relating to the passing of time – relics of famous fascination, traces of lives lived, objects of historical resonance and of prurient curiosity. Swinton, enclosed in her own glass cabinet – a living, breathing, silent being – invited questions of mortality and of time.​

Conceived and performed by Swinton and first performed at the Serpentine Gallery in London in an installation created with Cornelia Parker in September 1995, thereafter in the Museo Baracco in Rome in a collaboration with Pierre et Gilles in 1996 and, in 2013, at MoMA in New York.

➝ Info

Published by

My Bed

My Bed is a sculpture by the English artist Tracey Emin. The work consists of her bed with bedroom objects in a disheveled state. First created in 1998, it was exhibited at the Tate Gallery in 1999 as one of the shortlisted works for the Turner Prize.

➝ Info

Published by

Slumber

Antoni transforms the fleeting act of dreaming into a sculptural process. Between 1994 and 2000, the artist slept while a polysomnogram machine recorded her eye movement. During the day, Antoni would sit at the loom and weave shreds of her nightgown in the pattern of her REM. The patterns were woven into the blanket that covered the bed where the artist slept at night.

In developing Slumber, the artist researched dreams from the vantage point of mythology, art history, psychoanalysis, and science. Through her performance, she uses mythology to reinterpret the scientific. As Antoni discusses – “Science had made a machine for the body to make a drawing. I love the idea that if art comes from the unconscious, then this particular drawing is coming straight from the unconscious onto the page without an intercession of the conscious mind.”

➝ Website

Published by

Panoramix (1993‑2003)

Los planos horizontal y vertical del espacio se reactivan en una nueva relación; en palabras del teórico de la performance André Lepecki, Panoramix se despliega “en una dimensión geométrica derrumbada”. El plano “vertical-representacional” tradicionalmente preponderante en las producciones de la alta cultura occidental es destronado y el “humilde” suelo –tradicionalmente asociado con la fisicalidad básica, la animalidad y la suciedad– recibe una nueva categoría y un nuevo valor.

➝ Video
➝ Info