“At the end of the day, everything is interconnected.” (1)
“Where green, where salty, the earth moves against the world under the cover of darkness, its postcognitive, incognito worker’s research and the last radio played.” (2)
The artists contributing to this latest chapter of YCTM explore the sonic response of a world struggling to free itself from humanity. Starting with memories and dreams captured by sound on film and moving on to the felt effects of climate change and extinction, the chapter holds space for an empathic future where human-centered civilizations become a holistic code. This chapter is presented in conjunction with Infrasonica. and with Kunsthall Trondheim.
Protagonist Apichatpong Weerasethakul‘s Memory (2021) describes a repeated encounter with a haunting boom: “It is like a rumbling from deep in the earth…” a grinding sound that By Stephen Harney and Fred Moten describe as “…Earth’s movement against the world’. (3) Own essay on Weerasethakul’s sound works Abhiyan Toto examines cinema as a place where “…our relationship to multiple worlds becomes palpable, in all its friction and violence, and the sound can be heard around the world.” The essay is accompanied by the song “Future Memory”, which he composed Koichi Shimizu Weerasethakul for the film Syndromes and the century (2006).
In a multi-channel sound installation Vedøya – Lament for the mountain of birds that lost their voice, no. 1 (2022), Elin Már Øyen Vister gives voice to Vedøya (Røst) mountain. Once home to one of Northern Europe’s largest seabird nesting colonies, Vedøya fell silent in 2020. due to climate change and sudden declines in marine ecology. The great rock is now a monument to the disappearance of the many species, sounds and bird languages that once occupied its slopes. Submitted with Trondheim Art Hallthe segment is organized in conjunction with Øyen Vister’s collaborative exhibition Kunna Guanna Concha with Sissel M. Bergh and Carolina Caycedowhich also includes works Janicke Schönning and David de Rose. The exhibition is curated in the Art Hall Stephanie Hessler with Katrine Elise Agpalza Pedersen and Kaja Grefslie Waagen in collaboration with the artists participating in the exhibition.
stones make birds stones (2017) according to Kite includes recordings of the mouth of the Hudson River, the river lapping at the feet of the poet, the hum of Taos, the electric instrument Jacob’s Ladder, a rehearsal of the Conch Shell Sextet, a harp excerpt from an earlier piece, and the performer’s voice. The kite says, “You see, every cell in your body contains information about the world.” In the ontology of the Oglala Lakota, “…even substances such as metals, rocks, and minerals can be volitional.” Your essay in 2017 Create genealogies by machines, written along with Jason Edward Lewis, Noelani Arista and Archer Pechavis, the Kite echoes the materiality of stone, rock, and minerals in the creation of cellular technology, as “AI is formed not only from code, but from the materials of the earth.” (4)
Filmmaker and artist Lawrence Lekthe video Black cloud (2021) propose a scenario in which a now dehumanized world continues to employ scripts of memory, trauma, self-help, and validation in an effort to maintain defunct standards of civility and surveillance. The story unfolds through conversations between the city’s surveillance AI named Black Cloud and their therapist, Guanyin. In this work, artificial intelligence is presented not as a technological product or a generative tool that creates innovations, but as a container of affect and emotions. We are attaching an interview – a conversation between Leko and the curators Rachael Rakes and Reem Shadid touches on man-made catastrophe injuries to man-made creatures. A self-caregiver who regains spiritual freedom observes that “…the past fades away because it is only a memory. The future disappears because it didn’t happen. Always so. Tomorrow will never come.” The segment is delivered with Infrasonic.
Trondheim Art Hall is the largest international arena for contemporary art in Trondheim and the Trøndelag region. Through exhibitions and public programs, the Kunsthall interacts with the local scene, presents leading international artists as well as overlooked positions and connects with a large and diverse audience. Kunsthall Trondheim is located on local land in Åarjelsaepmie or in the south Saepmie / Sápmi / Sábme.
Infrasonic is a digital platform for non-western cultures. He records, analyzes and discusses the uncanniness of sound and its auras, linked to the world with the audible, the hidden and the sensitive. The platform includes archives of experimental audio and visual artists as well as theoretical reflections on contemporary critical thought. Infrasonica is pleased to join Xenia Benivolski and Lawrence Lek for the latest chapter of You Can’t Trust Music, along with editors Rachael Rakes and Reem Shadid.
You can‘t Trust the music (YCTM) provided by e-flux is a research project that brings together sound-based artists, musicians, writers, composers and writers and explores how landscape, acoustics and musical thought contribute to the formation of social and political structures. It is presented on a platform created by it Knoth & Renner and created Knoth & Renner with John Holfeld.
YCTM’s e-flux.com website is made possible by funding from Canada Council for the Arts. He produces it e-flux and created in collaboration with M TREES, NTT Communications Center (ICC), Liquid architecture, York University Art Gallery, Kunsthall Trondheimand Infrasonic. This department should be especially grateful Theresa Wang, Jayne Wilkinson and Robert Steenkamer.
Curated by YCTM Ksenia Benivolski.
1 Ito, J., “Resisting Retrenchment: A Manifesto,” trans. H. Yamagata, Journal of Design and Science2017. https://doi.org/10.21428/8f7503e4.
2. Harney, S. and Moten, F. Base Faith, e-flux magazine 86 of 2017 in November https://www.e-flux.com/journal/86/162888/base-faith/, accessed 2023 January 15
4. Lewis, JE, Arista, N., Pechawis, A., & Kite, S. “Creating kinships with machines,” Journal of Design and Science2018. https://doi.org/10.21428/bfafd97b.