Despite the spatial and temporal distance, The Invisible Band finds a point of encounter in the resonance of layered sound. The story is being written each day, as the event occurs.
And the first step in this process was already undertaken yesterday evening, by Adriana Torres Topaga. The results are visible in the video — make sure to turn up the volume. And keep an eye out for the coming days, as the other invitees add their layers.
Gabriela Gordillo has invited seven different musicians and improvisers to each be present in bb15 over the coming week, and to each add a layer to Minute/Year in turn, each evening at 20:20. This intervention, The Invisible Band, will allow a kind of time-stretched collaborative process to unfurl over the coming days, in a form of distanced improvisation.
The Invisible Band began last night.
Let’s explain. Our friend the coronavirus has kept many places still closed, including bb15 in Linz, where Minute/Year is continuing its daily layering. This has meant that the work has quietened down to a spectral whisper.
However, over the coming week, there will be an intervention in the work.
The Centro de Cultura Digital in Mexico published an essay by Kassandra Valencia about ‘Minute/Year’ yesterday. ‘El presente suena, resuena’ is a wonderful article, in Spanish, encapsulating the five years of ‘Minute/Year,’ with some beautiful and poetic insights, and with a particular focus on the ‘Remote Voices’ intervention by Gabriela Gordillo (@cupasoup) in @bb15_artspace in April. Take a look now: http://editorial.centroculturadigital.mx/articulo/el-presente-suena-resuena
More railway research. The Stralau–Treptow Spreetunnel (in active use from 1899 to 1932) used to connect Stralau to Alt-Treptow through a tramline going under the river Spree. The tunnel still exists, but the entrances on both sides are filled in and the tunnel is flooded. To cross the tunnel with a tram used to take about two minutes. It takes just a little longer to do so rowing a boat.
A couple of days ago we posted about ‘Signal Tide — Two Passes,’ the audio mix derived from ‘Signal Tide.’ There’s also an accompanying interview, where we talked with Joel Ferree from the LACMA Art+Technology Lab about satellites, singing, sacredness, and space, for around a half an hour. It’s online here:
The two halves of the mix emulate the duration of two passes of the LES-1 satellite through the sky above Los Angeles — the original chronometer that structured the work. 📡 🛰
The music is derived from three sacred harp songs — ‘Fleeting Days,’ ‘Funeral Anthem,’ and ‘The Lone Pilgrim’ — which were used in the work. This music was recorded in collaboration with David Bryant and Drew Barnet, and features several other musical collaborators — full credits are on our website, (and we explain more about it in the interview).
‘Signal Tide — Two Passes’ is a 57-minute-long audio mix, in two halves. It is adapted from the score that structured ‘Signal Tide’ when it was presented in 2017. The mix uses music from the work, combined with sound derived from the radio signals of the LES-1 satellite. The music in the mix was recorded specially for the work.
Now, as a result of the pandemic lock-down, the museum is temporarily closed, and the LACMA Art+Tech Lab has commissioned and published ‘Signal Tide — Two Passes,’ an audio mix, together with an accompanying interview, as part of their LACMA@home program of online works for the coronavirus times. So if you need to escape from the world and listen to serenades to space archaeology for a while, now is your chance.
We wrote an account of ‘Remote Voices’ (one of the corona-lockdown interventions in ‘Minute/Year’ organised by Gabriela Gordillo last month at bb15 in Linz). The account has just been published by the Copenhagen Architecture Festival as part of their “corona essays” series of contemporary writing about covid-19 and the built environment. It’s online here, take a look: https://cafx.dk/corona-essays/remote-voices/ 🏠
Looked a little like this.
From last week: first journey out of the city since the beginning of the corona times, weaving a masked and careful path to the Brandenburg countryside. It was the beginning of a process of researching the routes of abandoned train lines in Brandenburg and Berlin, as part of what will (hopefully) become a new work. Five hours of walking. More soon.
We are very happy that Gabriela, bb15, and AMRO are allowing Minute/Year to form part of the program of AMRO20 — make sure to take a look at all the details of the whole festival online, at www.radical-openness.org. 🕗
The 2020 edition of the AMRO Festival has a curatorial theme, “Of Whirlpools and Tornadoes,” that is, in part, a frame to consider the radical disruptions that have been wrought by both the immediate crisis of coronavirus and the simultaneous parallel rumbling crisis of climate collapse. The PATIO stream of programming at AMRO is a series of experiments, researches, starting-points, and speculations related to this theme, and ONE MINUTE ROOM will be occurring each evening as part of this stream.
So if you have something you’d like to be read out in the space and to become part of the archive of the work, this will be a chance to do exactly that. The possibility to make contributions will run throughout the time of the four days of the AMRO Festival — so, from this evening through to Saturday evening. Remember, the recording happens at 20:20 exactly, and so any contributions will need to be offered before then (if too late, they will instead become part of the following day’s process).
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