Locate Yourself - Exhibition Catalogue - Robert Curgenven

RobertCurgenven

Catalogue for Robert Curgenven's solo exhibition "Locate Yourself" comprising 6 multichannel sound and video installations in embedded structures http://www.recordedfields.net/installations/locate-yourself/

ROBERT

CURGENVEN

Mulchannelsound

andvideoinstalaons

inembeddedstructures

CITWandesfordQuayGalery

Cork,Ireland,8-30September2017


Mulchannel

sound&video

instalaonsin

embedded

structures.

Rightfrom thepointofentrytothegalery,theworksandconstruconsin

LocateYourselfmakestangiblethewaysinwhichwelocateourselvesin

architecturalspace,large-scalegeographicalspace,socialspaceandespecialy

howwelocateourselvesinourimmediatepersonalspace.

EachofthepiecesinLocateYourselfworktogethertohighlightthedifferent

waysinwhichweorientourselvesandrespondtolocaonandcontext.The

exhibionunderscoresthewaysinwhichairandweather,perceponand

architectureframeandaffectphysicalexperienceandnavigaon–notonly

whereyouarebutalsohowyouengagewithitwhenyouarethere.

Represennganoverviewofspaalresearchfrom thepast10yearsviaa

seleconofnewinstalaonsalongsideexisngworksplusinteracve

andvideoworksderivedfrom recentcricalyacclaimedalbums.

Aboveright:instalaon

viewwithinthe50sq.m

mazeof“Babel”

including2ofthe

10channelsofaudio.

Abovele:thearst

withinthemaze.

Below:Screenviewfrom

3channelvideo&

2.1channelaudio

instalaon,“Theytore

theearthand,likeascar,

itswalowedthem”,

withinthecustom-built

viviewingcube.

InstalaonworksinLocateYourself:

Babel–10channelaudiocomprising1000+tonguetwistersin30languages.Embeddedina50sq.m centralmazethat

isthegalery’ssolepointofentry.

Bardo–3.1channeltacleaudioinadarkenedspacefosteringadynamicspaalandtemporalsuspension.

UnbalancedArchitecture–physicalyengagingarchitecturalconceptsviasubsonicsoundwith4individualsoundtracks

to4architecturalcolages.

ThTheytoretheearthand,likeascar,itswalowedthem -3channelHDvideo+2.1chsoundin3m cube–filmedinthe

Australiandesert,exploringfirst-personthemesofselercolonialism.Audiofrom soloreleaseofthesamename.This

instalaonaccommodatedonly3peopleforevery20minviewing.

Climatainteracvesoundatlas–showcasingcontextwithinthisprojectrecordedenrelyin15TurelSkyspaces.

Dances&Airs–suiteof2channelHDvideoworks+2.1chsoundfrom Climata,Oltre&SIRENE-filmedinPatagonia

(Chile),Cornwal(UK)&amongtheworld’slargestfloweringplants(100m tal,Tasmania,Australia).

LoLocateYourselfwaspartofSoundsfrom aSafeHarbourFesval,CorkCultureNight2017and

OpenHouseCork–CelebrangArchitectureintheCity.

Cataloguedesignandlayout:RobertCurgenven.ThankstoKathleenMcDowal.Photography:JedNiezgoda.Leadinstaler:

BrianMacDomhnail.LeadSeamstres:LesleyStothers.Volunteercoordinator:IreneBerkery.Technicalsupport:Eidotech


Tonguetwistersin

30languages,

10ChannelAudio,

10Monacor

hangingspeakers,

5amplifiers,

125m speakercable,

2WavePlayer8,

50sq.m maze

70m suspended

sewnBlackWool

Serge,

chain,screws,

woodenbaens,

duraonvariable

2017

Middlele:exittomaze

andgaleryview.

Remainder&opposite

page:instalaonviews

throughoutandwithin

themaze.

Tongue twisters in 30 languages

recorded in Cork,2017,with 60

parcipants.Unprocesedrecordings,

spaalised acros 10 speakers

throughouta50sq.m maze.

Babelbuildsontheconceptsofspoken

languageasculturalsignifier,modeof

communicaon and it’s direct

physiologicalexpresionviathebody

asresonator:parcularlythemouth,

noseandsinuses.Languageconveysa

rangeofinformaon,rangingfrom the

sysyntaccaltothecultural.

Tongue twisters,oen played asa

game around in the kitchen table,

presentanidealmeanstocombine

cultural informaon within a

discreonary syntaccalframework

which also serves to expres the

unique physiological and regional

expresionofaspeaker’slearntand

developed approach to spoken

language.The individualspeakers’

arculaon ofthe tongue twisters

shows a point between nature

(physiology, origin, language) and

nurture(upbringing,accent,region)to

shshowtheuniqueaspectsofthespaal

andcommunicavescopeofmouthas

resonator.

The instalaon re-presents the

mythicalconceptofBabelasamaze,a

spaalcomplex to be negoated,

which funcons as a lateral

counterpointtothetoweroflegend

and its vercal and hierarchical

architecture.

Themaze,beginningfrom thesole

entry-pointtothegalery,transforms

thearchitecturalandourexperienceof

it,whilethetonguetwisterswithinthe

maze present a further spaal

transformaonthatnavigatesregional,

cultural and personal vectors of

individualandcolecvearculaons

ofontologicalexperience,albeitina

playfulandengagingmanner.


Thespeechvariesfrom inmateto

declarave,thefrequencydistribuon

ofthespokenwords-parcularlythe

sibilantsounds-playingupon our

hard-wiredneuralprocesingofthe

navigaonofourpersonalspaceand

propriocepon,furtherimpacngon

ourabilitytonavigatethemaze,galery

andbroaderculturalframeworks.In

effect,parcularfrequenciescanfool

ourbrains,basedonrefleconsfrom

the surounds and their spaal

distribuon,into‘thinking’thatweare

standing somewhere different to

whereweare-shiingourpercepon

ofthevolumeinwhichwestandwhilstwe

also try to decode the

cascadeofspokenandsemiocsounds

aroundus.

Languages recorded: Catalan, Croaan,

Czech,Danish,Dutch,Farsi,Finnish,French,

German,Greek,Hebrew,Hindi,Hungarian,

Kannada,Korean,Irish,Italian,Lithuanian,

Mandarin, Marathi, Polish, Portuguese,

Slovak,Tamil,Romanian,Rusian,Spanish,

Swedish,Urdu,Yoruba

3.1Channelaudio

3monitors&subwoofer

3xCDs:

80mins/99tracksof

recordingsorsilence

3CDplayersonshufflle

creanganever

repeangpiece

duraonvariable

2011

Recordedat4TheField,Nancledra,

Cornwal,2011 using asorted vinyl,

acetates, dubplates, turntables and

mixingconsolesilence/whitenoise.

Anon-place,anin-betweenzone,Bardo

isaspaalandtemporalsuspension

within overlapping yet mutualy

exclusivefieldsinterpermeatedbyan

aetherictaclity:soundsdisorienngly

enterandleave,mergingandconfusing

the boundaries of interiority and

exexteriority.Movingfrom theedgeof

silence to moments of complete

immersion, Bardo draws on the

physicality ofsound -notjustthe

physicalimpactonthebodybuttheway

inwhichsoundcanshapeourpercepon

ofspace and the flow ofme –

cumulavelyfosteringastatewhereone

expectschangebutalsoacquiescedto

thingstoremainastheyare.

Instalaonpreviouslyexhibitedas:

3channel,RAM Projects,Berlin,2011

5.1channel,DDKWeglin,Poland,2012

7.2channel,ReverseGalery,NewYork,

2013

Top,boom le&right:

Babel:withinthemaze.

Right:Bardo,

instalaonview.


Subwoofer(42min),

Fourheadphone

soundtracks

(approx5mineach),

Fourarchitectural

colages

2016

Eachofthefourstaons

comprisestheoriginal

image(whiteboard)&

relatedcolageworkwith

individualsoundtrackon

headphones.

Tople:Viewdowncrypt

Kircher&Newman

relatedworks.Subwoofer

isbehindmul-part

Kirchercolages.

Boom le:Viewdown

cryptwithKircher&

Gileerelatedworks.

Topright:4metre

Newmancolage&

headphonesoundtrack.

Middlele:Jonesrelated

colage&soundtrack.

Boom le:Newman

colage&soundtrack

”Unwel Tuned Architecture of

Dystopia”isavisualandaudibleesay

whichtakesit’sstarngpointfrom four

architectural ideas by Athanasius

Kircher(TurisBabel,1679),Ernest

Jones(ANorthernEnglishTown,1848),

KingGilee(HumanDri,1894)and

Oscar Newman (Underground

Manhaan,1969).

The instalaon consists of four

"staons",eachdevelopedfrom oneof

thefouroriginalarchitecturalideas,

consisngofhacolagebyMarta

Kowalczyk underscored by a

composion Robert Curgenven,

together refering to non-existent,

althoughvisualized,spaces,buildings

andcies.

The projectalso consistsofa5th

architecturalsoundtrack solely for

subwoofer. thatontheonehand

interferes with the headphone

composions-whichhavenolower

frequencies,orbas,elementsoftheir

own-butalsowithandtheacouscs

oftheexhibionspace,transformingit

akindofmusicalinstrument.

This fih soundtrack from the

subwooferexistsinseveraldimensions

-funconingasanepicentretothe

totalityoftheexhibion,exernga

tectonic effecton the surounding

instalaons, manifesng without

visualcue ata variety ofnodes

ththroughoutthelengthandbreadthof

thegalery–whilstatitscorecreanga

constantly shiing architectural

modulaon of each of the four

headphonesoundtracks.Thissub-bas

fugue ispurelywithin the boom

octaveandahalfoftheaudiorangefrom

20-60Hz – and fils the

architecturalvolumeofthecrypt,a

three-dimensional affect further

operangonthemicroclimateofthe

airandfurtherphysicalizedthrough

aendant bodies. As it changes

throughoutits40minuteduraon,this

volumetricfunconofsoundwithin

thediscretelocaonisevidencedasa

fourdimensionalprecesion ofthis

very physical manifestaon of

vibraon.

InInthesamewaythatchangingthe

shape of the foundaons of an

architecturalform wilchange the

upperelementsofthebuilding,sothe

sub-bas modulaons cause each

staon’ssoundtracktobechangedin

theirshortpasagethroughtheair

betweenheadphoneandeardueto

thefihsoundtrack’schangestothe

air,buildingandbodyofthelistener.A

further architectural modulaon

occursinthehigherfrequencies,the

everchanging“his”thatsurounds

eachsoundtrack,asthesub-basacts

directlyuponthephase-characteriscs

ofthesoundtrack.Thisdirectacon

movesthe airin and outofthe

headphonescausingaphysicalchange

inthespaalnatureofthesoundtrack

viaits’psychoacouscs.

Thus the two architectural

modulaons (dimensional and

psychoacousc)bythesub-basact

differently upon each staons’

soundtrack,creangconstantlyvarying

physicalandacouscdimensionsfor

the unbalanced architectures

portrayedinthecolagesandoriginal

diagrams.Soasthefihsoundtrack’s

40minutepiecesoundsacrosthe

individualsoundtracks-eachofslightly

differentduraons-theseindividual

pieces in their discernable

architecturalmodulaonsneversound

thesametwice.

Sound&Audioconcept:RobertCurgenven

Colages:MartaKowalczyk

Curator:PawelKrzaczkowski

Commisionedby:BecZmiana,Warsaw,2016


Locaonrecordings

from 15Skyspaces,

2ChannelAudio,

ArchivePhotographs,

InteracveMap,

iPad,2speakers.

2016

Tople:galeryview

withcrypt,viewingcube

&soundatlas.

Lower:Upperle:Sound

atlasinaconwith

visitorengagement

Lower:Upperright:

Soundatlas,screenview

ofcompletesetof15

locaons.

Lower:Boom le:

zoomedrightintoshow

localcontext&canalfor

locaon2-MuHKA,BE.

Lower:Boom right:

zoomedtoshowlocal

contextandplayerwith

imageviewerforlocaon

number1-Tremenheere

SculptureGardens,UK.

Farboom right:

Instalaonandscreen

viewin-situ.

Skyspacesandorganisaonsinvolvedintheproject:

● TremenheereSculptureGardens(UK)–“Kernow

Tewlwolow”(2015)

● Museum vanHedendaagseKunstAntwerpen(Belgium)–

“6m Skyspace”(1998)

● Zentrum fürinternaonaleLichtkunst(Unna,Germany)–

“ThirdBreath”(2005)

● HotelCastel(Zuoz,Switzerland)–“PizUter”(2005)

● MAK-ÖstereichischesMuseum fürangewandteKunst

(Vienna,Austria)–“OtherHorizon”(2004)

● WurthGruppe/SalzburgMuseum derModerne(Austria)

–“BluePearl”(2006)

● KunsthaleBremen(Germany)–“Above–Between–

Below”(2011)

● LhoistColecon(private,Brusels)–“Boulee’sEye“

(2003)

● YorkshireSculpturePark(UK)–“DeerShelter”(2006)

● KielderWater&ForestPark(UK)–“CatCairn”(2000)

● HoughtonHal,Norfolk(UK)–“Seldom Seen”(2004)

● KilfaneGardens(Ireland)–“AirMas”(1994)

● NaonalGaleryofAustralia(Canbera,Australia)–

“WithinWithout”(2010)

● Kulturforum (Järna,Sweden)–“Outside,Insight”(2011)

● EkebergparkenSkulpturpark(Oslo,Norway)–“TheColor

Beneath”(2013)

A contextualy driven approach

informedbyacompleteshi inthe

perceptual engagement with the

SkyspacesofJamesTurelunderpinned

therealizaonofthisrecordingproject,

Climata.Thesoundatlasisoneoffour

outcomesfrom thisprocesthatalso

sasaw adoublealbum,aninstalaon

version in the NaonalGalery of

Australia’sSkyspaceandquadraphonic

concerts acros Europe including

MaerzmusikFesvalBerlin& Palazo

Grasi (Venice). The project was

recordedenrelyin15Skyspacesacros

9countriesinconsultaonwithJames

Tureland with the permision of

individualSkyspaceowners.Thissound

atlasoffersaviewinsidethatproces

andsimultaneouslythecontextoutside

andaroundtheSkyspaces.

A Skyspace isan architecturallight

instalaon by American lightarst

JamesTurelcomprisingaspecificaly

proporonedchamberwitharound,

ovularorsquareapertureintheceiling

opentotheskyandoutsideworld.

Climatareferstotheancientdivisions

usedtomaptheinhabitableworld,

from latudetothelengthofdays.This

mapping ofthe inhabited world is

reflectedintheseleconofthespecific

15 locaonsrecorded from the 87

Skyspacesworldwide.

DuringayearofrecordingforClimata,

eachSkyspacewasbrieflytransformed

from anarchitecturallightinstalaon

intoasoundinstalaonwhereyoucan

heartheairmove.Listenerscan‘hear’

the Skyspace and the surounding

terainwhichshapestheairflowmade

audible in that recording. The

recordingsineachSkyspacecapture

eachdifferentchambers’airinmoon.

TheinsideofeachSkyspacebecomes

likeasinglepipeofapipeorgan,a

movingcolumnofair.Ratherthanranks

standing inside a church these

oscilangvolumesofairaredistributed

throughouttheworld.

Eachrecordingcapturesamicrotonal

intervenonthatusedonlytwocustom

oscilatorsandaportablespeakerto

sculptairinsideeachSkyspace.This

drives an architectural interacon

betweentheSkyspace’sinteriorand

exteriorastheairmovesthroughthe

apertureintheceiling.Thisinterplay

betweeninsideandoutsidehighlights

changes In the weather as the

movementofairfrom thetonesdraws

soundinfrom outsidetheSkyspaces

whilegivingrisetoanaudiblecontextto

eachlocaon:throughitsspecificlocal

sounds,heardbeyondthelimitsofwhat

isseenthroughtheSkyspaces’ceiling.

Thisconstantly changing movement

throughtheceilingaperture,createdvia

thebeangtonesfrom theoscilators,

makestheairinthesespacesaudibleas

aflueringsound–wecanhear‘air’.

Thesoundatlaspresentsthemovement

ofeachvolumeofairasaspaceina

specificlocaon.

Whilethedoublealbum versionofthis

projectlayersthese recordings,the

interacvesoundatlaslaystheproces

bare,alowing users to play and

combineindividualrecordingsmadeat

each Skyspace to create theirown

contextualy-drivencomposionsfrom

someofthesame"notes"usedtomake

thealbum.Inaddion,thesoundatlas

alowsyoutoseethelocalfeaturesyou

heararoundthesites.Thesatelitemap

marksthelocaonofeachSkyspace

visited and swaps the muchphotographedviewthroughtheirportal

uptotheskyforafreshperspecve

zoomingdownthroughtheairdirectto

the Skyspace.From there you can

browsephotosandasoundrecording

from thesitethatyoucanacvate,shut

offandlayeroneoveranothertocreate

yourownshortcomposions.


2.1ChannelAudio

Custom viewingcube

3ChannelHDVideo

(each3m x1.68m)

duraon20minutes

2017

Custom builtviewing

cube(3m x3m)with3

headphonesandbas

conductedthroughseat.

Tople:amoment’s

white-outinthepiece

witnesedagainstthe

soundofcicadas.

Boom le:Panorama.

Rightside:Various

momentsthroughoutthe

20minutepiece.

Filmedinremotelocaonsover5000kms

inAustralia,Feb-Mar2014&July2015

Soundeditedfrom “Theytoretheearth

and,likeascar,itswalowedthem”,

(RecordedFieldsEdions,LP,rfe_02,

2014)

A very physical negoaon of

teritoriesvoidedbyhistory.Forged

from thehistoricaldynamicsofthe

seler colonialtrope,playing out

acrosfourscenes,throughtheeyes

notoftheinvadedbutoftheinvaders

to a harsh and unforgiving land.

Renderedviafieldrecordingsgathered

over12 yearsin over30 remote

locaonsacrosAustralia,mixedand

expanded within immense,

shimmering harmonicswroughtvia

pipeorgan,dubplates,guitar,basand

turntable feedback,piano,and low

frequencyoscilators.

Amidsttheheatandthedust,ina

landscape populated only by the

insinuaon ofcharacters,the field

recordings bear testament to a

dramaturgical tension within an

ontologicalandphenomenalspace-a

starknesdwelingwithinanunfilable

horizon.Astheembodimentofarogue

outpost of empire, the seler

colonialists’blindenactmentofwil

andviolenceagainstandintothearid

interioroftheirnewlandservesasthe

manifestaonofamortalstruggle.This

storyisnotaboutabalewel-fought

ininahardandunforgivingland,northe

romancisaonofghosttownsand

theirspectralremains.Whetherthe

selers’myopicconquestbeadogged

aemptthatendswithinthespanof

one shortlife ora hard-won,yet

momentary,triumph to lasta few

generaons,theresultismuchthe

same.Itisasiftheconviconintheir

misapprehensionofthe“wilful,lavish

land”isturnedonceagainuponthem,

astheravagingfronerconsumesand

erases the ruins ofthese bales,

leavingliletotelbarascarwherethe

dramaplayed outin thewretched

shadowoftruedesolaon.

The sequence of the overarching

chronologythescenesare:thesurvey

ofalandasumedtobeempty;the

movementintoandinhabitaonofthis

confronngly large,alien landscape

andthecolonistsvagueawarenesof

the underlying sociallandscape;a

coconflagraonandtheresulngchange

intherelaonshipswiththelandforal

within this social landscape;

devastaon -ofculture,cizenry,land

-theinevitabledecline.

FilmedinLakeMungo,LakeHart,Coober

Pedy,AliceSprings& MacdonnelRanges,

KatherineGorgeandthroughoutNSW,SA&

NT,Australia.Alfilming,edingandcolour

corecng,RobertCurgenven,Cork,2016-17.

Soundoriginalyderivedfrom the12channel

soundinstalaon“UnsilencedLandscape”

exhibited in 2009 at Biorama Projekt,

Joachimstal, Germany; Centrum Sztuki

Współczesnej(CentreforContemporaryArt),

Torun,Poland;&DiapasonGalery,NewYork.

Unprocesedfieldrecordingsfrom over30

locaonsacrosAustraliafrom 1999-2010

including:CooberPedy,Mound Springs,

Blinman,Parachilna,Wilpena & Flinders

Ranges(SouthAustralia);Kynuna,Winton

(Central Queensland); Roper River,

Mataranka,Cape Crawford,Litchfield &

KaKakadu Naonal Parks, Gunbalanya /

Oenpeli,Darwin,Ewaninga,Chambers’

Pilar,AliceSprings,EmilyGap,JeseGap,

Ormiston Gorge, Barkly Highway, Top

Springs,TanamiDesert(NorthernTeritory);

EchoPoint(New SouthWales)& Central

Victoria.

Addionalguitars recorded 2007-2013,

piano 2004-5 & 2013, turntables &

dubplates2009-2010& 2011-2013,pipe

organs2011-13.

SoundmixedinItaly(2008),Germany&

Poland (2009),Australia (2010),UK &

Cornwal(2010-14).

FilmingasistedbyKathleenMcDowal.


2.1ChannelAudio

2ChannelHDVideo

(3.5metresx

2metres)

(2017)

Tople:ARoom atthe

EdgeoftheEarth

Middlele:Cornubia

Boom le:Cornubia

Top&uppermiddle

right:FogLine-Among

theTalestFlowering

PlantsintheWorld

Lowermiddle&boom

le:ARoom attheEdge

oftheEarth

CORNUBIA/IMPERIAL

HORIZON(FORCALIBAN)

Filmed in WestPenwith & Polruan

peninsula,Cornwal,2015(HD)(5:20)

FootagefilmedinCornwalatornear

thesitesofthepipeorganrecordings,

February2015.

Soundfrom SIRENE–SelectedPipe

Organ Works1983-2014 (Recorded

Fields Edions, LP, 2014, second

edion 2017).16-footpipe organs

recordedinCornwalatthechurchesof

St Paul (Ludgvan), St Winnow

(Towednack), St Uny (Lelant), St

Wylow(Lanteglos),StCyrus&Juliee

(StVeep).Unprocesed pipe organ

recordings,equalisaononly. Audio

mastered by Rashad Becker at

Dubplates&Mastering,Berlin,2014

Cornubia:extractremixedfrom a2011

composionandliveroom recordings

by Marn Clarke ofan 8-channel

diffusionatTheExchange,Penzance,

Cornwal.Including live microtonal

dubplates & turntables, guitar

feedbackandfan/venlator.Original

mixat4TheField,Cornwal(2011).

RemixedinTšupc,Germany(2014)

ImperialHorizon(forCaliban):pipe

organ with 78rpm shelac/acetate-

HMV D.B.5948,year unknown -

Beethoven’sEroica,SymphonyNo.3in

EFlat,Opus55,2ndmovement.Track

mixed at Trewetha,August 2013.

OriginalyBeethovenwastodedicate

Opus55toNapoleon,butuponhis

proclamaonasEmperorofFrancethis

honourwaswithdrawnandthepiece

retledEroica.Calibanwastheoriginal

inhabitantofthe island to which

Prosperoisbanishedandheisforced

tobecometheservantofProspero.

Alfilming,eding&colourcorecon,

RobertCurgenven,Cork,2017-except

Tasmaniandrone&me-lapsesfilmed

byStevePearce,TheTreeProject,2016

FOG LINE – AMONG THE TALLEST

FLOWERINGPLANTSINTHEWORLD

FilmedinTasmania,2016(HD)(6:26)

Soundremixedfrom Climata,Dragon’s

Eye Recordings / Recorded Fields

Edions,2CD,2016.Recordedenrely

in15TurelSkyspacesin9countries,

2015. This project is principaly

characterised by recordingsofthe

movementofair.

FootagecourtesyofStevePearceand

TheTreeProject.Thefootageselected

forthe instalaon also principaly

showsthemovementofairviawind,

conveconandbiomas,inandaround

thetalestfloweringplantsintheworld.

AROOM ATTHEEDGEOFTHEEARTH

FilmedinChile-Patagonia:Toresdel

Paine&PuertoNatales2015(HD)(4:06)

Soundfrom AlegroinSeguitoOltre

(2015)recorded live atBlue Note,

Poznan, Poland, 2009, using

Transparencedubplate,guitarfeedback,

turntablefeedbackandfieldrecordings.


“WhenyouenterCIT’sWandesfordQuaygaleryinCork,thereisamazemadeofblackfabric.Insidethemaze,voicesspeakover

oneanother:tongue-twistersspokenby60differentpeople,in30differentlanguages.Thevoicesemergefrom speakershidden

withintheconvoluonsofthemaze,alwayssurprising,uerlyunfolowable.It’saquickwaytogetlost..CurgenvencametoCork

aerspelsinCornwalandBerlin,withaback-catalogueofrecordsthathoverbetweenambience,drone,andnoise,wherefield

recordingsarelayeredwiththeresonancesofpipeorgans,guitarfeedback,andturntablemanipulaon.Thesearepaentrecords,

whichdemandadegreeofpaenceandconcentraonfrom theirlisteners.Likebuildings,theydonotrevealthemselvesalat

once.Curgenven’sfascinaonwiththesculptural,spaalqualityofsoundgoesrightbacktohis[roots].

LocateYourselfsetsouttoanswer[howtoarculate,aesthecalyorexperienaly,themovementofair]throughtheexploraon

ofboundaries;placeswhereonethingblursintoanother,whereonekindoflogicmaybecomeinterweavedwithadifferentorder

ofsenseenrely.Curgenvenseestheseboundarieslesasborders,andmorelikethe“limitofadefinion”.Whetherit’sin

Cornwal,wherelandends,orintheRedCentreofAustralia,whereitseemslikelandmightneverend,suchperceptualfroners

arecontested,conngentspaces,areasofdiversityandunpredictability.ForCurgenven,theseedge-landsareidealplacesto

exploretheboundariesofourcultures,oursenses,andourselves.”

-IanMaleney,IrishTimes,September2017

“Thethemeisindicatedbythetleandthearst’sdescriponofhisworkas“spaalresearch”.Curgenveninvesgateshowplace

isconstutedthroughourpercepon.Underlyingthisisaradicalrethinkingofwhatconstutes“place”inthefirstinstance.

Ratherthanpresenngabstractsounds,hisworksemphasisepolicalcontext,personalhistories,andthephysicalityoflistening

bodies.astrongshow.”

-RobinParmar,EnclaveMagazine,Ireland,February2018

“WhiletakingthejourneythroughRobertCurgenven'sambiouslabyrinthineworldofLocateYourself,thewordtrustfloated

throughmymindandresonatedthroughthespace.Movingthroughtheconstructedspaceinterspersedwithsoundandvideo

works,Iwasaskedtoputmytrustinthearst,trustinmyownperceponofwhatIwasexperiencingandatrustinthefamiliar

connuum ofspaceandme.Whilethereisanexpectaonthatmostartworkswilseekanelementoftrustinthevisitor,there

arefewthatarequitesopalpable.“

-MirandaDriscol,Director,SiriusArtsCentre

“Spectralityisoenandrightlyasociatedwithintherealm ofadominantvisuallanguagethatrestsuponanoriginofappearance

andoflooking(spe(cere).However,italsogainscloseproximityinmeaningtothefleengpresence–thecomingsandgoings,

andthewithdrawalsofanun-restedoriginal–andtoreturnasspectralthing;apresenceinabsence,andanabsenceinpresence.

ItseemstomethesetermsareimportanttoestablishoneselfinthetaskdemandedbyRobertCurgenven’sshowLocateYourself.

However,isnotsomuchthat”LocateYourself”impliesano-wherethatpermanentlypresentsitselfbeyondus,nordoesitsuggest

ththatthetaskoflocaoninafleengtemporalenvironmentisanimposibleone,butperhapsinstead,thatthetaskinvitesa

certainlevelofintrospecon.Inturn,thiswouldseem tobeisuedbythearstassomethinglikeaquietlyspokenpleathatavoids

anyexcesiveexpresionorequivocaonofthedemandandsilentlyturnsusbacktowhataresurelytheoriginsandtheplacesof

theworksthemselves.Ifthisisthecase,itdoessothroughafundamentalre-quesoningofthelimitsofthesiteoftheworkandit

makesusthinkaboutandlook-againatwhatwethoughtarestablenoonsofspaceandmemory,thatarenowconnualy

inscribedwithotherconsistenciesandregistersofplaceandevent.Whatbeginsthenfrom asimpletaskoflocaon,becomes

somehowknoedandturnstowardsare-tracingoforiginalatmosphericsregistersofplaceandme(contextandduraon),

whichrevealsitselfasapotentlingeringacouscaer-life.“

-JasonO'Shaughnesy,MastersArchitectureProgrammeDirector,CCAECorkCentreforArchitecturalEducaon

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