Locate Yourself - Exhibition Catalogue - Robert Curgenven
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/
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/
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ROBERT<br />
CURGENVEN<br />
Mulchannelsound<br />
andvideoinstalaons<br />
inembeddedstructures<br />
CITWandesfordQuayGalery<br />
Cork,Ireland,8-30September2017
Mulchannel<br />
sound&video<br />
instalaonsin<br />
embedded<br />
structures.<br />
Rightfrom thepointofentrytothegalery,theworksandconstruconsin<br />
<strong>Locate</strong><strong>Yourself</strong>makestangiblethewaysinwhichwelocateourselvesin<br />
architecturalspace,large-scalegeographicalspace,socialspaceandespecialy<br />
howwelocateourselvesinourimmediatepersonalspace.<br />
Eachofthepiecesin<strong>Locate</strong><strong>Yourself</strong>worktogethertohighlightthedifferent<br />
waysinwhichweorientourselvesandrespondtolocaonandcontext.The<br />
exhibionunderscoresthewaysinwhichairandweather,perceponand<br />
architectureframeandaffectphysicalexperienceandnavigaon–notonly<br />
whereyouarebutalsohowyouengagewithitwhenyouarethere.<br />
Represennganoverviewofspaalresearchfrom thepast10yearsviaa<br />
seleconofnewinstalaonsalongsideexisngworksplusinteracve<br />
andvideoworksderivedfrom recentcricalyacclaimedalbums.<br />
Aboveright:instalaon<br />
viewwithinthe50sq.m<br />
mazeof“Babel”<br />
including2ofthe<br />
10channelsofaudio.<br />
Abovele:thearst<br />
withinthemaze.<br />
Below:Screenviewfrom<br />
3channelvideo&<br />
2.1channelaudio<br />
instalaon,“Theytore<br />
theearthand,likeascar,<br />
itswalowedthem”,<br />
withinthecustom-built<br />
viviewingcube.<br />
Instalaonworksin<strong>Locate</strong><strong>Yourself</strong>:<br />
Babel–10channelaudiocomprising1000+tonguetwistersin30languages.Embeddedina50sq.m centralmazethat<br />
isthegalery’ssolepointofentry.<br />
Bardo–3.1channeltacleaudioinadarkenedspacefosteringadynamicspaalandtemporalsuspension.<br />
UnbalancedArchitecture–physicalyengagingarchitecturalconceptsviasubsonicsoundwith4individualsoundtracks<br />
to4architecturalcolages.<br />
ThTheytoretheearthand,likeascar,itswalowedthem -3channelHDvideo+2.1chsoundin3m cube–filmedinthe<br />
Australiandesert,exploringfirst-personthemesofselercolonialism.Audiofrom soloreleaseofthesamename.This<br />
instalaonaccommodatedonly3peopleforevery20minviewing.<br />
Climatainteracvesoundatlas–showcasingcontextwithinthisprojectrecordedenrelyin15TurelSkyspaces.<br />
Dances&Airs–suiteof2channelHDvideoworks+2.1chsoundfrom Climata,Oltre&SIRENE-filmedinPatagonia<br />
(Chile),Cornwal(UK)&amongtheworld’slargestfloweringplants(100m tal,Tasmania,Australia).<br />
Lo<strong>Locate</strong><strong>Yourself</strong>waspartofSoundsfrom aSafeHarbourFesval,CorkCultureNight2017and<br />
OpenHouseCork–CelebrangArchitectureintheCity.<br />
<strong>Catalogue</strong>designandlayout:<strong>Robert</strong><strong>Curgenven</strong>.ThankstoKathleenMcDowal.Photography:JedNiezgoda.Leadinstaler:<br />
BrianMacDomhnail.LeadSeamstres:LesleyStothers.Volunteercoordinator:IreneBerkery.Technicalsupport:Eidotech
Tonguetwistersin<br />
30languages,<br />
10ChannelAudio,<br />
10Monacor<br />
hangingspeakers,<br />
5amplifiers,<br />
125m speakercable,<br />
2WavePlayer8,<br />
50sq.m maze<br />
70m suspended<br />
sewnBlackWool<br />
Serge,<br />
chain,screws,<br />
woodenbaens,<br />
duraonvariable<br />
2017<br />
Middlele:exittomaze<br />
andgaleryview.<br />
Remainder&opposite<br />
page:instalaonviews<br />
throughoutandwithin<br />
themaze.<br />
Tongue twisters in 30 languages<br />
recorded in Cork,2017,with 60<br />
parcipants.Unprocesedrecordings,<br />
spaalised acros 10 speakers<br />
throughouta50sq.m maze.<br />
Babelbuildsontheconceptsofspoken<br />
languageasculturalsignifier,modeof<br />
communicaon and it’s direct<br />
physiologicalexpresionviathebody<br />
asresonator:parcularlythemouth,<br />
noseandsinuses.Languageconveysa<br />
rangeofinformaon,rangingfrom the<br />
sysyntaccaltothecultural.<br />
Tongue twisters,oen played asa<br />
game around in the kitchen table,<br />
presentanidealmeanstocombine<br />
cultural informaon within a<br />
discreonary syntaccalframework<br />
which also serves to expres the<br />
unique physiological and regional<br />
expresionofaspeaker’slearntand<br />
developed approach to spoken<br />
language.The individualspeakers’<br />
arculaon ofthe tongue twisters<br />
shows a point between nature<br />
(physiology, origin, language) and<br />
nurture(upbringing,accent,region)to<br />
shshowtheuniqueaspectsofthespaal<br />
andcommunicavescopeofmouthas<br />
resonator.<br />
The instalaon re-presents the<br />
mythicalconceptofBabelasamaze,a<br />
spaalcomplex to be negoated,<br />
which funcons as a lateral<br />
counterpointtothetoweroflegend<br />
and its vercal and hierarchical<br />
architecture.<br />
Themaze,beginningfrom thesole<br />
entry-pointtothegalery,transforms<br />
thearchitecturalandourexperienceof<br />
it,whilethetonguetwisterswithinthe<br />
maze present a further spaal<br />
transformaonthatnavigatesregional,<br />
cultural and personal vectors of<br />
individualandcolecvearculaons<br />
ofontologicalexperience,albeitina<br />
playfulandengagingmanner.
Thespeechvariesfrom inmateto<br />
declarave,thefrequencydistribuon<br />
ofthespokenwords-parcularlythe<br />
sibilantsounds-playingupon our<br />
hard-wiredneuralprocesingofthe<br />
navigaonofourpersonalspaceand<br />
propriocepon,furtherimpacngon<br />
ourabilitytonavigatethemaze,galery<br />
andbroaderculturalframeworks.In<br />
effect,parcularfrequenciescanfool<br />
ourbrains,basedonrefleconsfrom<br />
the surounds and their spaal<br />
distribuon,into‘thinking’thatweare<br />
standing somewhere different to<br />
whereweare-shiingourpercepon<br />
ofthevolumeinwhichwestandwhilstwe<br />
also try to decode the<br />
cascadeofspokenandsemiocsounds<br />
aroundus.<br />
Languages recorded: Catalan, Croaan,<br />
Czech,Danish,Dutch,Farsi,Finnish,French,<br />
German,Greek,Hebrew,Hindi,Hungarian,<br />
Kannada,Korean,Irish,Italian,Lithuanian,<br />
Mandarin, Marathi, Polish, Portuguese,<br />
Slovak,Tamil,Romanian,Rusian,Spanish,<br />
Swedish,Urdu,Yoruba<br />
3.1Channelaudio<br />
3monitors&subwoofer<br />
3xCDs:<br />
80mins/99tracksof<br />
recordingsorsilence<br />
3CDplayersonshufflle<br />
creanganever<br />
repeangpiece<br />
duraonvariable<br />
2011<br />
Recordedat4TheField,Nancledra,<br />
Cornwal,2011 using asorted vinyl,<br />
acetates, dubplates, turntables and<br />
mixingconsolesilence/whitenoise.<br />
Anon-place,anin-betweenzone,Bardo<br />
isaspaalandtemporalsuspension<br />
within overlapping yet mutualy<br />
exclusivefieldsinterpermeatedbyan<br />
aetherictaclity:soundsdisorienngly<br />
enterandleave,mergingandconfusing<br />
the boundaries of interiority and<br />
exexteriority.Movingfrom theedgeof<br />
silence to moments of complete<br />
immersion, Bardo draws on the<br />
physicality ofsound -notjustthe<br />
physicalimpactonthebodybuttheway<br />
inwhichsoundcanshapeourpercepon<br />
ofspace and the flow ofme –<br />
cumulavelyfosteringastatewhereone<br />
expectschangebutalsoacquiescedto<br />
thingstoremainastheyare.<br />
Instalaonpreviouslyexhibitedas:<br />
3channel,RAM Projects,Berlin,2011<br />
5.1channel,DDKWeglin,Poland,2012<br />
7.2channel,ReverseGalery,NewYork,<br />
2013<br />
Top,boom le&right:<br />
Babel:withinthemaze.<br />
Right:Bardo,<br />
instalaonview.
Subwoofer(42min),<br />
Fourheadphone<br />
soundtracks<br />
(approx5mineach),<br />
Fourarchitectural<br />
colages<br />
2016<br />
Eachofthefourstaons<br />
comprisestheoriginal<br />
image(whiteboard)&<br />
relatedcolageworkwith<br />
individualsoundtrackon<br />
headphones.<br />
Tople:Viewdowncrypt<br />
Kircher&Newman<br />
relatedworks.Subwoofer<br />
isbehindmul-part<br />
Kirchercolages.<br />
Boom le:Viewdown<br />
cryptwithKircher&<br />
Gileerelatedworks.<br />
Topright:4metre<br />
Newmancolage&<br />
headphonesoundtrack.<br />
Middlele:Jonesrelated<br />
colage&soundtrack.<br />
Boom le:Newman<br />
colage&soundtrack<br />
”Unwel Tuned Architecture of<br />
Dystopia”isavisualandaudibleesay<br />
whichtakesit’sstarngpointfrom four<br />
architectural ideas by Athanasius<br />
Kircher(TurisBabel,1679),Ernest<br />
Jones(ANorthernEnglishTown,1848),<br />
KingGilee(HumanDri,1894)and<br />
Oscar Newman (Underground<br />
Manhaan,1969).<br />
The instalaon consists of four<br />
"staons",eachdevelopedfrom oneof<br />
thefouroriginalarchitecturalideas,<br />
consisngofhacolagebyMarta<br />
Kowalczyk underscored by a<br />
composion <strong>Robert</strong> <strong>Curgenven</strong>,<br />
together refering to non-existent,<br />
althoughvisualized,spaces,buildings<br />
andcies.<br />
The projectalso consistsofa5th<br />
architecturalsoundtrack solely for<br />
subwoofer. thatontheonehand<br />
interferes with the headphone<br />
composions-whichhavenolower<br />
frequencies,orbas,elementsoftheir<br />
own-butalsowithandtheacouscs<br />
oftheexhibionspace,transformingit<br />
akindofmusicalinstrument.<br />
This fih soundtrack from the<br />
subwooferexistsinseveraldimensions<br />
-funconingasanepicentretothe<br />
totalityoftheexhibion,exernga<br />
tectonic effecton the surounding<br />
instalaons, manifesng without<br />
visualcue ata variety ofnodes<br />
ththroughoutthelengthandbreadthof<br />
thegalery–whilstatitscorecreanga<br />
constantly shiing architectural<br />
modulaon of each of the four<br />
headphonesoundtracks.Thissub-bas<br />
fugue ispurelywithin the boom<br />
octaveandahalfoftheaudiorangefrom<br />
20-60Hz – and fils the<br />
architecturalvolumeofthecrypt,a<br />
three-dimensional affect further<br />
operangonthemicroclimateofthe<br />
airandfurtherphysicalizedthrough<br />
aendant bodies. As it changes<br />
throughoutits40minuteduraon,this<br />
volumetricfunconofsoundwithin<br />
thediscretelocaonisevidencedasa<br />
fourdimensionalprecesion ofthis<br />
very physical manifestaon of<br />
vibraon.<br />
InInthesamewaythatchangingthe<br />
shape of the foundaons of an<br />
architecturalform wilchange the<br />
upperelementsofthebuilding,sothe<br />
sub-bas modulaons cause each<br />
staon’ssoundtracktobechangedin<br />
theirshortpasagethroughtheair<br />
betweenheadphoneandeardueto<br />
thefihsoundtrack’schangestothe<br />
air,buildingandbodyofthelistener.A<br />
further architectural modulaon<br />
occursinthehigherfrequencies,the<br />
everchanging“his”thatsurounds<br />
eachsoundtrack,asthesub-basacts<br />
directlyuponthephase-characteriscs<br />
ofthesoundtrack.Thisdirectacon<br />
movesthe airin and outofthe<br />
headphonescausingaphysicalchange<br />
inthespaalnatureofthesoundtrack<br />
viaits’psychoacouscs.<br />
Thus the two architectural<br />
modulaons (dimensional and<br />
psychoacousc)bythesub-basact<br />
differently upon each staons’<br />
soundtrack,creangconstantlyvarying<br />
physicalandacouscdimensionsfor<br />
the unbalanced architectures<br />
portrayedinthecolagesandoriginal<br />
diagrams.Soasthefihsoundtrack’s<br />
40minutepiecesoundsacrosthe<br />
individualsoundtracks-eachofslightly<br />
differentduraons-theseindividual<br />
pieces in their discernable<br />
architecturalmodulaonsneversound<br />
thesametwice.<br />
Sound&Audioconcept:<strong>Robert</strong><strong>Curgenven</strong><br />
Colages:MartaKowalczyk<br />
Curator:PawelKrzaczkowski<br />
Commisionedby:BecZmiana,Warsaw,2016
Locaonrecordings<br />
from 15Skyspaces,<br />
2ChannelAudio,<br />
ArchivePhotographs,<br />
InteracveMap,<br />
iPad,2speakers.<br />
2016<br />
Tople:galeryview<br />
withcrypt,viewingcube<br />
&soundatlas.<br />
Lower:Upperle:Sound<br />
atlasinaconwith<br />
visitorengagement<br />
Lower:Upperright:<br />
Soundatlas,screenview<br />
ofcompletesetof15<br />
locaons.<br />
Lower:Boom le:<br />
zoomedrightintoshow<br />
localcontext&canalfor<br />
locaon2-MuHKA,BE.<br />
Lower:Boom right:<br />
zoomedtoshowlocal<br />
contextandplayerwith<br />
imageviewerforlocaon<br />
number1-Tremenheere<br />
SculptureGardens,UK.<br />
Farboom right:<br />
Instalaonandscreen<br />
viewin-situ.<br />
Skyspacesandorganisaonsinvolvedintheproject:<br />
● TremenheereSculptureGardens(UK)–“Kernow<br />
Tewlwolow”(2015)<br />
● Museum vanHedendaagseKunstAntwerpen(Belgium)–<br />
“6m Skyspace”(1998)<br />
● Zentrum fürinternaonaleLichtkunst(Unna,Germany)–<br />
“ThirdBreath”(2005)<br />
● HotelCastel(Zuoz,Switzerland)–“PizUter”(2005)<br />
● MAK-ÖstereichischesMuseum fürangewandteKunst<br />
(Vienna,Austria)–“OtherHorizon”(2004)<br />
● WurthGruppe/SalzburgMuseum derModerne(Austria)<br />
–“BluePearl”(2006)<br />
● KunsthaleBremen(Germany)–“Above–Between–<br />
Below”(2011)<br />
● LhoistColecon(private,Brusels)–“Boulee’sEye“<br />
(2003)<br />
● YorkshireSculpturePark(UK)–“DeerShelter”(2006)<br />
● KielderWater&ForestPark(UK)–“CatCairn”(2000)<br />
● HoughtonHal,Norfolk(UK)–“Seldom Seen”(2004)<br />
● KilfaneGardens(Ireland)–“AirMas”(1994)<br />
● NaonalGaleryofAustralia(Canbera,Australia)–<br />
“WithinWithout”(2010)<br />
● Kulturforum (Järna,Sweden)–“Outside,Insight”(2011)<br />
● EkebergparkenSkulpturpark(Oslo,Norway)–“TheColor<br />
Beneath”(2013)<br />
A contextualy driven approach<br />
informedbyacompleteshi inthe<br />
perceptual engagement with the<br />
SkyspacesofJamesTurelunderpinned<br />
therealizaonofthisrecordingproject,<br />
Climata.Thesoundatlasisoneoffour<br />
outcomesfrom thisprocesthatalso<br />
sasaw adoublealbum,aninstalaon<br />
version in the NaonalGalery of<br />
Australia’sSkyspaceandquadraphonic<br />
concerts acros Europe including<br />
MaerzmusikFesvalBerlin& Palazo<br />
Grasi (Venice). The project was<br />
recordedenrelyin15Skyspacesacros<br />
9countriesinconsultaonwithJames<br />
Tureland with the permision of<br />
individualSkyspaceowners.Thissound<br />
atlasoffersaviewinsidethatproces<br />
andsimultaneouslythecontextoutside<br />
andaroundtheSkyspaces.<br />
A Skyspace isan architecturallight<br />
instalaon by American lightarst<br />
JamesTurelcomprisingaspecificaly<br />
proporonedchamberwitharound,<br />
ovularorsquareapertureintheceiling<br />
opentotheskyandoutsideworld.<br />
Climatareferstotheancientdivisions<br />
usedtomaptheinhabitableworld,<br />
from latudetothelengthofdays.This<br />
mapping ofthe inhabited world is<br />
reflectedintheseleconofthespecific<br />
15 locaonsrecorded from the 87<br />
Skyspacesworldwide.<br />
DuringayearofrecordingforClimata,<br />
eachSkyspacewasbrieflytransformed<br />
from anarchitecturallightinstalaon<br />
intoasoundinstalaonwhereyoucan<br />
heartheairmove.Listenerscan‘hear’<br />
the Skyspace and the surounding<br />
terainwhichshapestheairflowmade<br />
audible in that recording. The<br />
recordingsineachSkyspacecapture<br />
eachdifferentchambers’airinmoon.<br />
TheinsideofeachSkyspacebecomes<br />
likeasinglepipeofapipeorgan,a<br />
movingcolumnofair.Ratherthanranks<br />
standing inside a church these<br />
oscilangvolumesofairaredistributed<br />
throughouttheworld.<br />
Eachrecordingcapturesamicrotonal<br />
intervenonthatusedonlytwocustom<br />
oscilatorsandaportablespeakerto<br />
sculptairinsideeachSkyspace.This<br />
drives an architectural interacon<br />
betweentheSkyspace’sinteriorand<br />
exteriorastheairmovesthroughthe<br />
apertureintheceiling.Thisinterplay<br />
betweeninsideandoutsidehighlights<br />
changes In the weather as the<br />
movementofairfrom thetonesdraws<br />
soundinfrom outsidetheSkyspaces<br />
whilegivingrisetoanaudiblecontextto<br />
eachlocaon:throughitsspecificlocal<br />
sounds,heardbeyondthelimitsofwhat<br />
isseenthroughtheSkyspaces’ceiling.<br />
Thisconstantly changing movement<br />
throughtheceilingaperture,createdvia<br />
thebeangtonesfrom theoscilators,<br />
makestheairinthesespacesaudibleas<br />
aflueringsound–wecanhear‘air’.<br />
Thesoundatlaspresentsthemovement<br />
ofeachvolumeofairasaspaceina<br />
specificlocaon.<br />
Whilethedoublealbum versionofthis<br />
projectlayersthese recordings,the<br />
interacvesoundatlaslaystheproces<br />
bare,alowing users to play and<br />
combineindividualrecordingsmadeat<br />
each Skyspace to create theirown<br />
contextualy-drivencomposionsfrom<br />
someofthesame"notes"usedtomake<br />
thealbum.Inaddion,thesoundatlas<br />
alowsyoutoseethelocalfeaturesyou<br />
heararoundthesites.Thesatelitemap<br />
marksthelocaonofeachSkyspace<br />
visited and swaps the muchphotographedviewthroughtheirportal<br />
uptotheskyforafreshperspecve<br />
zoomingdownthroughtheairdirectto<br />
the Skyspace.From there you can<br />
browsephotosandasoundrecording<br />
from thesitethatyoucanacvate,shut<br />
offandlayeroneoveranothertocreate<br />
yourownshortcomposions.
2.1ChannelAudio<br />
Custom viewingcube<br />
3ChannelHDVideo<br />
(each3m x1.68m)<br />
duraon20minutes<br />
2017<br />
Custom builtviewing<br />
cube(3m x3m)with3<br />
headphonesandbas<br />
conductedthroughseat.<br />
Tople:amoment’s<br />
white-outinthepiece<br />
witnesedagainstthe<br />
soundofcicadas.<br />
Boom le:Panorama.<br />
Rightside:Various<br />
momentsthroughoutthe<br />
20minutepiece.<br />
Filmedinremotelocaonsover5000kms<br />
inAustralia,Feb-Mar2014&July2015<br />
Soundeditedfrom “Theytoretheearth<br />
and,likeascar,itswalowedthem”,<br />
(RecordedFieldsEdions,LP,rfe_02,<br />
2014)<br />
A very physical negoaon of<br />
teritoriesvoidedbyhistory.Forged<br />
from thehistoricaldynamicsofthe<br />
seler colonialtrope,playing out<br />
acrosfourscenes,throughtheeyes<br />
notoftheinvadedbutoftheinvaders<br />
to a harsh and unforgiving land.<br />
Renderedviafieldrecordingsgathered<br />
over12 yearsin over30 remote<br />
locaonsacrosAustralia,mixedand<br />
expanded within immense,<br />
shimmering harmonicswroughtvia<br />
pipeorgan,dubplates,guitar,basand<br />
turntable feedback,piano,and low<br />
frequencyoscilators.<br />
Amidsttheheatandthedust,ina<br />
landscape populated only by the<br />
insinuaon ofcharacters,the field<br />
recordings bear testament to a<br />
dramaturgical tension within an<br />
ontologicalandphenomenalspace-a<br />
starknesdwelingwithinanunfilable<br />
horizon.Astheembodimentofarogue<br />
outpost of empire, the seler<br />
colonialists’blindenactmentofwil<br />
andviolenceagainstandintothearid<br />
interioroftheirnewlandservesasthe<br />
manifestaonofamortalstruggle.This<br />
storyisnotaboutabalewel-fought<br />
ininahardandunforgivingland,northe<br />
romancisaonofghosttownsand<br />
theirspectralremains.Whetherthe<br />
selers’myopicconquestbeadogged<br />
aemptthatendswithinthespanof<br />
one shortlife ora hard-won,yet<br />
momentary,triumph to lasta few<br />
generaons,theresultismuchthe<br />
same.Itisasiftheconviconintheir<br />
misapprehensionofthe“wilful,lavish<br />
land”isturnedonceagainuponthem,<br />
astheravagingfronerconsumesand<br />
erases the ruins ofthese bales,<br />
leavingliletotelbarascarwherethe<br />
dramaplayed outin thewretched<br />
shadowoftruedesolaon.<br />
The sequence of the overarching<br />
chronologythescenesare:thesurvey<br />
ofalandasumedtobeempty;the<br />
movementintoandinhabitaonofthis<br />
confronngly large,alien landscape<br />
andthecolonistsvagueawarenesof<br />
the underlying sociallandscape;a<br />
coconflagraonandtheresulngchange<br />
intherelaonshipswiththelandforal<br />
within this social landscape;<br />
devastaon -ofculture,cizenry,land<br />
-theinevitabledecline.<br />
FilmedinLakeMungo,LakeHart,Coober<br />
Pedy,AliceSprings& MacdonnelRanges,<br />
KatherineGorgeandthroughoutNSW,SA&<br />
NT,Australia.Alfilming,edingandcolour<br />
corecng,<strong>Robert</strong><strong>Curgenven</strong>,Cork,2016-17.<br />
Soundoriginalyderivedfrom the12channel<br />
soundinstalaon“UnsilencedLandscape”<br />
exhibited in 2009 at Biorama Projekt,<br />
Joachimstal, Germany; Centrum Sztuki<br />
Współczesnej(CentreforContemporaryArt),<br />
Torun,Poland;&DiapasonGalery,NewYork.<br />
Unprocesedfieldrecordingsfrom over30<br />
locaonsacrosAustraliafrom 1999-2010<br />
including:CooberPedy,Mound Springs,<br />
Blinman,Parachilna,Wilpena & Flinders<br />
Ranges(SouthAustralia);Kynuna,Winton<br />
(Central Queensland); Roper River,<br />
Mataranka,Cape Crawford,Litchfield &<br />
KaKakadu Naonal Parks, Gunbalanya /<br />
Oenpeli,Darwin,Ewaninga,Chambers’<br />
Pilar,AliceSprings,EmilyGap,JeseGap,<br />
Ormiston Gorge, Barkly Highway, Top<br />
Springs,TanamiDesert(NorthernTeritory);<br />
EchoPoint(New SouthWales)& Central<br />
Victoria.<br />
Addionalguitars recorded 2007-2013,<br />
piano 2004-5 & 2013, turntables &<br />
dubplates2009-2010& 2011-2013,pipe<br />
organs2011-13.<br />
SoundmixedinItaly(2008),Germany&<br />
Poland (2009),Australia (2010),UK &<br />
Cornwal(2010-14).<br />
FilmingasistedbyKathleenMcDowal.
2.1ChannelAudio<br />
2ChannelHDVideo<br />
(3.5metresx<br />
2metres)<br />
(2017)<br />
Tople:ARoom atthe<br />
EdgeoftheEarth<br />
Middlele:Cornubia<br />
Boom le:Cornubia<br />
Top&uppermiddle<br />
right:FogLine-Among<br />
theTalestFlowering<br />
PlantsintheWorld<br />
Lowermiddle&boom<br />
le:ARoom attheEdge<br />
oftheEarth<br />
CORNUBIA/IMPERIAL<br />
HORIZON(FORCALIBAN)<br />
Filmed in WestPenwith & Polruan<br />
peninsula,Cornwal,2015(HD)(5:20)<br />
FootagefilmedinCornwalatornear<br />
thesitesofthepipeorganrecordings,<br />
February2015.<br />
Soundfrom SIRENE–SelectedPipe<br />
Organ Works1983-2014 (Recorded<br />
Fields Edions, LP, 2014, second<br />
edion 2017).16-footpipe organs<br />
recordedinCornwalatthechurchesof<br />
St Paul (Ludgvan), St Winnow<br />
(Towednack), St Uny (Lelant), St<br />
Wylow(Lanteglos),StCyrus&Juliee<br />
(StVeep).Unprocesed pipe organ<br />
recordings,equalisaononly. Audio<br />
mastered by Rashad Becker at<br />
Dubplates&Mastering,Berlin,2014<br />
Cornubia:extractremixedfrom a2011<br />
composionandliveroom recordings<br />
by Marn Clarke ofan 8-channel<br />
diffusionatTheExchange,Penzance,<br />
Cornwal.Including live microtonal<br />
dubplates & turntables, guitar<br />
feedbackandfan/venlator.Original<br />
mixat4TheField,Cornwal(2011).<br />
RemixedinTšupc,Germany(2014)<br />
ImperialHorizon(forCaliban):pipe<br />
organ with 78rpm shelac/acetate-<br />
HMV D.B.5948,year unknown -<br />
Beethoven’sEroica,SymphonyNo.3in<br />
EFlat,Opus55,2ndmovement.Track<br />
mixed at Trewetha,August 2013.<br />
OriginalyBeethovenwastodedicate<br />
Opus55toNapoleon,butuponhis<br />
proclamaonasEmperorofFrancethis<br />
honourwaswithdrawnandthepiece<br />
retledEroica.Calibanwastheoriginal<br />
inhabitantofthe island to which<br />
Prosperoisbanishedandheisforced<br />
tobecometheservantofProspero.<br />
Alfilming,eding&colourcorecon,<br />
<strong>Robert</strong><strong>Curgenven</strong>,Cork,2017-except<br />
Tasmaniandrone&me-lapsesfilmed<br />
byStevePearce,TheTreeProject,2016<br />
FOG LINE – AMONG THE TALLEST<br />
FLOWERINGPLANTSINTHEWORLD<br />
FilmedinTasmania,2016(HD)(6:26)<br />
Soundremixedfrom Climata,Dragon’s<br />
Eye Recordings / Recorded Fields<br />
Edions,2CD,2016.Recordedenrely<br />
in15TurelSkyspacesin9countries,<br />
2015. This project is principaly<br />
characterised by recordingsofthe<br />
movementofair.<br />
FootagecourtesyofStevePearceand<br />
TheTreeProject.Thefootageselected<br />
forthe instalaon also principaly<br />
showsthemovementofairviawind,<br />
conveconandbiomas,inandaround<br />
thetalestfloweringplantsintheworld.<br />
AROOM ATTHEEDGEOFTHEEARTH<br />
FilmedinChile-Patagonia:Toresdel<br />
Paine&PuertoNatales2015(HD)(4:06)<br />
Soundfrom AlegroinSeguitoOltre<br />
(2015)recorded live atBlue Note,<br />
Poznan, Poland, 2009, using<br />
Transparencedubplate,guitarfeedback,<br />
turntablefeedbackandfieldrecordings.
“WhenyouenterCIT’sWandesfordQuaygaleryinCork,thereisamazemadeofblackfabric.Insidethemaze,voicesspeakover<br />
oneanother:tongue-twistersspokenby60differentpeople,in30differentlanguages.Thevoicesemergefrom speakershidden<br />
withintheconvoluonsofthemaze,alwayssurprising,uerlyunfolowable.It’saquickwaytogetlost..<strong>Curgenven</strong>cametoCork<br />
aerspelsinCornwalandBerlin,withaback-catalogueofrecordsthathoverbetweenambience,drone,andnoise,wherefield<br />
recordingsarelayeredwiththeresonancesofpipeorgans,guitarfeedback,andturntablemanipulaon.Thesearepaentrecords,<br />
whichdemandadegreeofpaenceandconcentraonfrom theirlisteners.Likebuildings,theydonotrevealthemselvesalat<br />
once.<strong>Curgenven</strong>’sfascinaonwiththesculptural,spaalqualityofsoundgoesrightbacktohis[roots].<br />
<strong>Locate</strong><strong>Yourself</strong>setsouttoanswer[howtoarculate,aesthecalyorexperienaly,themovementofair]throughtheexploraon<br />
ofboundaries;placeswhereonethingblursintoanother,whereonekindoflogicmaybecomeinterweavedwithadifferentorder<br />
ofsenseenrely.<strong>Curgenven</strong>seestheseboundarieslesasborders,andmorelikethe“limitofadefinion”.Whetherit’sin<br />
Cornwal,wherelandends,orintheRedCentreofAustralia,whereitseemslikelandmightneverend,suchperceptualfroners<br />
arecontested,conngentspaces,areasofdiversityandunpredictability.For<strong>Curgenven</strong>,theseedge-landsareidealplacesto<br />
exploretheboundariesofourcultures,oursenses,andourselves.”<br />
-IanMaleney,IrishTimes,September2017<br />
“Thethemeisindicatedbythetleandthearst’sdescriponofhisworkas“spaalresearch”.<strong>Curgenven</strong>invesgateshowplace<br />
isconstutedthroughourpercepon.Underlyingthisisaradicalrethinkingofwhatconstutes“place”inthefirstinstance.<br />
Ratherthanpresenngabstractsounds,hisworksemphasisepolicalcontext,personalhistories,andthephysicalityoflistening<br />
bodies.astrongshow.”<br />
-RobinParmar,EnclaveMagazine,Ireland,February2018<br />
“Whiletakingthejourneythrough<strong>Robert</strong><strong>Curgenven</strong>'sambiouslabyrinthineworldof<strong>Locate</strong><strong>Yourself</strong>,thewordtrustfloated<br />
throughmymindandresonatedthroughthespace.Movingthroughtheconstructedspaceinterspersedwithsoundandvideo<br />
works,Iwasaskedtoputmytrustinthearst,trustinmyownperceponofwhatIwasexperiencingandatrustinthefamiliar<br />
connuum ofspaceandme.Whilethereisanexpectaonthatmostartworkswilseekanelementoftrustinthevisitor,there<br />
arefewthatarequitesopalpable.“<br />
-MirandaDriscol,Director,SiriusArtsCentre<br />
“Spectralityisoenandrightlyasociatedwithintherealm ofadominantvisuallanguagethatrestsuponanoriginofappearance<br />
andoflooking(spe(cere).However,italsogainscloseproximityinmeaningtothefleengpresence–thecomingsandgoings,<br />
andthewithdrawalsofanun-restedoriginal–andtoreturnasspectralthing;apresenceinabsence,andanabsenceinpresence.<br />
Itseemstomethesetermsareimportanttoestablishoneselfinthetaskdemandedby<strong>Robert</strong><strong>Curgenven</strong>’sshow<strong>Locate</strong><strong>Yourself</strong>.<br />
However,isnotsomuchthat”<strong>Locate</strong><strong>Yourself</strong>”impliesano-wherethatpermanentlypresentsitselfbeyondus,nordoesitsuggest<br />
ththatthetaskoflocaoninafleengtemporalenvironmentisanimposibleone,butperhapsinstead,thatthetaskinvitesa<br />
certainlevelofintrospecon.Inturn,thiswouldseem tobeisuedbythearstassomethinglikeaquietlyspokenpleathatavoids<br />
anyexcesiveexpresionorequivocaonofthedemandandsilentlyturnsusbacktowhataresurelytheoriginsandtheplacesof<br />
theworksthemselves.Ifthisisthecase,itdoessothroughafundamentalre-quesoningofthelimitsofthesiteoftheworkandit<br />
makesusthinkaboutandlook-againatwhatwethoughtarestablenoonsofspaceandmemory,thatarenowconnualy<br />
inscribedwithotherconsistenciesandregistersofplaceandevent.Whatbeginsthenfrom asimpletaskoflocaon,becomes<br />
somehowknoedandturnstowardsare-tracingoforiginalatmosphericsregistersofplaceandme(contextandduraon),<br />
whichrevealsitselfasapotentlingeringacouscaer-life.“<br />
-JasonO'Shaughnesy,MastersArchitectureProgrammeDirector,CCAECorkCentreforArchitecturalEducaon
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