Internal / External architectures
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2017
- Installation, steel sculptures, dimensions variable - Live surveillance monitoring - Sound & movement performance, 15 minutes A collaborative work with Rebecca Ribichini Event: MFA Interim Show, Goldsmiths College, London. 2017. |
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The project looks at the mechanisms of controlled spaces and the body's experience of it. What brings one to move, how one negotiates the encounter of (architectural) objects, and what forces, visible or invisible, physical or ephemeral, can shape this experience.
The live sound and movement performance connect the transmission of OAE and its penetrative effect upon the body. An otoacoustic emission (OAE) is a physiological phenomenon whereby a sound is produced by the inner ear in response to a combination of two specific tones being played to the listener. The experience of OAE and the tones produced in the ear, sound flat in a static position, but change upon moving through space.
During the performance, Rebecca Ribichini sits at a table operating the sound and observing the performer (Monica Tolia) and the performance space through the surveillance monitors. The effect of the sound upon the performer is one where the senses become dulled, and the body attempts to move and navigate the installation through this impediment. The performer in this state of "capture" meets the abstract architectural forms beneath the grid containing the space, giving reference to the complex relationships between abstract and real experience, & visible and invisible forces of power.
The live sound and movement performance connect the transmission of OAE and its penetrative effect upon the body. An otoacoustic emission (OAE) is a physiological phenomenon whereby a sound is produced by the inner ear in response to a combination of two specific tones being played to the listener. The experience of OAE and the tones produced in the ear, sound flat in a static position, but change upon moving through space.
During the performance, Rebecca Ribichini sits at a table operating the sound and observing the performer (Monica Tolia) and the performance space through the surveillance monitors. The effect of the sound upon the performer is one where the senses become dulled, and the body attempts to move and navigate the installation through this impediment. The performer in this state of "capture" meets the abstract architectural forms beneath the grid containing the space, giving reference to the complex relationships between abstract and real experience, & visible and invisible forces of power.
