INDEPENDENT CURATORS INTERNATIONAL
exhibitions

Seeing Sound

  • Yuko Mohri, You Locked Me Up in a Grave, You Owe Me at Least the Peace of a Grave, 2018. Installation view Childhood: Another Banana Day for the Dream-Fish, Palais de Tokyo, Paris, France, 2018. Courtesy Project fulfill Art Space, mother’s tankstation

  • Juan Cortés, Supralunar, 2018. Custom built mechanisms in perspex (dimensions variable); Arduino; LED lights, custom built speakers, 4 channel sound. Installation view. Courtesy of the Artist.

  • Iain Forsyth and Jane Pollard, Requiem for 114 Radios, 2016. Courtesy of the Artist and Kate MacGarry Gallery.

  • Marina Rosenfeld, Music Stands, 2019, steel, UV prints on Dibond, foam, audio components, computer, sound. Installation view at the Artists Institute. Photo by Christopher Aque. Courtesy of the artist and the Artists Institute.

  • Samson Young, Muted Situation #2: Muted Lion Dance, 2014, instruction score, video. (Production Still) © Samson Young. Image courtesy the artist. Photo Credit: Dennis Man Wing Leung.

  • Auriea Harvey, Sketchbook Movies, 1990–2012. Courtesy bitforms gallery, New York.

Curated by Barbara London

Seeing Sound is an expansive exhibition that explores the current trajectory of sound as a dynamic branch of contemporary art practice, curated by Barbara London.

The exhibition features nine artists based around the world—Seth Cluett, Juan Cortés, Iain Forsyth and Jane Pollard, Auriea Harvey, Bani Haykal, Yuko Mohri, Marina Rosenfeld, Aura Satz, and Samson Young. For Seeing Sound, the artworks take shape as kinetic sculpture, audio-video installation, and visitor-responsive technologies. With headphones notably absent, the exhibition consists of complex environmental sonic experiences, where each artwork simultaneously allows for multiple modes of communal listening.


To London, “media art in its many forms continues to evolve and develop in tandem with new audio-visual tools and new ways of experiencing art, whether online, in museum and gallery spaces, or in new art venues we can barely imagine.”


Sound is in a perpetual state of flux and resists classification, making it an apt medium for a contemporary culture interested in confronting the status quo and addressing the world beyond binary structures. The artists in Seeing Sound use the medium’s qualities to address climate change, the death of analog technology, power structures within music, and feminism.


While Seth Cluett’s installation, the stratified character of nature, explores the urban environment and a city’s surprising intricacies of flora and fauna, Juan Cortés’s Supralunar considers the mysteries of space and dark matter. Iain Forsyth and Jane Pollard’s installation Requiem for 114 Radios and Samson Young’s video Muted Lion Dance are illuminating interpretations of traditional music and dance performance. Both of the works break apart the act of performing and demonstrate the sonics of physical labor or unpredictability of technology.


Using everyday devices such as the keyboard and telephone to challenge cultural assumptions, Bani Haykal invites the viewer into a space of translation with his native Malay language and Jawi alphabet, and Aura Satz lets us in on a conversation of feminist histories within sound art. Yuko Mohri and Marina Rosenfeld transform common equipment, such as the speaker or music stand, and create sonic ecosystems to critique existing power structures. Rosenfeld’s Music Stands spontaneously emits unpredictable sounds to disrupt expectations of music composition. In Mohri’s You Locked Me Up in a Grave, You Owe Me at Least the Peace of a Grave, multiple sculptures rotating around the viewer make the amplification process visible through movement rather than electronics.


Artists: Seth Cluett, Juan Cortés, Iain Forsyth and Jane Pollard, Auriea Harvey, Bani Haykal, Yuko Mohri, Marina Rosenfeld, Aura Satz, and Samson Young


Seeing Sound is a traveling exhibition curated by Barbara London, with the support of Research Assistant Kristen Clevenson and produced by Independent Curators International (ICI). This exhibition and tour are supported, in part, by Nokia Bell Labs Experiments in Art and Technology (E.A.T.) program and with the generous support of ICI’s Board of Trustees and International Forum.

Nokia Bell Labs is the world-renowned industrial research arm of Nokia. Over its more than 90-year history, Bell Labs has invented many of the foundational technologies that underpin information and communications networks and all digital devices and systems. This research has resulted in 9 Nobel Prizes, three Turing Awards, three Japan Prizes, a plethora of National Medals of Science and Engineering, as well as an Oscar, two Grammy awards and an Emmy award for technical innovation. For more information, visit www.bell-labs.com

 

updates

PRESS: ‘Seeing Sound’ is the perfect reentry to communal art viewing

“Kadist’s first exhibition since a brief by-appointment reopening last fall was produced by Independent Curators International (ICI) and curated by Barbara London, founder of the video exhibition and collection programs at MoMA and among the first to exhibit experimental sound work. Kadist is the first stop on Seeing Sound’s multi-year tour”. -KQED, June 10, 2021

Read more »

NO FUTURE SHOULD BE VOID OF INTIMACY

bani haykal, artist in Seeing Sound writes about notions of intimacy during isolation.

Read more »

curator

Barbara London

Barbara London is a New York-based curator and writer, who founded the Video-media Exhibition & Collection Programs at The Museum of Modern Art. Her book Video Art/The First Fifty Years (Phaidon) was released in January 2020. London was the first to integrate the Internet as part of curatorial practice, with Stir-fry (1994); Internyet (1998); and dot.jp. (1999.) and organized one-person shows with such media mavericks as Laurie Anderson, Peter Campus, Teiji Furuhashi, Gary Hill, Joan Jonas, Shigeko Kubota, Nam June Paik, Song Dong, Steina Vasulka, Bill Viola, and Zhang Peili. Her thematic exhibitions at MoMA included Soundings: A Contemporary Score (2013); Looking at Music (2009); Video Spaces (1995); Music Video: the Industry and Its Fringes (1985); and Video from Tokyo to Fukui and Kyoto (1979).

London teaches in the Sound Art Department, Columbia University, and previously taught in the Graduate Art Department, Yale, 2014-2019. Her honors include: Getty Research Institute scholar, 2016; the Courage Award, Eyebeam, 2016; Gertrude Contemporary Residency, Melbourne, 2012; Dora Maar House Residency, Menerbes, 2010; a CEC Artslink award in Poland, 2003; a Japanese government Bunkacho Fellowship, 1992-93; and a National Endowment for the Arts Fellowship, 1988-89.


artists


touring schedule

KADIST
San Francisco, CA, USA
June 9, 2021 - July 24, 2021


Booking Info

Tour Dates: Through 2027
Number of Artists/Collectives: 9
Number of Artworks: 9
Space Requirements: Appx. 3,000 – 5,000 sq feet divided into multiple rooms

For additional information, as well as to check specific dates of availability, contact Becky Nahom at 212.254.8200, or .(JavaScript must be enabled to view this email address).

INDEPENDENT CURATORS INTERNATIONAL
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