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Group Exhibition at DNA Artspace, November 29th to December 15th, 2013, London, Ontario.


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Clamour

Giles Whitaker and Chris Myhr, 2013

Found appliances, surface-transducers, speakers, computers, and electronics.

The former workplace kitchen of the Fodemesi Shoes factory is reanimated with sound and motion. An array of computer-controlled appliances operates autonomously within an immersive field of sound generated by devices embedded in the walls, ceiling and cupboards of the space. The work aims to evoke and intensify the forlorn qualities of this abandoned site, and engages with ideas of labour, consumption, appetites, and noise.

Giles Whitaker works with machines, microcontrollers, and found objects. Sound is a key element of his installations, which aim to reveal and analyze the political and cultural properties of the spaces they occupy. Giles completed his undergraduate degree in Wellington, New Zealand, and his MFA at Western University, London, Ontario. His past exhibitions in New Zealand and Canada include abstract video, sound, and interactive multimedia installations.

Chris Myhr is an interdisciplinary media artist whose studio practice moves between media installation, sound-based work, video and photography. He is currently working with visual programming languages and surface-transduction technologies in the generation of live and immersive listening environments which address the interconnected relationships between sound, body, and space. He is particularly interested in the ways in which the natural and built spaces we inhabit, together with our acquired and conditioned approaches to listening, shape aural experience and perception.

You can hear the sounds of the installation here: https://soundcloud.com/gileswhitaker/clamour

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This installation consists of a number of small, microprocessor controlled machines which make sound by tapping on the architectural surfaces to which they are attached. These sounds overlay the existing soundscape of this institutional space, and draw attention to its properties. At the same time, the work effects an actual change in the aural properties of the space and imbues it with new affective qualities. This work intends to problematize the unstated or unquestioned assumptions around this public space. How are the perceptible structures in this space arranged, and why is this taken as “natural” by its inhabitants?

Exhibited at Make/Shift exhibition, Artlab, University of Western Ontario, Sep 20 – Oct 4, 2012.

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