The artist and composer stages her latest entanglement of bodies, spaces, and sounds at the Biennale de Montréal this October.
Everywhere you look in the first room, there are little directives, tucked into the art, to text various numbers for answers. I did as bidden, but because I was listening to Fiona Apple’s “I Know” on repeat too loudly over my headphones, I couldn’t hear the answers, which emanated God-like from the walls, and so I only have this one-sided record for you, dear reader.
“Liberty’s show manages to be about prison and not about prison at the same time: her audience writes about how the music lets them forget they’re incarcerated for a moment, and she calls that effect ‘time travel.’”
To find latent hymns in an increasingly dilapidated modernist Italian office building or situate an original sound composition within so highly reverent a structure as a James Turrell Skyspace requires a combination of confidence and humility found only in play.
For over 20 years Christian Marclay has been creating works that explore the intersection of the aural and the visual, reflecting on the nature of how sound and image are related.
Nearly six years ago, after a long day of wandering Chelsea in a daze, I walked into 303 Gallery looking for a good painting show and instead had my first Aitken encounter.
Alan Scarritt discusses his mandala-esque plaster spirals, and the sound of a harmonica in a warm room, with fellow artist Keith Sonnier.