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Format: CD & book
Label & Cat.Number: Bolton Museum / ICR Distribution ICR 53
Release Year: 2006
Note: exhibition catalogue & installation-sound-CD published on the occasion of the exhibition "Debris Field" at Bolton Museum, Art Gallery and Aquarium, 7 April - 3 June 2006, curated by PHIL MOULDYCLIFF.
Price (incl. 19% VAT): €16.00
More InfoKatalog und -CD zum Thema “Trümmer” einer Ausstellung, die von April bis Juni in einer Kunstgalerie in Bolton (UK) stattfand und von PHIL MOULDYCLIFF kuratiert wurde. Abbildungen von Bildern, Skultputuren, Zeichnungen, Texte & Biographien der hier vorgestellten 13 Künstler, sowie ein 48+ minütiger feinstofflich-ambientöser Installationssoundtrack von LOREN CHASSE, PHIL MOULDYCLIFF, COLIN POTTER und KEITH ROWE machen dies zu einer äusserst sehens- und hörenswerten Publikation.
“This is the CD and catalogue for the 'Debris Field' exhibition at Bolton Museum curated by Phil Mouldycliff. The CD is an edited version of 'Debris Field ambient wash', a 48 minute piece that is split into 3 movements. The catalogue includes an essay by Mouldycliff titled 'Tracing paths through debris fields' which gives some insight into the exhibition and CD. Also includes photographs of some of the exhibits and artist biographies for those involved including Colin Potter, Keith Rowe, Max Eastley, Tom Philips etc” [ICR]
“ 'Debris Fields' was curated by Phil Mouldycliff and deals with 'remains', the debris after the act. It's not an exhibition about music per se, as it includes paintings, drawings, prints, sculptures and also music. Some of the participating artists are also musicians, such as Loren Chasse, Keith Rowe and Phil Mouldycliff and they all delivered some music to Colin Potter, who presented 'Debris field Ambient Wash', a mix of all the sounds into a 'discreet, constantly changing audible environment' to fill up the space with the exhibits. While flipping pages of the catalogue at home, this music fills also up the private space, and the big advantage is of course you can turn up the volume much louder and enjoy things perhaps better than in the public space. The music alone is worth getting the catalogue for.” [FdW / Vital Weekly]
"...Under the curatorial vision of Phil Mouldycliff, 13 artists embarked on a sound-art exhibition at the Bolton Museum, Art Gallery
and Aquarium, whereby (to the best of our understanding) the artists were given access to the Museum's collections of natural artifacts to use within the installations and as sound making devices. In turn these installations (which also involved paintings, drawings, prints, sound, and sculptures fabricated by the exhibiting artists) became something of what Mouldycliff qualified as an "accumulation of
fragments." The participating artists included Colin Potter, Loren Chasse, Keith Rowe, Max Eastley, Russell Mills, Julian Lees, Peter
Oakley, Tom Phillips, Colin Fallows, Hugh Davies, Glenda Lees, Paul Mason, and Phil Mouldycliff.
As none of us had the good fortune of experiencing the exhibition, we can only comment on the catalogue (which artfully
presents the numerous ideas behind all of the contributing artists) and the accompanying CD which features a mix of material produced for
the catalogue by Colin Potter of various sounds produced by Rowe, Chasse, Mouldycliff and himself. As the disc begins, it's apparent who
is the creator of those first sounds: AQ-fav sound artist Loren Chasse as he presents a delicate crackling of natural tactility above a rarified drone of accumulated environmental ambience (i.e. surf and wind), very much sounding like those heard on his The Air In The Sand release. The ominous shadows and oceanic rumbles which Potter has employed so successfully in Nurse With Wound, Monos, and Ora act as the glue holding the entire composition together, with Keith Rowe's
small yet growling machines and vibrating strings only occasionally emerging from the din. Mouldycliff's contributions are a little harder to pinpoint, as we're honestly not all that familiar with his work (sorry Phil!). The disc itself is a wonderful listen, and certainly continues along what Mouldycliff intends, as "pathways through the assembled clutter as if exploring a debris field on the bottom of the sea." [Aquarius Records]
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