{"id":1574,"date":"2021-01-29T21:01:42","date_gmt":"2021-01-29T21:01:42","guid":{"rendered":"http:\/\/sarahmfarmer.com\/?post_type=avada_portfolio&p=1574"},"modified":"2021-02-19T17:26:37","modified_gmt":"2021-02-19T17:26:37","slug":"building-up-not-tearing-down","status":"publish","type":"avada_portfolio","link":"https:\/\/sarahmfarmer.com\/index.php\/portfolio-item\/building-up-not-tearing-down\/","title":{"rendered":"Building Up Not Tearing Down"},"content":{"rendered":"

Installation\/Intervention<\/p>\n<\/div>

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Guitar strings, Dowel<\/p>\n

Eye hook screws, Contact Mic<\/p>\n

Speaker<\/p>\n<\/div>

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Building Up Not Tearing Down<\/h2><\/div>
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2009, TactileBOSCH, Cardiff. Group residency with Rhys Cohen, Joanne Masding, Fraser Cook, Alistair Owen & Jason Pinder<\/h6><\/div><\/div><\/div>
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“As an exhibition space tactileBOSCH<\/a> is predominantly known for performance and installation, work that by its very nature often leaves small remnants once the performance has concluded or the installation deconstructed. Many of these small reminders such as stray splashes of paint, dents in the walls and floors, hooks and pulleys in the ceiling often remain untouched during the post-exhibition clean up due to the vastness of the gallery and thus become more permanent then the original artwork. The six artists have continued in this process of augmentation and supplementation of the venue through creating a selection of delicate and unobtrusive works throughout the gallery, many of which could remain well into the future.<\/h5>\n
The artworks of Building up-Not Tearing Down do not hold an overt presence in the space nor are they pointed out through a map or set of plaques but instead the audience must search the vast space for each artists multiple contributions. It is during this process of exploration that they themselves will also become better equated with the fabric of the building that is itself a palimpsest of architectural and aesthetic features. The collaborative nature that the artists have approached in the making of the exhibition, to the extent of creating secrecy that excluded the residency organisers from knowing much of what they planned, perhaps provides a glimpse of what the Birmingham, Bristol and Cardiff trinity could become.<\/h5>\n
Building up-Not Tearing Down is the result of a four-day residency involving six young artists from Birmingham, Bristol and Cardiff. As a conclusion to the series of city visits ending with December eleven the residency is an attempt to create a microcosm, or Petri dish experiment of what might happen if the three cities worked together in the realisation of an exhibition or project. The invited artists were granted complete freedom to chose their thematic remit, manipulate the fabric of the building and decide how much they would co-operate with each other”. – Neil Jefferies<\/h5>\n<\/div><\/div><\/div><\/div><\/div><\/div>
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      Pythagorean fundamental frequency and harmonics of Eb (Bass note of building,pluck-able tuned monochords)<\/strong><\/h6>\n
      4 Monochords made from wood to look like structural beams, tuned in Eb \u2013 the lowest note projected throughout the building by next door\u2019s extractor fan. The monochords were tuned at 1:1, 1:2, 2:3 and 3:4 which, when plucked, sounded the original note, an octave above, a 5th above and a 4th above the fundamental Eb.<\/h6>\n<\/div><\/div><\/div>
      Sound of next door\u2019s extractor system (via 40m contact mic)<\/b><\/h6>\n
      The sound of the extractor system of next door\u2019s building was amplified into the gallery space. It was amplified at a volume that enabled it to be heard in a room full of people at the level it can be heard at when the building is empty. It was amplified through a homemade contact microphone attached to an 8m pole, propped against the extractor system, with a 40m audio cable running from outside, through the building, into the gallery space.<\/h6>\n
      The extractor system, which was constantly on, played a consistent, quiet, low hum throughout the building for the duration of the residency and provided the bass note of the space. However, on the day of the exhibition opening, the extractor system had inexplicably been turned off, meaning it could not be amplified, further highlighting the futility of the work<\/h6>\n<\/div><\/div><\/div>
      Singing at the building (trying to find the resonant frequency of tactileBOSCH)<\/b><\/h6>\n
      \u201cLike mechanical resonance, acoustic resonance can result in catastrophic failure of the vibrator\u2026.\u201d Hold the object that you are hoping to make resonate in front of your face. Slowly sing a tone with increasing pitch. If there is a resonant frequency in the audible range, you should be able to hear the tone emitted back to your ears at that pitch<\/h6>\n<\/div><\/div><\/div><\/div><\/div><\/div>

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