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128kbps objects EDITED on basic.fm and at the The Meter Room, UK

Wednesday, February 20th, 2013 | Posted by admin

This is an edited version of 128kbps objects radio exhibition first broadcast on basic.fm in October 2012. This version of the original 60-hour show has been put together for Grand Union‘s participation in the gallery project Floor Plan for an Institution: The Gallery at The Meter Room in Coventry, UK.

Over the course of 12 hours from 8AM to 8PM GMT, both on the internet radio basic.fm and at The Meter Room, the audience will be listening to a combination of sound works, readings, music and playlists that

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responds to the theme of The Gallery; what a gallery might be and how objects might be displayed and experienced within it, outside it, or in-between.

Featuring:
A—Z, Angus Braithwaite, Helen Brown, Rob Canning, Daniela Cascella, Osvaldo Cibils, Patrick Coyle, Beth cheap viagra Collar, CuratingYouTube.net [CYT], Tim Dixon, Steven Dickie, Benedict Drew, Anne Duffau, Extra-Conjugale, Claudia Fonti, Jamie George, Graham Harman, Emma Hart, IOCOSE, Juneau Projects, Irini Karayannopoulou, Scott Mason, Tamarin Norwood, Sara Nunes Fernandes, Ciarán Ó Dochartaigh, Chiara Passa, Radiomentale, Yannis Saxonis, Salvatore Sciarrino, Richard Sides, Maria Theodoraki, Simon Werner, Richard Whitby.

TUNE IN on Thursday 28 FEBRUARY 2013 from 8AM to 8PM GMT at http://www.basic.fm/radio/

128kbps-EDITED-

At 8PM, at The Meter Room, artist Scott Mason will present “of a final account in formation”, a live DJ mix formed of room-tone recordings he has undertaken at exhibitions around the UK. The essential sonic documentation mix, bringing you a survey of the hottest exhibitions nationwide.

For more details about Floor Plan for an Institution: The Gallery project, which is curated by Grand Union, go to The Meter Room website.

Full RADIO SCHEDULE below (download PDF here)

08:00 AM  >  Welcome to 128kbps objects EDITED
08:03 AM  >  Helen Brown: There’s no story (2012)
08:09 AM  >  Richard Sides and Simon Werner: And it was all greasy (2012)
08:41 AM  >  Daniela Cascella: Reading of an excerpt of En Abime (2012)
08:55 AM  >  Selected by Emma Hart: Baldessari’s Dorit Cypis attempts to insult in a second language (1977)
09:01 AM  >  Maria Theodoraki: The moving of the fountain (2012)
09:11 AM   >  CuratingYouTube.net [CYT]: acoustic diaries: no Silence (2012)
09:28 AM  >  Radiomentale: D-Trains Part 1 and 2 (2012)
09:50 AM  >  Tim Dixon: Words Concerning Some of the Objects on my Work-Table (2012)
11:11 AM   >  Steven Dickie: The importance of record keeping (2012)
11:23 AM  >  Jamie George and Richard Whitby: This Walk Is Repeated You Can Split It To One (2012)
11:29 AM  >  Jamie George: Other Space # (2012)
12:37 PM  >  Patrick Coyle: Empty Grey Squares (Registration) (2011)
12:45 PM  >  Salvatore Sciarrino: Efebo con Radio (1981)
12:57 PM  >  Osvaldo Cibils: Sounds in a roll of paper (2012) – La pratica quotidiana della Pittura
01:02 PM  >  Irini Karayannopoulou: Transmission (2012)
01:06 PM  >  Sara Nunes Fernandes: The sideways boy and the levitating granny, The frontal man and the backside woman, The upside-down man and his wife who had her feet on the ground  (2012)
01:48 PM  >  Chiara Passa: Tales from Space (2012)
01:55 PM   >  Scott Mason: of a final account in formation (2012)
02:00 PM  >  basic.fm presents:  Hearspool : A Humble Gardener by Momus 
03:03 PM  >  This is Not a Pipe.Neither: dis·in·te·grate (d s- n t -gr t ) curated by Anne Duffau and Marialaura Ghidini
04:54 PM  >  Tamarin Norwood: My House and Other Inventions (2011)
05:17 PM   >  Benedict Drew: A Folding Table (2009) – Some Legs
05:39 PM  >  Graham Harman: The Third Table – Read by Nazim Kourgli (2012)
06:03 PM  >  IOCOSE: A Crowded Apocalypse: On Air (2012)
06:09 PM  >  Yannis Saxonis: 1 of 22 soundtracks for Immaterial (2010)
06:12 PM   >  Juneau Projects: Welcome to the Federation’s Headquarters (2012)
06:34 PM  >  Yannis Saxonis: 1 of 22 soundtracks for Immaterial (2010)
06:38 PM  >  Angus Braithwaite and Beth Collar: The English House Through Seven Centuries – 1 Episode of 7 (2012)
06:45 PM  >  Richard Sides: Stop killing my buzz (expanded edition 0.5) (2012)
07:17 PM  >  Ciarán Ó Dochartaigh: Echolocation (2012)
07:22 PM  >  A—Z : E—Eponym: The Shell filled with Planets (2012)
07:37 PM  >  Rob Canning: RadioKulturo
07:49 PM  >  Extra-Conjugale: di tropical
07:59 PM  >  128kbps objects EDITED Finale

Claudia Fonti: 128kbps Ident will play in between the works listed above.

More details about each piece can be found by browsing the archive of the original exhibition on basic.fm.
Announcements voiceover and sound by Jenny Hodgson and Kieran Rafferty.

128kbps objects original project was supported by Arts Council England in partnership with basic.fm. The broadcast of this edited version is supported by Grand Union and The Meter Room.

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Sound Writing workshop by Daniela Cascella

Wednesday, October 24th, 2012 | Posted by admin

As part of the radio exhibition 128kbps objects, on Tuesday 23 October 2012 London-based writer Daniela Cascella led the 5-hour workshop Writing Sound at The Northern Charter project space in Newcastle-upon-Tyne.

The workshop Writing Sound operated as the space of the distance between listening and writing, between being with sounds, when listening, and being distant from them, when writing. The workshop investigated the various degrees of distance from sounds, that can be enacted in writing as a response to listening. It looked at Writing Sound as an autonomous creative activity, constantly re-shaped by how we place ourselves and how we shape our memories – culturally and personally – in the absence of sounds and in the presence of every other today.
Throughout the close reading of a series of texts, and a number of listening and writing exercises, the participants interrogated, probed and analysed Writing Sound as a critical and creative practice.

Workshop participants: Jenny Duffy,

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Susie Green, Ben Jeans Houghton, Kate Liston, Adam Potts, Suzy O’Hara, Dominc Smith, James Watts and Ellie Wright.

A collection of the texts written during the workshop will be soon uploaded on this page.

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Sara Nunes Fernandes' The sideway boy… | ICA, London

Monday, October 22nd, 2012 | Posted by admin

Artist Sara Nunes Fernandes presented a staged preview version of the radio work that was commissioned for 128kbps objects exhibition, The sideways boy and the levitating granny, The frontal man and the backside woman, The upside-down man and his wife who had her feet on the ground. The performance took place at the ICA in London on the 21st October 2012 as part of the

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Art Licks Annual event for which Art Licks invited or-bits.com to present an offsite project.

More information about 128kbps objects can be found here.

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Kayak Libre Water Taxi web map by artist duo Manu Luksch and Mukul Patel

Wednesday, March 30th, 2011 | Posted by admin

In occasion of Search Engine residency programme at Grand Union (Birmingham), or-bits.com co-commissioned Kayak Libre generic viagra Water Taxi interactive map, which is part of the project Kayak Libre [[free thinking, free transport]] by the artist duo Manu Luksch and Mukul Patel.

The project has been produced in collaboration with Fierce and Grand Union, with the support of the Austrian Cultural Forum, generic viagra price The Bond Company and VIVID.

[Kayak Libre Water Taxi web map]


 

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Maria Theodoraki's Here en Route | JTP10 | 14.10 – 7.11.2010

Wednesday, October 20th, 2010 | Posted by admin

or-bits.com presents Maria Theodoraki’s Here en Route at JT Gallery.

By continuing its exploration of presenting works in translation, or-bits.com has invited Maria Theodoraki to present her online work here at JT Gallery during the exhibition JTP10.
Moving from the online to the offline, Theodoraki’s work aims to reconcile the limitless and elusive distance between the virtual and the physical with that of the route between her house and the gallery. By starting from a reflection on the physical distance between her coupled postcards

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(2 cm), Theodoraki’s project confronts the ‘from A to B’. Is a mappable distance, and a suggested trajectory, a place? Or an extension of here?

Theodoraki’s Here en Route is a live time-based project that will develop during the 25 days of JTP10 exhibition.
Here en Route will be evolving both in the gallery and the outside, generating a here which will encompass two spaces (the exhibition and the urban space), two audiences (the gallery visitors and the inhabitants along Theodoraki’s route), as well as two distinct, yet related, routes and ways of connection between the artist and her public.

Theodoraki will be working every day, for two hours, at her desk in the gallery space till the end of JTP10.

On the 7th November, your are cordially invited to a closing event at the gallery, where from 4 to 6 pm, Theodoraki will be guiding you through Here en Route and the responses gathered from the people she will have met during the 25 days of the project.

images courtesy Guy Archard

//opening and closing events//

images courtesy Efi Paleologou

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Notes on Here en Route by Marialaura Ghidini.

Any ‘from A to B’ suggests a route between two set points in space. In the case of Theodoraki’s project the route has been determined by Google maps, which suggested the itinerary from her house to JTG gallery. Here en Route is a complex journey from an A to a B; in fact, it does not focus on the start and end points of a journey, nor just on the route, but on the way in which the As and Bs will be brought together through encounter.

“They sit comfortably one next to the other, they somehow connect, they click”; this is what Theodoraki tells me about the postcards she paired in her work here, made for or-bits.com in 2009.

here, from which Here en Route stems from, is a work also about journeying. It depicts fragments of routes in sequence, and offers to the viewer excursions into what is a series of seemingly fictionalised landscape views; and yet, these journeys are not simply movements from a point to the other, they are voyages into Theodoraki’s view point.
here toys with the notion of the nearness in space and time; and generates an allegory of proximity, which is what is given to the viewer by the artist. Here en Route operates in a similar way by somehow reverting to the origin of the artistic process of the artist herself. Although it is still the artist’s gaze which guides the audience into her ‘in-between A and B’, it is also the sought encounter with the same audience that, conversely, will be connecting Theodoraki with her itinerary.

Both here and Here en Route incorporate allegory and symbolism.
In The allegorical impulse: Toward a Theory of Postmodernism (October, 13 – 1980), Craig Owens discusses the urge to allegory in contemporary artistic practice of that time, and also examines its mechanism. Owens observes that the model for allegorical work is the palimpsest, in which “one text is read through another, however fragmentary, intermittent, or chaotic they relationship might be”.
Allegory adds a meaning to something already existing – while straightaway merging with it – and generates “an object, a place or an area that reflects its history”, like – as Owens writes – a palimpsest.

Theodoraki’s work encompasses allegories addressed to the eye, extending the meaning of what she uses in her investigations; and thus layering series of narratives on top of each other.
In Here 1, Here 2, Here 3 generic postcards views are transposed into a timeless state and become a representation of places as – I am drawn to think – they might exist in the mind of the artist. The network of Theodoraki’s views, which refers to sources in absence, generates a new unified mental (and visual) landscape since the artist proposes her own strategy of decodification; her own connecting points.
Here en Route is a spatiotemporal development of this previous work that, through employing a two-fold narrative element, brings the fragmentary relation between outwardly distant spaces (which are the theres as seen by the other) into the here of the artist, and vice-versa.

Theodoraki’s almost ritualistic presence in her work unifies a complex web of trajectories beyond that which is explicit to the eye, or shown on a computer-generated map.

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