Die interaktive Klanginstallation "The Loop" von Timo Loosli und Daniel Werder wird auf Einladung der chinesichen Nationalgalerie im Rahmen der Ausstellung "Media Art China 2009: Timelapse, A Swiss-China Media Art Exhibition" gezeigt.
Co-organized by:
National Art Museum of China (Beijing) and Centre Pasqu’Art (Biel)
Supported by Pro Helvetia Swiss Arts Council
Curated by Zhang Ga
December 15, 2008
Revised July 10, 2009
New York
Time-lapse describes a photographic technique in which pictures are taken at long intervals between each frame. Time-lapse, as a process of delaying or prolongation constructs an obviously accelerated artificial effect by synchronizing a 24 frame per second playback speed, which typically creates the illusion of real-time movement in human visual perception. Time-lapse therefore manipulates an illusionary reality to achieve yet another level of syntheticity – a virtual reality as opposed to the “reality” arrived at by simulation.
Time presents itself by movement, which is the continuous covering of space. In space where movement unfolds abound the actions and happenings of distinct progression, that of heterogeneity. In timelapse, through the drastic slowing down of speed in space, in between the delays and elongation for the finale of speediness and continuity, elasticity metamorphoses into virtuality, transcending ordinary perception of the temporal and the spatial, creating memory in a succession of variations.
By metaphorically invoking the photographic terminology in the spirit of Bergsonian / Deleuzian time-movement interpretation as inspiration, the exhibition Timelapse in which a dozen artists from both Switzerland and China will participate, attempts to examine the fundamental constituent of digital media: the concept of time and its embodiment in space, its evocation of passage and memory, its movement of differentiation and its state of representation in diverse formal grammars to reveal the social implications of the fast in the disguise of the slow, the multiplicity in temporality and disparity in spatiality, both psychologically and geographically, stirring up a desire to scrutinize the nuances and ramifications in regards to the construct of cultural being in the disparate framework of time in distance and space in locality and the potential collapse of such time-space duality.
Although congenial in their technological outlook, the Chinese artists often invoke in their work a narrative approach imbued with subtle social critique, which reflects the influx of great social changes and transformations in contemporary China. Works by Swiss artists, on the other hand, tend to have a particular interest in the fundamental shift that digital media has engendered in reframing our perception of time and space, stylistically abstract and austere, prompting a sense of epistemological urgency.
This exhibition will be a traveling show with one venue in China (The National Art Museum of China) and one venue in Switzerland (Centre Pasqu’Art, Biel). A bilingual catalogue of English and Chinese is planned to accompany the exhibition.
China Venue:
5th Floor, 860 M2, National Art Museum of China, Beijing
Dates: November 21 2009 – December 20 2009
Switzerland Venue:
The Contemporary Wing, circa 800 M2
Centre Pasqu’Art, Biel
Dates: Summer 2010
The Loop
Timo Loosli / Daniel Werder (CH)
2008
Installation
An almost extinct medium on which are stored countless terabytes of data and hours of audio material is the basis of this sound installation: magnetic tape. A gigantic loop is threaded across numerous recording and play buttons, which have been equipped with microphones and speakers. Recording heads register noises in the room; playback heads make them once again audible, with a slight time delay. Microphones in turn record this information, yet the tape, loudspeakers and the path serve to distort it. In this way sounds are recorded, distorted, re-recorded and overwritten.
Projektbeschreibung THE LOOP
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