solo exhibition; eight channels sound installation
3 march - 31 march
barbur gallery, jerusalem (israel/palestine)
curator: masha zusman
attentiveness foldings no.2
sound installation; 'lab report' exhibition at 'shafdan' (israel/palestine)
curator: galia yahav
+Ido Govrin appears on '+1' album by mem1 (Interval)
'Laptopia#5' Compilation CD includes Titled (Bat-Yam Museum of Modern Art)
'Nothing Works as Planned' compilation CD includes Limbo Sketches (Interval)
'ctrl_alt_del' Compilation CD includes soundSTORY
'C.Sides' Compilation CD includes Vin-Dit (CSides)
'Cottage Industries' Compilation CD includes Digital day dream (Neo Ouija)
'Clicks N' Cuts 4' Compilation CD includes Breaking through the frequencies (Mille Plateaux)
'V/A Bizz circuits' Compilation CD includes Porcupine's Garden (Mille Plateaux)
'Cut of the wire' Compilation CD includes Cut of the wire Pop Kaved RMX (Nine)
Between Things (2010), Mixed Media Installation.
‘Etudes for Tea-Time' group exhibition (Curator, Liora Belford); August 4th till August 28th, 2010 – P8 Gallery, 8 Poriya St. Tel-Aviv.
The installation, ‘Between Things' is based upon a few texts about time; the texts are hanged in the air, at the gallery's space, while various leftovers of paper, ink, accompanying materials and sound are piled up around them. These leftovers are a testimony of an act which took place, in the middle, between things. The act occurs in a relation to time; it can be carried out in light of the expected final result and therefore desperately cling to the speed of change and its purpose; or alternatively, through an involuntary and temporary conspicuousness as a deviation from somewhat predicted and routine path; as a pure act of abstraction in the world; or other abundance relations. Time is being expressed in this installation as a plastic thought, image and sound; as numerous descriptions, out of many, which are parallel to the characteristics of the act itself and which complement each other in different modes, that sometime, their nature stays unclear to us.
About the exhibition: ‘Etudes for Tea-Time' is a dynamic and ongoing sound exhibition that exhibits thoughts about time. The exhibition will waive the need for a static art situation and will transform the gallery's space into an experimental lab. Three sound artists will dwell in the gallery consequently in order to create a sound installation about the concept of time. Reflecting on individual past work done at the gallery, the artists will examine the intermediate situations, will be spacing the artistic process and will shade some light on the creative process itself.
If The walls could speak (2010), Sound Installation; contact mics, XLRs.
Presented at '#1' exhibition at Yafo 23 Jerusalem, Israel (June 23rd 2010) - Listen
The Giving Tree (2009), A Plastic-Sound Installation; 48 breast pumps horns, air compressor, pressure valves, controller, wind chimes, fishing sinkers and stereo sound.
Presented at the ‘Laptopia#5' exhibition, Bat-Yam museum for contemporary art, Israel (Jan 15th to April 18th 09)
Stele (2008), Stereo sound with 2 channels video projection on Relief.
Commissioned by Block Magazine (Israel) and Premiered at the ‘Blind-Spot' exhibition, Petach-Tikva museum, Israel (June – October 08)
Ethylene (2008), Stereo Sound with video.
Premiered at Internationales Video festival Bochum, Germany (May 2008)
Force, Violence, Motion, Speed – Art and Technology through Futurism (2008), Quad Sound with video, PVC Surface.
Presented at Daila Gallery, Jerusalem Israel (March 1-13 2008)
Island (2007), 5.1 surround sound with 1 channel video projection.
Presented at 'Laptopia #4' event for Experimental art (Nov. 21st 2007) · 'Heara #11' art event (Oct. 11th 07)
Digital Aquifer (2005-6), Stereo sound (for 3 voices, tuba and computer manipulated sounds) with 15 channels visual structure.
Presented at 'El Hama'ayan' exhibition (The Yarkon Stream as a Cross-Section in the Israeli Metropolis) Tel-Aviv museum of Art (Nov. 2005 – Feb. 2006)
15 maps for becoming a concept (2009), for open ensemble. The piece was written as an artistic response to the philosophy of Deleuze&Guattari
and comprised of structures, lines of flight and dwelling places as of the performance instructions.
Premiered on Nov 18th 2009 by 'Musica Nova' Ensemble. Download the score here (use under permission)
Sit-In (2007), for open ensemble and video.
Premiered at 'Jazz-O-Nova' concert, Tel-Aviv July 13th; also presented at 'Ultrasound Festival', Tel-Aviv (12.07) · CCCB Barcelona, Spain (03.08)
Pink/Noise (2007), for cello, electronics and video.
Premiered at 'Laptopia #3' event for Experimental Art, Tel-Aviv May 9th 2007. Also presented at Sguadri Sonori 2007 Festival, Italy · Screen Composition 4 Experimental Intermedia, NYC USA (March 08) · File 2008, Sao Paulo Brazil.
SoundSTORY (2007), computer-processed sounds.
Presented at New media Fest, Cologne Germany (November 07) · ctrl_alt_del Festival Istanbul, Turkey.
Limbo Sketches (2007), computer-processed with video.
Presented at the 3rd FF600 Film Festival, Ljubljana Slovenia (May 2007) · Festival Internacional de curtas-metragens, Sao Paulo, Brazil (September 07) · WMWFF Taipei, Taiwan (October 07) · Letto Gallery - 'Supermarket of Art' international biennial 2007 Warsaw, Poland · Big screen Festival Kunming China · Miden Festival Athens, Greece · Live! IXem 2007 Palermo, Italy · International festival of audiovisual programs – FIPA Cedex, France · 5th Naoussa International Short Film and Video Festival Naoussa, Greece.
Free Field (2006), computer-processed with video.
Presented at Experimental Intermedia festival NYC, USA · The Melkweg theater Amsterdam, The Netherlands · the 5th R Eject Film Festival Rotterdam, The Netherlands · namaTRE Festival Trebinje, Bosnia-Herzegovina · 2007 P'Silo International Festival of Experimental Video, Marseille France · International Panorama of Independent Film and Video Patras, Greece · d-Neff Experimental Exhibition, Vitoria-Gasteiz Spain · vad festival internacional de vídeo i Arts Digitals, Gerona Spain · 29th Festival International Cinéma Méditerranéen, Montpellier France · Optica 2007 Festival Internacional de Video arte, Gijón Spain · Big Screen Festival, Kunming China · 11th International Video Festival Museum of Vojvodina, Novi Sad, Serbia · Internationales Video festival, Bochum Germany · File 2008, Sao Paulo Brazil · Dislocate 08, Tokyo Japan.
|Music for Film/Dance
I Love U (2009), computer synthesized sound and a youth choir recording.
Presented at ‘Patcha Kucha' event, April 1st 2009.
Der Golem - Soundtrack (2008), original soundtrack for the 1920 silent film.
Commissioned by the Ostrovski foundation and Premiered at the Jerusalem Cinematheque (Dec 18th 2008).
Tesseract (2007), Surround sound with video projection (3 channels in a parallel mode).
Commissioned by ‘Ha'Teiva' electronic studio – Premiered at Jan 24th 2007, Jaffa; Also presented at OpenEyes Film festival Marburg, Germany (July 2007) · WMWFF Taipei, Taiwan (October 07) · The 3rd FF600 Film Festival, Ljubljana Slovenia · Flash Flood Festival Tucson AZ USA (August 07) · CINEFIESTA - Puerto Rico International Short Film Festival Caguas, Puerto Rico · Big Screen Festival Kunming, China · Les Inattendus - Festival de films (très) independents Lyon, France.
Archive (2006), acoustic/computer generated music for dance, video and sound.
Premiered at 'Machol Acher' Festival, Suzan Dlal Theater, Aug 11th 2006 Tel-Aviv.
May 26th 2010 - 'Attentiveness Foldings' - Performed sound installation at Dissolving Localities, Curated by Emmanuel Witzthum (The Lab)
June 23rd 2010 - 'If the walls could speak' - Installation, Sound Archeology at The Bezalel Academy of Arts and Design, Jerusalem (P.O Box Bezalel Yafo 23), Curated by Dr. Roy Brand, director; Sagit Mezamer, Yael Ruhman and Simon Krantz.
The structure, literally, is a material exists as limited information, defined in a closed and finite reality. Sound is contained in the structure as part of the happening within the structure and around it, but even when the happening had past, the sound remains intact, floating, burned into dense layers as simultaneously existing derivatives, as a known testimony to the thing itself and as an unknown testimony to the thing which was lost. The installation, ‘if the walls could speak', carves the layers of sound, unfold time and decipher the local history which existed and still exists.
[Abstract; It seems, in the modern age, that the visual imagery burden has changed the human reading of space more than anything else. One of the consequences of this is a structural ability of thematic blindness which was bequeathed to the human eye, one which produces fictitious silence within the noise. The process is dynamic; it was constructed while adapting and re-erasing the boundaries constantly and, in its catharsis finale, led to a ‘Foie Gras' flood which caused the collapse of the imagery and its shattering in space. The negativity which will break through because of this will clear off the space, forcibly, to sound. The sound is free now and can speak out. The installation, ‘If the walls could speak', will try to examine this negativity which now becomes full.]
June 30th 2010 - '15 maps for becoming a concept' at 'Felitzia Blumental' (Tel-Aviv) as part of this international festival for contemporary music. Performed by the 'Musica Nova' Ensemble
'Attentiveness Foldings' - Sound Installation at 'MUTE: The Politics of No-Sound', Curated by Liora Belford.
Exhibition Opening: July 8th 2010, 20:00 (until August 15th 2010) at the Center for Contemporary Art, Tel-Aviv.
A thing occurs at the field, an event in addition. Whether the event and the thing are different, similar or identical to each other, or not, it is necessary for one field to exist in relation to its neighbor. That is the form, the field's arrangement character – the tangible within it, in attentiveness folds into the other, crossing a borderline. The borderline conditions the relation between the fields. It is being conceived, simultaneously, as both abstract and concrete.
The paper; four borderlines, three dimensions, two fields and a single poem which reads out loud:
‘Keshev' (Attentiveness) / T.Carmi
It is difficult for two shells to truly converse.
Each one lends an ear to its own sea.
Only the pearl diver or the antiques trader
can determine without a fear: same sea