Last Chance to See Sound and Vision at Plug In ICA
Sound and Vision: Crossroads will close this Sunday, June 17 at 5pm, so this weekend is your last chance to see this exhibition.
Artists: Cory Arcangel (New York), Kevin Ei-ichi deForest (Winnipeg/Brandon), Dan Graham (New York), Rodney Graham (Vancouver), Brion Gysin (Edmonton/Paris) & Ian Somerville (Cambridge), Joachim Koester (Copenhagen), Jennifer West (Los Angeles), and Hannah Wilke (New York).
Through ﬁlm, video and installations, the artists in Sound & Vision: Crossroads explore popular music as an agent and conduit of social change. Popular music accompanies or is constitutive of some of our most resonant and widely shared cultural moments. The ecstatic potential of rock music provides a space to exceed standardized terms of representation, language and control. This exhibition focuses on rock music as a popular and evocative avenue of thought and action. At least since its origin in slavery and blues music of the southern United States, popular or experimental music has been used by multiple generations to re-imagine the world.
The intersection of sound and vision is constituent of rock music experiences, immersive multi-media performances and “virtual reality.” Media such as ﬁlm, video, performance and interactive sculpture and installation lend themselves to the particularities of temporal and shared experience. The structural components of ﬁlm and video – light, sound, motion and optics – are dependent upon the human body and consciousness to cohere meaning. The transformation of experience, and the expansion of consciousness, has historically been a preoccupation in rock music, one that combines both physical and conceptual realms. The body has always been implicated in rock music; to ‘rock ‘n’ roll’ was a euphemism for having sex.
The mythologised promise of rock music is freedom, and rebellion, and by extension, utopia. The works in this exhibition create an open-ended conversation, spanning several decades, and invoking the kind of “secret history” in which, for example, critic Greil Marcus, delineates a social, political and cultural narrative spanning the medieval Brethren of the Free Spirit, Dada, punk rock, and the Situationists.
The exhibition invokes alternately the personal, domestic spaces of the living room or teenage bedroom and the space of mass public performance—the stage of a rock concert. The transition describes an arc of social agency from the personal to the public on intimate and grand scales.
The accumulation of knowledge, emotion, and physical experience in art, music and ﬁlm can exceed the boundaries of language and knowledge management. The crossroads in this exhibition include meetings of the public and private, the historical and present, and the optic, sonic, haptic and beyond. By implicating the excesses of the human body as conduits and agents in radicalizing social practice, this exhibition provides a forum for re-interpreting the social construction of space.
Canadian Art also covered a version of this project that took place in Belgium.
This exhibition is free for all and all are welcome.
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