From “World Rehearsal Court”, 2009 by Judy Radul.
“Rotary Psycho-Opticon”, 2008 by Rodney Graham. Silk-screened aluminium, plastic panels, aluminium, steel, leather, rubber.
“Fair-weather forces (water level)”, 2008 by Germaine Koh.
Stainless steel stanchions and electronic and mechanical systems with velvet ropes moving up and down in relation to water level, which are transmitted over the internet from an ultrasonic sensor installed at a nearby body of water.
“Wild Signals”, 2007 by Kevin Schmidt. The videoinstallation features the five-note melody that served to communicate with extraterrestrials in Steven Spielberg’s film “Close Encounters of the Third Kind”.
»Pledge«, 2002, is an edition of 5000 copper tokens, each bearing the words “I WILL”. By Germaine Koh.
»Pianorama«, 2005. An old fashioned upright piano sits in the middle of the space. There are two small loudspeakers on top of it. A mechanical device (which plays the piano), sits on top of the keys. Out of one loudspeaker comes Janet’s voice and out of the other comes George’s. These voices are discussing what type of music might be appropriate for what seems to be a film they are planning. By Janet Cardiff and George Bures Miller.
»School of Velocity«, 1995, by Rodney Graham, combines the piano exercise of the same name with Galileo’s equation of the acceleration of falling objects. The result is the piano piece progressively slowing down, with longer and longer pauses between notes. Based on a few bars of music cobbled together out of the score of Wagner’s Parsifal by Engelburt Humperdinck, Wagner’s assistant, to compensate for a problem the opera company was experiencing in synching up its music and scenery. Graham adds a progression of repetitions, whose durations are determined by the prime numbers between 3 and 47, for each of the fourteen instrumental sections that would be playing Humperdinck’s interpolation. The result is an opera that doesn’t end until the year 38,969, 364,735.
“The Décor Project: BILLY” (North View) by Hadley Howes & Maxwell Stephens.
Urban Exercise On Formation. This work by Sabine Bitter and Helmut Weber is based on the pictorial content of a photographic glass plate negative of the 1950s, multiplied by computer and arranged in “formations”. It speaks of the need to study and understand the formations of the external world and the need to abolish the myth of the “community of inner selves”.
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