“Eventually everything will interconnect.” (1)
“Greenish, salty, the earth moves against the world under dark secrets, its post-cognitive, cognitive workers’ inquisitions and the last played radio.” (2)
The artists who contributed to this final chapter of YCTM examine the sonic response capabilities of a world struggling to free itself from humanity.Beginning with memories and dreams intercepted by sound in the film, and moving toward the effects of climate change and extinction, this chapter holds space for an empathetic future in which anthropocentric civilization becomes a holistic code. This chapter is co-sponsored with Infrasonica And with Kunsthal Trondheim.
hero in Apichatpong Weerasethakulof memory (2021) describe repeated encounters with haunting booms. Stefano Harney When Fred Morten describe as “…the movement of the earth relative to the world. (3) In an essay on Weerasethakul’s sound works, Abidjan Toto sees the film as a place where “…our relationships with multiple worlds become evident in all the friction and violence, and the sound becomes audible beyond the world”. In this essay Koichi Shimizu For Weerasethakul’s movie Syndrome and the Century (2006).
in a multi-channel sound installation Vedøya—Wails for a mountain of voiceless birds #1 (2022), Erin Mar Oyen Bister Giving a voice to the Vedøya (Røst) mountain. Once one of the largest seabird colonies in Northern Europe, Vedøja has quieted down in 2020 as a result of climate change and the rapid decline of its marine ecosystem. This large rock has become a monument to the extinction of many species, sounds and bird languages that once occupied its slopes.Presented Kunsthal Trondheimthis segment is organized in parallel with the Øyen Vister joint exhibition Kunna Guanna Concha When Cissel M. Berg When carolina casedAlso includes the works of Janike Schoening When David RosasThe exhibition at the Kunsthalle Stephanie Hessler When Catherine Elise Agparza Pedersen When Kaja Grefslie Waagen Collaboration with exhibiting artists.
stones turn birds into stones (2017) according to kite It includes the mouth of the Hudson, the river flowing at the feet of the poet, the Ham of Taos, the electrical apparatus of Jacob’s ladder, a conch shell sextet rehearsal, harp excerpts from previous works, and recordings of the artist’s voice. Kaito says, “Look, every cell in your body contains information about the world.” In the Oglala Lakotas ontology, “…even materials such as metals, rocks, and minerals can have a will.” In a 2017 essay Make kin with a machine, co-authored Jason Edward Lewis, Noelani Arista When Archer Petchavis, Kite repeats the agents of stone, rock, and mineral materials in creating cellular technology, because “AI is formed not only from code, but from the material of the earth.” (Four)
film director and artist Lawrence Wreckvideo of black cloud (2021) propose a scenario in which a world currently devoid of humans continues to carry out scenarios of memory, trauma, self-help, and self-affirmation. The story unfolds through a conversation between a city surveillance AI named Black Cloud and its therapist, Guanyin. This work presents AI not as a generative tool for producing technical products and novelties, but as a container for feelings and emotions.In the accompanying interview, Lek and the curator talk Rachel Lakes When Reem Shadid It touches on the trauma of human-initiated catastrophes against artificially manipulated beings. As self-driving guardians regain their mental freedom, they say: The future is gone because it never happened. It’s always like this. Tomorrow will never come. ” This segment infrasonica.
Kunsthal Trondheim It is the largest international stage for contemporary art in the Trondheim and Trondelag region. Through exhibitions and public programs, Kunsthalle engages with the local scene, showcases major international artists and underrepresented positions, and connects with large and diverse audiences. Kunsthall Trondheim is located in Åarjelsaepmie or indigenous lands in the southern Saepmie / Sápmi / Sábme.
infrasonica A digital platform for non-Western culture. We document, analyze and discuss the eerieness of sound and its aura, linking it to our audible, hidden and sensitive worlds. The platform includes his artist’s archive of experimental sound and visuals, as well as theoretical reflections on contemporary critical thinking. Infrasonica is delighted to join Xenia Benivolski and Lawrence Lek in the latest chapter of You Can’t Trust Music with her contributing editors Rachael Rakes and Reem Shadid.
you can‘trust music (YCTM) offer is e-flux A research project that brings together sound-based artists, musicians, writers, composers and writers to explore how landscape, acoustics and musical thought contribute to shaping social and political structures.It is presented on a platform designed by Noth & Renner Developed by Noth & Renner When Jonas Holfeld.
YCTM of e-flux.com is Arts Council of Canada. It is produced by e-flux Developed in partnership with M Woods, NTT InterCommunication Center (ICC), liquid architecture, York University Art Gallery, Kunsthal TrondheimWhen Infrasonica. I am especially grateful for this chapter Teresa Wang, Jane Wilkinson When Robert Steenkammer.
YCTM is curated by Xenia Benivorski.
1 Ito, J., “Resisting Reduction: A Manifesto,” Trans. Haru Yamagata Journal of Design and Science, 2017. https://doi.org/10.21428/8f7503e4.
2. Harney, S. and Moten, F. “Base Faith” eflux journal 86, November 2017. https://www.e-flux.com/journal/86/162888/base-faith/, accessed January 15, 2023.
Four. . . Lewis , JE , Arista , N. , Pechawis , A. , & Kite , S. Journal of Design and Science, 2018. https://doi.org/10.21428/bfafd97b.