Elena Biserna

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Towards a Catalogue of Artists’ Records: Records by Artists (1960-1990)

In 1977, Germano Celant published the volume OffMedia, Nuove Tecniche Artistiche: video disco libro. In this text, recognising the pervasiveness of the record in the contemporary artistic practice, Celant wrote: “In the art of the 1960s the record took its place alongside communications media such as video, the telegram, the photograph, the book and the film […] In line with the reductive theories of the period the record contributes to the isolation of one component of art work, sound, while on the other hand it enriches the array of linguistic tools available for the task of exploding the specifically visual and pushing back the limits of the art process"[1].
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En Abîme. A Journey across Listening, Reading and Writing with Daniela Cascella

Daniela Cascella is an Italian writer based in London. Her work, which has ranged between critical and curatorial activities over the years, seems to gravitate around certain ongoing interests. Besides an attention to sound and musical experimentation, which characterizes her practice from the beginning, several of her curated projects focused on the relationships between sound, site, landscape, texts and literature.
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Joe Banks: Rorschach Audio. EVP, Psychoacoustics and Auditory Illusions

The so-called Rorschach ink-blot test is a psychodiagnostic method for the analysis of personality named after its inventor: Swiss psychiatrist Hermann Rorschach (1884-1922). During the test, the patient is asked to interpret a series of ten cards with symmetrical colored blots. According to advocates of this diagnostic method, different subjective responses to these ambiguous images – if appropriately registered and analyzed – would reveal the personality profile of the examined subject, as well as any psychiatric diseases or though disorder.
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Resonances from ICA in London: Days and Soundworks

It is the ICA - Institute of Contemporary Arts to host the first presentation to the British audience of the latest sound work by the American artist. And, as usual, it does this definitely in style: not only by devoting an entire season of its excellent screenings, talks and performances programme to the various branches of sound practice in contemporary arts, but also realizing SOUNDWORKS: a collective exhibition that, at the same time, is a tribute to the American artist, a survey on present sound research and a sharing platform accessible to a large public.
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Climbing Aesthetics. Libia Castro & Olafur Olafsson

Last June, on the train to Venice, I was reading with little timingThe Radicant, Nicolas Bourriaud’s last essay published already in 2009 by Sternberg Press. A few hours later, I was in the charming courtyard of the Collegio Armeno, which houses the Icelandic pavilion of the 54th Venice Biennial: Libia Castro & ÃÆ'â€Å'lafur ÃÆ'â€Å'lafsson’s exhibition Under Deconstruction.
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Daniel Dendra And Open Simsim. Open Source And Architectural Practice

Though the twelfth Venice Biennial Architecture is concluded, this year's theme - People Meet in Architecture - has left everyone wanting for more and returning for a long tem project, beyond the present exhibition. Our idea is to help people and society relate with architecture, to help architecture relate with people and society, and to help people and society relate with each other, as states Kazuyo Sejima, this year's director.
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Brandon Labelle. Where Do Sounds Come From And Where Do They Go?

Where do sounds come from and where do they go? From this fundamental and central question different paths branch out that make up Acoustic Territories. Sound Culture and Everyday Life, the new book by Brandon LaBelle - artist, theorist and editor who, through a particularly coherent research, has constantly devoted himself to the exploration of sound and audio culture from multiple points of view and different levels, giving birth to a large body of work, tests and projects.