J u l i a n a H e r r e r o

1/1

on the filaments, there where the plateau rises

2019

Sound-kinetic installation;

Steel cable, mini speakers, stereo sound in loop, electric motors, strings, led light

size (about 200cm x 500cm, variable hight)

Site specific at sehsaal, Vienna

Site specific at esc medien kunst labor, Graz

video documentation:

"on the filaments, there where the plateau rises"

"on the filaments, there where the plateau rises" -performative dialogues::: 

on the filaments, there where the plateau rises attempts in an emancipatory way to investigate a meta- scape of a "virtual-real" world by means of the practice of "Sound Floating Landscapes". Through the use of (digital) found footage and specially generated materials, which are fragmented, recombined and re-layered, fictional realities are created that allow the real to tilt into the virtual, and the virtual into the real, those emerge physically as filaments which are suspended in "latent" movement. The audio components of the work record location-based data such as geo-coordinates - in audio translation and relate them to each other through whispering and conversation. The sound of outer space, as how Earth is heard from the "Universe" (found footage internet -NASA) is also present. The voice(s) of the machine meet speech recordings to question phonetics and the rhythm of spoken language; the human voice, in contrast to the artificial-machine and the material, stands as a metaphor for the dialectical relationship between human being and technology, which is repeated in affective perception and for processes of change in our real and imaginary cartographies.

A Latent Sound Floating Landscape: Infinite Forms

In this work, the net of wire ropes unfolds in four dimensions (- time is identified as the fourth dimension) through interconnected lines emanating from the same geometric figure: the isosceles triangle. This smallest unit (thought parallel to Leibniz's monad) is here a formal abstraction, which is infinitely reduced by multiple subdivisions, and can grow equally. Each isosceles triangle can itself be divided into four isosceles triangles, thus producing infinitely small isosceles triangles. Inspired by Borges' subtle narrative "Tlön, Uqbar, Orbis Tertius", the fragile construction of the physical net is understood as an "abstract model of the infinite". Constant movement keeps the work floating in its infinite forms: The singularity of the work does not manifest itself in one form, but in its immersive reality of becoming. To achieve this, the installation moves slowly. Technically, this movement is controlled by small electric motors with string pulls. Ideally, the movement appears very subtle and constantly changes frequency, leading to changes in certain nodes of the matrix structure.

 

(The development process of this work has been supported by the MA 7 – Department for visual arts and media arts - City of Vienna) 

For the artwork: Juliana Herrero ​© Bildrecht, Wien 2019

Full credits exhibition at sehsaa (Vienna)l:

 

Juliana Herrero: Artist / Sound kinetic installation

Performance: Yoh Morishita | Julia Müllner

 

Support: 
Arno Aumayr: Motors technique & Software
Jakob Scheid: Mechanics 

 

Photography:

Exhibition views © Joanna Pianka

Opening Exhibition © Zsolt Toarniczky, Guido Mathias Braudisch, lapanterarosa

Full credits exhibition at esc medien Kunst labor (Graz):

Juliana Herrero: Artist / Sound kinetic installation

 

Support: 
Arno Aumayr, Norbert Math: Software

Photography:

Exhibition views © Martin Gross, Juliana Herrero

 

ONTHEFILAMENTS-1-300dpi.jpg

Site specific at esc medien kunst labor, Vienna

1911_julianaherrerocherrero-3-1020x680.j

Site specific at sehsaal, Vienna

Photo Joanna Pianka