This week, Ann and Fiona did an presentation for us and I am really interested in her so I asked them for their powerpoint and it really makes sense.
• Janet Cardiff
• Born in 1957, Brussels, Ontario, Canada
• Education: Queen’s University, University of
Alberta
• Know for: Sound Art, Installation Art
• First gained international recognition in the art world for her
audio walks in 1995
Audio walks
TAKING PICTURES | 2001
Taking Pictures
Taking Pictures led visitors on a route from the museum into the surrounding Forest
Park, to an existing but little known wooded path hidden within a forested
section of the park.
• Employs recollections
• First time to use still photographs as a device to convey a sense of
both history and memory.
The Forty Part Motet
• 40 speakers in 8 groups were placed in an oval
• Each speaker plays a recording of one sound
• Enabling the audience to walk through the space and
"sample" individual voices of the polyphonic vocal music.
She said: "While
listening to a concert you are normally seated in front of the choir, in
traditional audience position. With this piece I want the audience to be able
to experience a piece of music from the viewpoint of the singers. Every
performer hears a unique mix of the piece of music. Enabling the audience to
move throughout the space allows them to be intimately connected with the
voices. It also reveals the piece of music as a changing construct. As well I
am interested in how sound may physically construct a space in a sculptural way
and how a viewer may choose a path through this physical yet virtual space.”
THE
FORTY PART MOTET | 2001
• George Bures Miller
• Born: 1960, Vegreville, Alberta, Canada
• Education: University of Alberta
• Know for: Sculpture, installation,
electronic art
• Notable work: Paradise Institute,
2001 (with Janet Cardiff)
Forest(for a thousand years…)| 2012
• Cardiff and Bures Miller's work incorporates the actual forest into
an audio composition emitted from more than thirty speakers.
• Sometimes there is a near synchronicity of natural and mediated
sounds, and it's tough to discern what is live and what is recorded.
• the rustling breeze-dramatically escalating wind-a storm is
approaching- sounds of war: whistling screeches, big explosions, the rat-a-tat
of machine gun fire-shocking scream, a crashing tree, sounds of a mother and
child, clanging metal-come close, but then leave-the trees and the wind again,
and the crickets and birds.
• Include elements of: narrative sequencing, experiments
with sound, and movement.
Her first
artistic collaboration with Bures Miller, in 1983, was a Super-8 film
called The Guardian Angel. After this filmmaking experience,
Cardiff's work began to include elements of narrative sequencing, experiments
with sound, and movement.
Paradise Institute (2001)
With this work, originally produced for the
Canadian Pavilion at the Venice Biennale, Cardiff and Miller focus on the
language and experience of cinema. Viewers approach a simple plywood pavilion,
mount a set of stairs, and enter a lush, dimly lit interior complete with red
carpet and two rows of velvet-covered seats. Once seated, they peer over the
balcony onto a miniature replica of a grand old movie theatre created with
hyper-perspective. This is the first in a series of illusions orchestrated by
Cardiff and Miller. Viewers then put on the headphones provided and the
projection begins.
• The artists won La Biennale di Venezia Special Award at Venice, presented to Canadian artists for the first time and the Benesse Prize.
• Recognizing artists who break new artistic ground with an experimental and pioneering spirit.
• At least two stories run simultaneously.
• There is the “visual film” and its accompanying soundtrack that unfolds before the viewers
• The film is a mix of genres: it is part noir, part thriller, part sci-fi, and part experimental.
• Personal binaural “surround sound” that every individual in the audience experiences through the headphones.
• The sense of isolation each might feel is broken by intrusions seemingly coming from inside the theatre.
• Fiction and reality become intermingled as absorption in the film is suspended and other realities flow in.
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