Sound Art

Camille Norment: Plexus by Camille Norment (Artist); Jessica Morgan (Preface by); Nida Ghouse (Text by); Legacy Russell (Text by); David Toop (Text by) "Norment's ringing and vibrating sound system lets us experience a fragile interdependence of bodies and environments." -New York Times Throughout her career, Oslo-based multimedia artist Camille Norment (born 1970) has probed and explored what she has termed "cultural psychoacoustics," in particular the socio-cultural valences of three tones: the bell, feedback and the sine wave. Camille Norment: Plexus, the first US publication on the artist, unpacks those sonic phenomena, which together resonate with discrete yet overlapping ideas of time, spirituality and the drone (bell); the decentralization of power, political struggles and cybernetics (feedback); and purity and transcendence (sine wave). With an innovative all-vellum design, the book translates Norment's sonic sensibility into print-specific terms. In addition to a conversation between curator Kelly Kivland and the artist herself, the volume features contributions from curators and scholars Legacy Russell, Nida Ghouse and David Toop, as well as fragmented texts from a conversation between Fred Moten and Norment.

Christian Marclay: Sound Stories by Christian Marclay (Artist) Marclay fuses art and technology to draw on the sounds and images of life on Snapchat In Sound Stories, American artist and composer Christian Marclay (born 1955) fuses art and technology, using Snapchat videos as raw material. Featuring texts by Max Maxwell, this book documents the collaboration between the artist and Snapchat in an innovative project mixing the sounds and images of everyday life found on the multimedia messaging app, aggregating unattributed stories. Using algorithms created by a team of engineers at Snap Inc., Marclay experiments with millions of publicly posted Snapchat videos to create five immersive audiovisual installations, two of which are interactive. The Organ, a five-octave keyboard and its bench, allows the spectators to trigger video segments and their matched sounds onto the wall. Rooted in a sampling aesthetic fundamental to Marclay's work, these installations respond to the storytelling available on Snapchat and visitors' sounds and movements in the gallery space.

Emeka Ogboh: This Too Shall Pass by Johann Hinrich Claussen (Text by); Juliane von Herz (Text by); Emmanuel Iduma (Text by); Emeka Ogboh (Artist); Friederike von Bünau (Editor) Emeka Ogboh's sound installation THIS TOO SHALL PASS offers a possible response to the crisis-ridden year 2020. Text in English and German.

Erick Meyenberg : D major isn't blue by Gabriela Rangel Exhibition catalogue presenting a selection of works created by Erick Meyenberg (Mexico 1980) across all media and spanning two decades. Using the five senses, the artist focuses mainly on the use of colors, language and sound to address the rhythms of life and death, lifeœs fragility and strength, and our fear and astonishment of life and nature while creating a synesthetic experience. Meyenbergs oeuvre raises important and sometimes troubling questions about the different realities that coexist in contemporary Mexico. It is a body of work that ranges across mediums -including drawing, collage, video and sound installation, and sculpture- but which unfailingly incorporates a meticulous observation of the present as we experience through our perceptions"

Nevin Aladag by Nevin Aladag (Artist); Michael Buhrs (Editor); Helena Pereña (Editor); Adam Szymczyk (Text by); Ulrike Draesner (Text by) Nevin Aladag lets wind and rain play music. She follows the sound of traces she finds in the city and makes objects sound melodies seemingly by themselves. The result is a perceptive and always humorous "score" that has a quality that is as ironic as it is poetic. Aladag's works are represented in many international collections and are regularly shown in exhibitions and biennials worldwide. The Museum Villa Stuck is showing her most comprehensive solo presentation to date, combining famous groups of works, such as the "Music Room Athens" shown at documenta 14, with a few surprises. The accompanying catalogue offers over 200 mostly full-page illustrations. Essays by renowned art scholars such as Rachel Jans and Adam Szymczyk and a contribution by the multi-award-winning writer Ulrike Draesner, conceived especially for the book, illuminate the artist's work from different perspectives. The special embossing that Aladag developed for the cover gives the publication a special artistic touch.

Samson Young: Real Music by Alexander Rehding (Text by); Joel Stern (Text by); Tessa Giblin (Editor, Text by); Samson Young (Artist); Charlotte Day (Editor, Text by); Alexandra Chang (Text by); Stefan Bilbao (Text by) The catalogue "Samson Young: Real Music" accompanies an exhibition of new and existing work by Samson Young premiering at Talbot Rice Gallery, University of Edinburgh in conjunction with the Edinburgh Festival in July 2019 before traveling to Monash University Museum of Art, Melbourne in 2020. Real Music documents a major new commission created in collaboration with the Next Generation Sound Synthesis (NESS) research group at the University of Edinburgh. Drawing on systems that model how a virtual instrument would sound in a specific environment (what would a brass instrument sound like played at 300° degrees Celcius?), Young has composed music for instruments that could never exist--bending the rules of both music and sculpture to create a host of "possible instruments". Also featured, The world falls apart into facts, 2019, is the result of the artist's research into two musico-cultural curiosities--the popular Chinese folk song Molihua (Jasmine Flower) and Japanese Togaku court music--as well as the phenomenon of "tourist instruments". Joining the hypothetical and the curious, the publication also explores a significant strand in Young's practice--the series of "muted" performances that the artist has been producing as video and sound installations since 2014, working in collaboration with different ensembles and orchestras. "Real Music" provides insight into the artist's widely acclaimed practice to date. The first to draw out the reverse ethnographic lens that informs his practice, the fully illustrated publication features essays by Alexandra Chang, Alexander Rehding, and Joel Stern, and a conversation with Stefan Bilbao about NESS research and its application in Young's work. --Publisher's website

Sound Art by Peter Weibel (Editor) Overview. This milestone volume maps fifty years of artists' engagement with sound. Since the beginning of the new millennium, numerous historical and critical works have established Sound Art as an artistic genre in its own right, with an accepted genealogy that begins with Futurism, Dada, and Fluxus, as well as disciplinary classifications that effectively restrict artistic practice to particular tools and venues. This book, companion volume to a massive 2012-2013 exhibition at ZKM/Center for Art and Media, Karlsruhe, goes beyond these established disciplinary divides to chart the evolution and the full potential of sound as a medium of art. The book begins with an extensive overview by volume editor and ZKM CEO Peter Weibel that considers the history of sound as media art, examining work by visual artists, composers, musicians, and architects alike. Subsequent essays examine sound experiments in antiquity, sonification of art and science, and Internet-based sound art. Experts then survey the global field of sound art research and practice, in essays that describe the past, present, and future of sound art in Germany, Japan, China, the United States, the United Kingdom, Russia, Canada, and Scandinavia. The texts are accompanied by hundreds of color images drawn from the ZKM exhibition.

Sounding Things Out: a Journey Through Music and Sound Art by Esther Venrooy; Hans Demeulenaere (Text by); Allon Kaye (Text by); Clodagh Kinsella (Text by) Sound is ephemeral. It does not belong to anyone. It cannot be captured in words. Writing on sound art usually focuses on the same familiar figures, but this treatment will broaden the field to explore artistic practitioners like the godfather of movie sound, Walter Murch, the king of the jungle Chris Watson, naturalist and explorer Alexander von Humboldt, pioneer wildlife recordist Ludwig Karl Koch, American pioneer composer and master teacher James Fulkerson, uncompromising composer Eliane Radigue, visionary sound sculptor Edgard Varèse, offbeat composer Luc Ferrari, true maverick Maryanne Amacher, and sonic terrorist MSBR aka Koji Tano and others. Exhibition: Onomatopee, Eindhoven, The Netherlands (25.08. - 30.09.2018).

Sung Tieu: Oath Against Minimalism by Sung Tieu (Artist); Cédric Fauq (Editor); Damian Lentini (Editor); Kathleen Ditzig (Text by) Oath against Minimalism documents the multifaceted work of the up-and-coming artist Sung Tieu, whose sculptural and sound installations engender uncanny and immersive spatial situations. Lavishly illustrated and containing four essays by international art historians and curators, as well as an interview with the artist, this wide-ranging publication provides a comprehensive insight into Tieus practice; placing her work against the backdrop of bureaucratic power structures, global capitalism, the psychological effects of sound, and the legacies of the Cold War. This monograph is published on the occasion of Tie's first institutional exhibitions: Zugzwang (2020) at Haus der Kunst in Munich and In Cold Print (2020) at Nottingham Contemporary. 0Sung Tieu (*1987 in Vietnam, lives and works in Berlin and London) studied at the Hochschule für Bildende Künste in Hamburg and at the Royal Academy of Arts in London. Tieu is a winner of the ars viva Prize for Visual Arts 2020. Forthcoming exhibitions include 34th Sao Paulo Biennale.00Exhibition: Haus der Kunst, Munich, Germany (31.01. - 30.08.2020).

Takis by Guy Brett (Editor); Michael Wellen (Editor) "One of the most playful, innovative, and eccentric artists of postwar Europe, Takis (b. 1925) was a catalyzing figure in the artistic and literary circles of Paris, London, and New York from the 1950s onward. Pioneering a variety of sculpture, painting, and musical structures, Takis's works harness invisible natural forces. Most notable are his innovative "telemagnetic" works, begun in the late 1950s, which float everyday metallic objects in space through the use of magnets. These investigations and his fierce individualism won him the admiration of Beat writers such as Allen Ginsberg and William Burroughs and inspired arguments with his artistic contemporaries Yves Klein, Alberto Giacometti, and Jean Tinguely. This is the first book in English to introduce this key figure of Europe's postwar avant-garde and cultural underground. Through new essays and primary sources, it foregrounds the artist's influence in contemporary art since the 1960s."-