This Is Not A Love Song [Sound Archive] is an ongoing series of audio recordings of ambient sounds taken from major Art Institutions and Art Museums around the world.
The archive, representing approximately 200 locations on individual 12” 33rpm vinyl records, is to be presented as a large scale visual-audio touring exhibition. Throughout its development, a series of concise installations, each depicting a specific narrative significant to a single recording within the archive, will intermittently mark the 7 phases of the project corresponding to the 7 continents.
A central aim of the project is to collect ambient sounds belonging to specific locations remote from each other and to bring them into a singular local context. The project examines ideas of accessibility, permission, and labour by contrasting the scale of the viewing body and the institutional body.
This is Not a Love Song [Sound Archive] was launched at COMA in August 2019. It travels to Paris, August-October 2019, through a 3 month residency at the Cite Internationale des Arts to facilitate working relationships with a number of supportive European institutions and a growing network of international artist contributors.
The project continues in the USA and Canada in 2020 through the Vermont Studio Centre Fellowship program.
Joe Wilson and Chanelle Collier are a collaborative artist duo. They use painting and substitutes for painting to explore the position of the image in relation to the viewing body. By incorporating unconventional materials and modes of display, they stimulate a semi-performative engagement with their exhibitions as a medium in itself. Expressing humour and absurd configurations within a diverse practice they frequently address the exchange value of labour by disrupting the vectors of artist, viewer, and gallery.
THIS IS NOT A LOVE SONG: The first iteration of an ongoing project to gather and archive the sound of institutions around the world to find what might be universal to them through a study of ambience. The project collects the specificity of place and culture belonging to each recording in an ensemble to form a whole intercontinental big picture. In this first iteration, the place hasn’t been specified, removing the designation from a singular recording allows it to act as a proxy and precariously become a universal representation of institutional ambience.
Transposed audibly from one space to another, sound becomes a means of mixing signifiers relative to a given place and situation. If being somewhere has its own sound, then the ‘being there’ within a sound creates a means to transpose the listener from one place to another. The idea of transporting the listener in a conceptual manner is manifested through any kind of connection via an indexical link.
To view a catalogue of works for either show or to request further information please email email@example.com
The Very Best Of - Series.
2019. 32 x 32cm, Acrylic paint on vintage record covers.
CiTé Des Arts paris studio
We are deep into the second phase of our project, This Is Not A Love Song [Sound Archive], making recordings of art institutions around the world. Through our residency in Europe we have developed 15+ peer partners to make recordings on our behalf, from many countries. While some institutions have ignored our requests, we have also begun relationships with others, gaining permission and unique access. For our project we envisage 7 audio installations for 7 continents plus the sound archive itself of 100 – 200 recordings on vinyl. Our ambition is that this content will tour through regional spaces. The project investigates the relationship between the viewing body and the institutional body. It is about access, permission, and labour. For audiences we see this archive as a means of brings remote locations into a single local context.
In the Paris studio we have met and developed new ideas and practices. Below are some developments and studio workshopping with an incredible performing artist, Jasminka Stenz, a dancer and choreographer. Also with audio and conceptual artist Jack Prest whom we worked with last year on Sincere Input, his 3rd Future Love Hangover album. Incorporating the studio and adjacent courtyard as a performance space, we used live microphones in a reactive audio feedback while moving objects into various compositions. Investigating the boundaries between performance and performative actions Jasminka intuited movement and bodily composition while Chanelle and Joe exercised their own natural studio movements by organising objects. Jack manipulated live sounds into reactive ambient soundscapes.