THIS IS NOT A LOVE SONG [SOUND ARCHIVE] is an ongoing project being created by travelling to major art institutions around the world to record the ambient sounds of large open exhibition spaces and crowds looking at collections. Each recording will be pressed onto a 33rpm 12” vinyl record for play back. At its core, the project seeks to represent the seven continents: Asia, Africa, Europe, North America, South America, Oceania and Antarctica.
Currently, the project is based in Europe, and being facilitated by a residency at the Internationale Cité des Arts, in Paris, throughout August, September, and October. The itinerary includes travel to Berlin and Vienna in August; to participate in the Marin Marais festival in September; and travel to Bilbao and Lisbon in October. This project continues in May, 2020, with a residency and fellowship at the Vermont Studio Center, in USA.
Ambient sound becomes a means of transporting the listener. The project examines ideas of accessibility, permission, and labour. Collecting the sounds of remote sites together into a singular local context manifests connection via indexical links.
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 firstname.lastname@example.org
The Very Best Of - Series.
2019. 32 x 32cm, Acrylic paint on vintage record covers.