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Peripatetic Landscapes at La Biennale di Venezia 2021

peripatetic landscapes | ,pɛrɪpəˈtɛtɪkˈlan(d)skeɪps |

A project by Emilio Koutsoftides & Gabor Stark

Following on from a successful submission to the Open Call for the Cyprus Pavilion, Peripatetic Landscapes will be exhibited at the 17th International Architecture Exhibition – La Biennale di Venezia from 22 May to 21 November 2021. Organised by the Cyprus Architects Association and the Cyprus Ministry of Education, Culture, Sports and Youth, and curated by Marina Christodoulidou, Era Savvides, Evagoras Vanezis, and Nasios Varnavas, the theme of the Cyprus Pavilion is Anachoresis: Upon Inhabiting Distances.

Our proposal plays with distance and proximity through the combination of material and sound sampling. The composite object incorporates material specimens of a Cypriot landscape and the transmission of field recordings of the same location. Using the surface of the sampled topography as the mould, sixteen plaster casts present inverted 1:1 replicas of the micro-geology of Lemba Valley in the Pafos District. The pristine white surface of the material is juxtaposed by mineral and organic residues captured during the casting process. Held in position by a steel rack, the stacked pieces form a stratigraphic cube which hovers over the surface of the exhibition table in the pavilion. The centre of this porous vessel holds a wireless speaker transmitting the sound of a looped audio track through the artefact’s crevices and interstitial spaces. The immersive sonic portrait comprises recordings of natural habitats and phenomena – wind, water, and bird calls – as well as cultural soundscapes – footsteps, ambient village and workshop noise. Removed from its original place of topographic and audio recording, the peripatetic object resonates acoustically, haptically, and visually. Its perception oscillates between that of a site-specific portrait of a distant geography and a scale-less object inviting visitors of the Cyprus Pavilion to project their own imaginary landscapes.

Here some images of our first test casts, drawings from the Open Call submission, and links to the demo version of the audio track, the Cyprus Pavilion and the Venice Biennale.

Coda

“Sound carries messages. It functions as a communicational medium. As a physical and spatial movement, sound carries a collection of information related to the conditions of the original object or body, and the related environment. Importantly, this information also grants animation to things: by stemming from an object or body, sound signals that movement is occurring, and more so, that life is happening.” 

Brandon LaBelle (2009)  // In OASE #78: Immersed. Sound and Architecture

The Cyprus Pavilion 2021 // Anachoresis: Upon Inhabiting Distances 

Curated by Marina Christodoulidou, Era Savvides, Evagoras Vanezis, and Nasios Varnavas

https://cypruspavilion.org

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17th International Architecture Exhibition – La Biennale di Venezia 2021

https://www.labiennale.org/it

music for voices

OUT OF ISOLATION // Monday 14 September – Friday 30 October 2020 // UCA Canterbury, Kent, UK

I’m participating in a group exhibition at the University for the Creative Arts in Canterbury. Curated by Georgina Scott OUT OF ISOLATION showcases work that has been produced by UCA students, graduates and members of staff during lockdown.

“Since the end of March this year, we have all been forced to live our lives differently. We haven’t had the freedom to go where we like, to see who we like and to use the resources and spaces that are usually available to us. We have all had to adapt to living a more limited lifestyle and to be resourceful with our time, space and materials in our homes. This has led to a unique and vital period of reflection; on our own lives, on others’ lives and the world we are currently living in. The enforced lockdown has changed the way we create. We have been challenged to adapt the ways we make and have produced new and innovative artworks that directly respond to our isolated circumstances, creating a record of the different experiences of these unprecedented times.”

Above an installation view of music for voices, my piece in the show. In accordance with government guidance the exhibition is open to internal UCA staff and students only – but you can listen to my lockdown lullabies here:

soundcloud.com/precariousproposition

music for voices
Gabor Stark, 2020

tracks & voice samples

sound is acting // John Cage in ‘Écoute’, a film by Miroslav Sebestik (1992)
 
für florian // Florian Schneider in an interview with Brazilian TV (1998)
 
sad and beautiful world // Roberto Benigni and Tom Waits in ‘Down by Law’, a film by Jim Jarmusch (1986)
 
wide deep lake // David Byrne reading from the introduction to his book ‘How Music Works’ (2012)
 
asche der traum von sieben meisterwerken // Heiner Müller reading his poem ‘Herzkranzgefäß’ (1992) 

march // Percy Humphrey, bandleader of the Eureka Brass Band (1960s)

john baldessari’s dog // John Baldessari and Tom Waits in ‘A Brief History of John Baldessari’ (2012)

and we jumped into the sun // Colin McCredie reading ‘From a City Balcony’ by Edwin Morgan (2020)
 
je me souviens d’un homme qui dort // Georges Perec reading excerpts from ‘Je me souviens’ (1978) and 
Ludmila Mikaël, narrator in ‘Un homme qui dort’, a film by Georges Perec and Bernard Queysanne (1974)

dlya glavnogo // Lyrics & voice by Valeria Lissitzky (2020)
 
I don't want to be interesting // Ludwig Mies van der Rohe (1960s) in 'The Oral History of Modern Architecture' (1994)

gente formidável // Lina Bo Bardi. Interview excerpt from LINA BO BARDI (1993), directed by Aurélio Michiles

For Edwin Morgan (1920-2010)

Here my birthday wishes to the Scottish poet and translator Edwin Morgan who would have turned 100 this year. I first heard him reading his poems in a book shop on Byres Road in Glasgow in the mid-ninties – and have been a fan ever since. My humble contribution to the concrete poetry genre is inspired by Morgan’s Emergent Poems from 1967.

Links

DAD Artists at Home

I’m delighted to be part of Dover Arts Development’s new project DAD Artists at Home. The format aims to support DAD’s community of contributors during the challenges brought about by the Covid-19 pandemic and provides digital outlets and promotion for their work in order to aid further connections between artists and projects. The project is led by artist and curator Louisa Love who invited the over 150 contributors of DAD’s network to share their current lockdown activities in the form of videos, photos, sound, writing and weblinks. Below my contribution. For more information and to see the work of the other featured artists please visit:

https://www.dadonline.uk/projects/dad-artists-at-home/ and #dadartistsathome

If there is one thing, I could not complain about during the past three months of life in lockdown, it’s boredom. Online meetings, tutorials and project reviews with my students and colleagues at UCA easily filled my days alone at home (or is it work?) and did not leave me with too much time and headspace for other creative reveries. But since the academic year has finally come to an end, I have recently started to travel again, at least imaginarily, and delved into the wide world of sound – some call it music.

Inspired by John Baldessari, Pipilotti Rist, Martin Creed and other artists who have expanded their primary practice by venturing out into parallel musical adventures, I have arranged a couple of sonic vignettes by setting voice samples of other artists to music. Using excerpts from an interview in ‘Listen’, a documentary about contemporary music by Miroslav Sebestik, the first track features words of wisdom about sound, space and time by the American composer John Cage. Track two loops the proverbial “it’s a sad and beautiful world” – taken from the dialogue between Bob (Roberto Benigni) and Zack (Tom Waits) in Jim Jarmusch’s film ‘Down by Law’ – into a Sisyphean sonic mantra. The trilogy concludes with a humble musical tribute to Florian Schneider, founding member of Kraftwerk, who sadly passed away in April. The repeated Schneider dictum “Wir versuchen unser Bestes. We try our best” sums up my attitude as an amateur and novice composer quite well.

So, if you are not averse to sparse and minimal orchestration and a stubborn 4/4 beat, please listen to the three lockdown lullabies on SoundCloud:

https://soundcloud.com/precariouspropositions/sets/some-call-it-music

Tracks & Credits

sound is acting | 1:50 min. 
Voice sample: John Cage (1912-1992) in 'Listen’ (Écoute) by Miroslav Sebestik, 1992

sad & beautiful world | 5:13 min.
Voice sample: Roberto Benigni & Tom Waits in 'Down by Law' by Jim Jarmusch, 1986

für florian | 2:14 min.
Voice sample: Florian Schneider (1947-2020) in an interview for Brazilian TV, 1998

Meanderings. String Quartet by Matthew Brown

Canterbury-based composer Matthew Brown posted a score video and recording of the string quartet he wrote for my Meander (Spiegel im Spiegel im Spiegel) installation.

Meanderings was premiered by the Leon String Quartet at Kearsney Abbey Gardens in August 2018. Performers were Karen Jolliffe and Kammy Pike on violins, Matthew Brown on viola and Julie Peat on cello. The performance you can hear in the video was recorded by Karen Jolliffe and Kammy Pike (violins), Matthew Brown (viola), and Mike Bacon (cello) at St Gregory’s Centre for Music in Canterbury. Meanderings was performed by the Sacconi Quartet at the Customs House in Folkestone in May 2019.

Matthew Brown’s website

You can read up on Meander (Spiegel im Spiegel im Spiegel) here

West Wing Opening Postponed

Due to the Covid-19 situation all building and community access works at Fort Burgoyne are currently on hold and the Land Trust had to postpone the planned public opening of the West Wing to 2021. I will keep you posted as soon as I know more about when I can resume working on the public engagement process for the communal gardening area. In the meantime, above a visual lockdown reverie from a few weeks ago: What if, on its way from the steel manufacturer to the site, the substructure of my installation would make an interim stop in a gallery? This may never happen, but to paraphrase Voltaire: ‘Il faut cultiver notre rêves’.

Application for Scheduled Monument Consent

Here the Application for Scheduled Monument that I submitted to Historic England last week.

SMC // West Wing Gardens

Archaeological Shelter + Seating and Communal Gardening Area

The proposed structure is located at the western corner of the outer rampart of the West Wing Battery at Fort Burgoyne in Dover. It combines the protection and interpretation of the structural remains of a twentieth century complex with the provision of a public viewing, seating and communal gardening area.

The historic complex was revealed during the evaluation trenching in 2019 and dates most likely from World War II. The elevation and positioning of the structure suggest some sort of surveillance role. Its exact function and date, however, have not been confirmed as yet. Suggested interpretations range from a command/observation post or gun emplacement to an elevated ablutions block.

The archaeological findings comprise a weapon-pit/ dug-out and a series of lined recesses constructed from concrete block walls and paving slabs. The recessed chambers are positioned around a central yard that was originally paved with concrete slabs, many of which have subsequently been removed. Whereas the weapon pit/ dug-out was backfilled at the end of the archaeological survey, the concrete paving slabs, concrete blocks, protruding angle irons and corrugated iron sheeting have been left uncovered for the time being.

The proposed structure consists of a modular, grill-like system of steel frames that protect the historic artefacts whilst leaving them exposed to the public gaze. The new structure carefully traces the plan of the historic complex and the steel frames mark the area of the covered weapon-pit and accentuate the exposed recesses of the rectangular chambers.

As in the historic situation, the area is accessible from the north-eastern side, now connected to a proposed new footpath. Like the other new paths and surfaces, the central yard is covered with a resin bound surface to provide safe and barrier-free access to the public viewing, seating and gardening area. A horizontal steel plate protects the mosaic of broken concrete slabs on top of the existing raised floor of the East Chamber. Two vertical steel sheets, L-shaped in plan and backfilled with sand, cover the remaining corrugated iron sheeting of the original retaining walls.

The lower cross sections of the steel modules are bolted on to an edging strip, level with the new bound surface. The upper sections of the frames rest on the higher datum of the surrounding terrain. Embedded in the existing depression of the western corner of the outer rampart, the structure keeps a low profile. With its maximum height of 30cm above terrain (top edge of the raised planters on the south-eastern side), it does not disturb the silhouette of the battery’s earthworks and overall form.The orange-red anti-corrosion coating refers to the colour palette of the tools used during the archaeological survey and the conservation and stabilisation works.

To encourage future public use and to make the most of the opportunity afforded by the elevation of the site, public benches and raised planters are integrated into the steel structure. Their positioning provides visitors with spectacular views over the West Wing Battery, of Dover Castle, the surrounding landscape and the sea.

The concept for the communal gardening area is inspired by the ‘Herb and Pleasure Garden’ idea that was developed in the ‘Explorers’ community engagement programme in 2019; and by the historical anecdote that one of the camp commanders once used the West Wing Battery as his private garden. The strategic objective of the gardening component is to support the long-term placemaking process at Fort Burgoyne and to contribute to the transformation of the 19th century land front fort into an inclusive, public and recreational place through the acts of horticultural and civic care.

The West Wing Gardens facilitate the opportunity for an active and sustained community engagement. They aim to encourage the future residents of the adjacent Connaught Barracks housing development and other Dover ‘garden guardians’ to take ownership, to cultivate their gardens as well as the surrounding areas, and to help with the maintenance of the West Wing Battery as a whole.

“Mais il faut cultiver notre jardin” (Voltaire, 1759)

Gabor Stark, February 2020

Application for SMC

West Wing Gardens // West Wing Battery, Fort Burgoyne, Dover

Proposal by Gabor Stark

In collaboration with Lee Evans Partnership

Commissioned by The Land Trust

February 2020

West Wing Gardens

I’m delighted to be appointed by The Land Trust to work on the realisation of my idea for an archaeological shelter, seating and gardening area at the West Wing Battery at Fort Burgoyne in Dover. I will develop my proposal for the north-western plateau of the West Wing’s outer rampart in collaboration with Lee Evans Partnership, the heritage architects for the Ancient Scheduled Monument.

The structure combines the protection and interpretation of the archaeological remains of a 1940’s building – concrete blocks, paving slabs, corrugated iron sheeting and a weapon pit – with the provision of a new viewing, seating and communal gardening area. Below a few photographs of the existing situation and an animated stratigraphic drawing showing the superposition of the historic and new layers: the grill-like steel structure, the benches and the raised planters of the Elevated Gardens.

I will also cooperate with Dover Arts Development on the orchestration of public events to continue the art led community engagement and placemaking process. The aim is to involve the pupils, their parents and teachers of the nearby Guston Church of England Primary School and other Dovorian Garden Guardians in the long-term management and maintenance of the communal garden space.