Joseph Kamaru, Mariana Carvalho, Varoujan Chetirian and Zach Hart play with objects, voices and microphones across two rooms in a basement. They move things around. There’s a mess of interjections, entangled vocal islands, imaginary promontories, intertwined or not. Sometimes fictional. Imagine trying to trace a voice back to its source, then try to orient it within a specific historical and cultural context. How did this voice arrive here? What circumstances granted it access to the place where it landed? What was its trajectory?
As scenes settle into stone their solidity dissolves, liquifies. A larynx tube drips, flushes, spills. Nylon thread tied to a wall gives a mouth to the wall’s voice. Z. observes, collects samples and then describes. Absurdly invoking a scene. A scene in process. K. gathers, tells of autonomous radio communities. A compilation of voices, in the pre-electoral period. M. is hungry and roams between sophrosyne and ololyga. Feeding, chewing, receiving, in and out. Mouthlistening to the wall. V. reminds. Closeness is relative. Switching and disrupting at an intersection of the vocalic. Who is this echoing? Aiming to localize the tongue sirens. Eating the faders.
Disembodied voices travel across the airwaves creating potential for communities to form within range. Try to trace who it is that’s sounding. Pinpoint where they’re sounding from. Or are they too far in the distance? Is tracking even possible amidst the heterophony? Witness the shift. A raw encounter in a complex collection of open, re-modelled perspectives both fleshy and ungraspable.
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