Twenty-four hours of uninterrupted sound: this was the auditory aspiration of Melissa Auf der Maur and Tony Stone–co-founders of Basilica Hudson–and their houseguest, Bob van Heur, co-founder of Le Guess Who? festival in the Netherlands. Basilica Hudson, a nonprofit artistic collective in downstate New York, has a proven history of adventurous projects that stretch the limits of the audience’s expectations. From noon on April 28, 2018 to noon on April 29, they will be producing a project that’s become something of a classic for the group to kick off their season: a 24-hour sound drone.
“It’s a really singular event, and you really come out of it being transformed,” said Kate Hewett, the program marketing and communications manager for Basilica Hudson. “It’s so unusual to be surrounded by sound in a long-form situation like that. It’s rare that you get to experience the interplay between different kind of artists and performances … it’s one of our favorite events.”
This is the third year that Basilica Hudson had compiled artists from the drone, and each year the lineup is changed. The project is sourced to both local and international sound artists, via a process that includes both an open call submissions period as well as staff reaching out to composers and collectives individually. The product is an experience that is both sonic and tactile; while the drone roves through the space and fills the converted factory with sound, participants are encouraged to bring in mats or chairs and stay through the entire 24-hour period. Some of the artists who will be played through the drone include Bill Brovold and the Mystical Miniature Orchestra, Hudson Boys Club and New London Drone Orchestra.
“The open call submissions period is really key to making the 24-HOUR DRONE happen,” Hewett said. The vision behind it is to always access new artist who haven’t played here previously, maybe artists who haven’t played in the Hudson Valley before as well as being able to showcase the incredible local talent that is offered in the region … from there, it’s really a case of weaving together a multidisciplinary lineup. The aim is to cross genres and be able to showcase lots of different kinds of artists who are all working within the rough framework of drone.”
While no live performances fit the bill of the event, there are 24-hour projects that happen in tandem with the drone. For one, a weaver will sit in Basilica’s space and use the loom for 24 hours. In another example, healers will enter the premises to perform 24-hour reiki.
“People are free to come and go as they wish — you don’t have to commit to the full 24 hours. But a lot of people do come, bring a yoga mat, and camp out for the whole time,” Hewett said. “The enjoyment and the really immersive experience is what it’s about, and what’s most important.”
This season, the 24-HOUR DRONE will not be the only sound-related exhibition at Basilica Hudson. From Sept. 14 to 16, the collective will host Basilica Soundscape, a weekend of live music and art. The lineup has yet to be announced.
All images courtesy of Basilica Hudson
Shauna Bahssin is a junior at Binghamton University who double-majors in English and art history. She currently serves as managing for the student newspaper, Pipe Dream, and has written for its news and arts and culture sections in the past. Outside of the paper, she is involved with the university’s fundraising initiatives through the Binghamton Telefund, and she hopes to work within the field of arts development and advancement after she graduates.
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SO! Amplifies: Anne Le Troter’s “Bulleted List”–Shauna Bahssin
SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig. You’re welcome!
Nestled deep in a corner of Paris’ Palais de Tokyo, Anne Le Troter’s sound piece “Bulleted List” invites the museum’s visitors to explore the social similarities that people verbally express in response to cold calls. Le Troter’s first solo show to be on display in Paris, the work invites the audience to sit inside a modified cinema amphitheater as the sounds of recorded people answering survey queries echo throughout the sloped room. The seating arrangement inside the exhibition mirrors the cubicle-style setup of a call center, though each “station” consists solely of an outline designating where to sit and a coordinating amplifier. Both the questions and answers in the sound piece are produced by real survey callers; each voice sounds polished, poised and mechanized from years of vocal experience, revealing the automated nature that comes with the territory of making a scripted call. The result of each recorded voice unto the listener is akin to standing in the center of a symphony, with vocal patterns as punctuated as a visual, typographic list.
At the Palais de Tokyo I set up a play of light, a new element in my work, which gives visitors a time reference, even if they arrive half way through. Each broadcast is incidentally interspersed with a long silence to emphasize the idea of a session. This determines the attention span given to a work. The collective listening situation I find especially interesting because it reveals a set of patterns of behaviour, a whole language of bodies and eyes between the spectators. These micro-actions, just like the mental paratext of visitors and pollsters (those words that are not uttered but which ring out in our heads when we think or write), swell the work. –Anne Le Troter, interview with Raphael Brunel
The progression of sounds in the exhibition follow a distinct, if not choppy routine, with a clearly enunciated polling question asked — “What is your relationship status?” for example — followed by equally simplistic answers — “widowed,” “married” and “couple,” to note a few. Reflective of the exhibition’s timely concurrence with the French presidential election, each of the questions asked in the sound piece culminates in a political questionnaire, with the same questions and answers being traded back and forth between people in all areas of the political spectrum — indicating that there are fewer differences between the various polling demographics and how they express their opinions than what appears at first glance.
“Bulleted List” opened at the Palais de Tokyo on Feb. 3, 2017, and will close on May 8.
Anne Le Troter was born in 1985 and currently lives in Paris. She graduated from the Geneva School of Art and Design in 2012, and her first solo shows were held at the Arnaud Deschin Gallery (Paris, 2016), BF15 (Lyon, 2015), Espace Crosnier (Geneva, 2015) and Espace Quark (Geneva, 2014). In 2016, she was awarded the Grand Prix at the 61st Salon de Montrouge.
Featured Image: Still of Anne Le Troter’s “Bulleted List” taken by the author
Shauna Bahssin is a sophomore at Binghamton University who double-majors in English and art history. She currently serves as the copy desk chief for the student newspaper, Pipe Dream, and has written for its news and arts and culture sections in the past. Outside of the paper, she is involved with the university’s fundraising initiatives through the Binghamton Telefund, and she hopes to work within the field of arts development and advancement after she graduates.
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Sound and Curation; or, Cruisin’ through the galleries, posing as an audiophiliac–reina alejandra prado