Events

Sound Exhibition :

18 November 2022 Friday 5-8pm

19 & 20 November Saturday & Sunday 2:30 – 6:30pm. Artist will be on site between 4pm and 6:30pm on Sunday.

Running time : 13 minutes. Free Entry

This is one of the three exhibitions of work and artists selected from DIVFUSE Sound Archive No. 4 – an Open Call for pieces that are based on field recordings. We are pleased that this round of the Open Call is funded by the Arts Council England and the work was jointly selected by Project DIVFUSE and sound artist Kate Carr.

‘I live near the New River, a man-made artficial river in North London opened in 1613 to bring drinking water into the capital. One day I decided to drop a hydrophone into the water in the hope of hearing the underwater sounds of nature, and instead was surprised to hear the sound of tube trains at great volume. It made me wonder what London might sound like from different watery locations. This led to Surfacing (2022), a collection of field recordings from London, made in the autumn of 2022. Each section of the piece consists of two recordings made at the same location, one with a hydrophone under the surface of a body of water collecting water-borne sounds, the other with a condenser microphone recording the ambient air-borne sounds. At times the two worlds appear closely connected in terms of their soundscape, and at others they appear to be worlds apart. ‘ – Rachel Musson

Sound Exhibition :

25 November 2022 Friday 5-8pm

26 & 27 November Saturday & Sunday 2:30 – 6:30pm.

Running time : 25 minutes. Free Entry

This is one of the three exhibitions of work and artists selected from DIVFUSE Sound Archive No. 4 – an Open Call for pieces that are based on field recordings. We are pleased that this round of the Open Call is funded by the Arts Council England and the work was jointly selected by Project DIVFUSE and sound artist Kate Carr.

International Waters (2022) is an ongoing project that explores the porous exchanges and complex entanglements of water, culture and economy around the world.

Part 1: Late Night, Cais do Sodré, Lisbon, Portugal. Containing both the Railway Station and the docks, this area was a notorious vice district. In the course of the last two decades it has been rapidly regenerated. People do not sleep here, and the sounds of music are carried on the wind out over the harbour, mingling with the crashing of waves and the wailing and grinding of metal in the docks.

Part 2: Early morning, La Boca, Buenos Aires, Argentina. The Matanza-Riachuelo river is one of the 30 most polluted places in the world. Factories, tanneries and slaughterhouses pump industrial waste into its waters for miles before it reaches the mouth, La Boca. There are two ways for pedestrians to cross: the footbridge on the highway or the tiny row-boat ferry beneath it. The footbridge is free, while the ferry costs 1.5 pesos. Most people choose the row-boat, bringing them within inches of the contaminated water, free to trail their hands in it, and listen to the gentle lapping of water against the boat mixing with the sounds of heavy industry and transport.

Sound Exhibition :

2 December 2022 Friday 5-8pm

3 & 4 December Saturday & Sunday 2:30-6:30pm. Artist will be dialling in from Poland for an artist’s chat between 5pm and 6pm on Sunday.

Running time : 30 minutes. Free Entry

This is one of the three exhibitions of work and artists selected from DIVFUSE Sound Archive No. 4 – an Open Call for pieces that are based on field recordings. We are pleased that this round of the Open Call is funded by the Arts Council England and the work was jointly selected by Project DIVFUSE and sound artist Kate Carr.

A Hole in a Wall (2021)

‘When I was at the Sanatorium of Sound Festival in Sokołowsko I hiked a lot. During one of my trips I found the ruins of some old buildings. Ruins were based on a slope of a hill in between meadow and woods. When I came closer I saw black eye of a rusty pipe looking back at me. It went from the outside to the inside of ruins. I put my ear to the dry pipe and I heard a rumble so different from the calm soundscape of the spa. It was so loud but almost unnoticeable even from a short distance. It amazed me so I put a shotgun microphone into the pipe and a pair of omni mics I left outside.’

Early Electro-acoustic music in the empty ballroom (2021)

‘Not so long ago I used to work for the local theatre company. The company owned an old hotel which they meant to renovate for a new stage. Empty space of a ballroom in the hotel was central to the building. Before renovation started I decided to honour the space and its unique reverbnation which was going to be lost soon. I went there at night with my microphones. The night was silent. I’ve decided to provoke reverbnation by using found objects such as broken tiles, scrap and rubble. I moved it on the concrete floor of the room. I recorded all of it on a broken tape recorder and then played it once again into the same space (inspired by “I am sitting in the room” by A. Lucier) and simultaneously playing on rubble once again. The outcome is a microphone performance/field recordings and homage to place which is gone by now.’ – Maciej Wirmański