{"id":1217,"date":"2021-09-07T08:43:54","date_gmt":"2021-09-07T00:43:54","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1217"},"modified":"2021-09-06T11:55:34","modified_gmt":"2021-09-06T03:55:34","slug":"the-kunsthalle-where-no-one-can-hear","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-kunsthalle-where-no-one-can-hear\/","title":{"rendered":"THE KUNSTHALLE WHERE NO ONE CAN HEAR"},"content":{"rendered":"

The building now occupied by Kunsthalle Osnabr\u00fcck<\/a> used to be the chapel of a German monastery, so its acoustics\u2014with a nave meant to amplify the voices of a priest and choir\u2014are sometimes at odds with its present-day function. The pulpit and choir loft, once ideal locations for projecting voices, have been removed. Try and speak to the person sitting next to you where art installations now replace pews, and the sound practically evaporates into the air, leaving audible only a distant reverberation. So when the institution\u2019s directors decided to make the theme of this year\u2019s exhibition\u00a0program \u201cAccessibility\u201d\u2014which in German, is, tellingly,\u00a0Barreirfreiheit<\/em>, or \u201cbarrier-free-ness\u201d\u2014the hard of hearing artist and filmmaker Alison O\u2019Daniel immediately came to mind. In a sense, all visitors to the space are rendered hard of hearing, too.<\/p>\n

O\u2019Daniel, who is based in Los Angeles, has long made work considering the unique perspectives that Deaf people bring to sound. She decided to create a site-specific installation, designed\u00a0remotely due to Covid travel restrictions. For \u201cI Felt People Dancing,\u201d on view through February 27, she asked two Deaf residents of the town to visit the Kunsthalle and draw maps recording their experience of the space\u2019s sounds. The maneuver was based on\u00a0the artist\u2019s conviction<\/a>\u00a0that hearing people don\u2019t have to \u201cthink about sound in as profound and imaginative ways as Deaf and Hard of Hearing people must.\u201d O\u2019Daniel then merged the drawings into one map and reproduced it to scale in the form of a colorful carpet. Arrows, for instance, evoke the path that a clap or stomp might travel before returning in the form of an echo. The symbols aren\u2019t all decipherable, and it\u2019s not clear which collaborator drew what symbol. Instead, the carpet captures the absurd chaos of the building\u2019s acoustics\u2014and moreover, the feeling of being hard of hearing in a world chock full of incomprehensible sounds. When the artist finally got to travel to Germany to install the work in June, she was stunned upon noticing that the space gave others \u201cthe most accurate experience of how I hear.\u201d<\/p>\n

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Alison O\u2019Daniel,\u00a0The Tuba Thieves: The Drums<\/em>, 2017\u20132021, video, 31 minutes and 25 seconds.<\/span>PHOTO LUCIE MARSMANN. COURTESY KUNSTHALLE OSNABRU\u0308CK.<\/cite><\/figcaption><\/figure>\n<\/div>\n

Also part of\u00a0the exhibition is a 5-channel version of O\u2019Daniel\u2019s forthcoming feature film\u00a0The Tuba Thieves<\/em>,\u00a0<\/strong>a true-crime film\u00a0of sorts that was inspired by a thief who, in 2012, targeted the marching bands of several Los Angeles high schools, stealing only the tubas. The artist came to see bands without tubas as a fitting metaphor for her experience of missing certain sounds and trying to fill in the gaps. The film-in-progress narrates attempts by those marching band students to rethink their music without that key instrument. Starring a Deaf drummer named Nyke Prince,\u00a0the film pays homage to John Cage\u2019s\u00a0silent work\u00a04\u201933\u201d\u00a0<\/em>(1952)\u00a0<\/em>and tells the story of the last punk show at the Deaf Club in San Francisco in 1979. The film includes a score by Christine Sun Kim, a Deaf artist, who, like O\u2019Daniel, has reclaimed sound as one of her mediums. Its captions don\u2019t merely transcribe and describe the film\u2019s sounds, but also help the narrative unfold. They contain crucial information not found anywhere else in the film, like advice for watching its nonlinear structure (watch it \u201csimply\u201d and \u201cas one watches the stars and sea\u201d). When an excerpt from the film plays as part of the installation in Germany, the speakers are covered in carpet and turned into seats that vibrate. They are also positioned far away from the visuals or even pointed straight at walls, a maneuver that divorces the image and sound and exacerbates the space\u2019s acoustic oddities.<\/p>\n

Meanwhile, as the number of Covid long haulers who\u2019ve lost their sense of taste and\/or smell continues to grow, O\u2019Daniel<\/a> seeks to create solidarity among those experiencing sensory loss in her latest curatorial endeavor. A video program titled \u201cHearing Aids,\u201d on view at San Francisco\u2019s McEvoy Foundation for the Arts through December 4, features works by Jill Magiad, Sky Hopinka, Jenny Brady, and others in which sounds are amplified by devices that often render them indecipherable\u2014much like O\u2019Daniel\u2019s hearing aids. In Nancy Holt and Richard Serra\u2019s 10-minute\u00a0Boomerang\u00a0<\/em><\/a>(1974), for example, Holt\u2019s voice is echoed back to her on a delay, and she becomes unable to concentrate. Here as in Osnabr\u00fcck, illegibility yields frustration and humor at the same time; O\u2019Daniel posits absurdity as a productive sort of friction.<\/p>\n

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Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

The building now occupied by Kunsthalle Osnabr\u00fcck used to be the chapel of a German monastery, so its acoustics\u2014with a nave meant to amplify the voices of a priest and choir\u2014are sometimes at odds with its present-day function. The pulpit and choir loft, once ideal locations for projecting voices, have been removed. 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