… all silent but for the buzzing …
Royal College of Art Galleries, Kensington Gore, London SW7 2EU
Press View: 5 March, 10am–1pm
Preview: 5 March, 7pm–9pm
Open: 6 – 23 March, 11am–6pm daily. Free admission
John Cage, Henri Chopin, Patrick Coyle, Ian Giles, Marlene Haring, Alexandrina Hemsley & Jamila Johnson-Small, Patrick Hough, Jacob Kirkegaard, Liz Magic Laser, Lina Lapelytė, Hassan Meer, Nástio Mosquito, Laure Prouvost, Ryder Ripps, Alex Schweder, John Stezaker,
Graduating RCA Curating Contemporary Art students present an international group exhibition that explores the indistinct spaces which lie between chatter and silence.
Taking its title from Samuel Beckett’s Not I (1972), … all silent but for the buzzing … aims to transport the distant whispering of Beckett’s play into the exhibition space. Viewers are invited to experience a variety of mediums, scales and spectra of sounds through artists’ installations, sculptures, collages and performances.
Distant whispering becomes overwhelming chatter as John Stezaker’s charged video collage creates a sensory bombardment of repetitive images. Omani artist Hassan Meer’s video installation immerses the viewer in a contemplative experience of both physical and psychological
suppression. Patrick Hough investigates the construction and representation of historical objects and their narratives in the present, while the provocative videos of Angolan artist and musician Nástio Mosquito creates an audiovisual cacophony to question stereotypes of communication and cultural identity. Liz Magic Laser further emphasises the performative and political strategies of media rhetoric.
Viewers can participate in Marlene Haring’s Solo Show (Face Up) (2012), a bar for one guest at a time. The internal and personal experience of sound defines Jacob Kirkegaard’s installation Labyrinthitis (2007), as well as an interactive audio guide, including Turner Prize winning artist
Laure Prouvost’s Pink Cloud (2012). The audio guide will also feature an integration of sound art and performance by Lina Lapelytė, whom Brian Eno recognises as ‘working right at the edge of what popular music could become’.
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