I went to a talk last night by a young guy from Montreal named Adam Basanta. He describes himself as a sound artist, composer and performer of experimental music and he has an installation in New West’s New Media Gallery on the third floor of Anvil Centre.
I read the other day in the local community newspaper, The Royal City Record, that the curators of this new space in Anvil Centre actually used to work at the Tate Modern. Wow! Talk about having the crème de la crème of experience.
It was a small turnout, maybe 35 people, and Basanta, who is one of four sound artists in the exhibit, began to speak about his work related to experimental sound with a particular emphasis in his piece on feedback, but not in the way we’re all used to; not that unexpected siren from a microphone that rises like a banshee in a deafening way.
His installation is part of OTIC: Systems of Sound. His emphasis on feedback had to do with space and tones and how humans’ presence in a space can change feedback and how he played with feedback to bring to our attention our experience in the world and of the sounds around us.
He had this really cool project, Positive Vibes, in Finland where he used a recorded voice of women saying “I love you all very, very much.” He tied that to a bunch of helium balloons and then floated it near people in public spaces and watched as they reacted to this disembodied recording telling them they were loved. I love weird projects like that.
As he spoke I was both challenged by the topic in terms of its weirdness and a foreign way of thinking about sound, and then I was really heartened that in Canada, there’s still some money, apparently, to be found to encourage those who are approaching the arts in a way that calls on all their courage and expertise to interpret and reinterpret and challenge their own boundaries in order to challenge that of any audience.
It’s worth the exercise to be open enough to expose yourselves to others’ far out ways of approaching their passions.
I realized as I was listening to him, my own personal resistance to weirdness, to foreign and difficult approaches, was rising. Being able to be aware of that, acknowledge it, and then let it wash over me and feel it lessen, is perhaps really getting closer to the essence of the kind of curiosity required to accept others’ interpretation of all the shared worlds that exist on the planet.
The exhibit, which will undoubtedly be richer if you have someone to interpret it as we did last night, runs at Anvil Centre to March 20, 2016.