In September 1966, Fylkingen launched a festival of performances and lectures, exploring an area where scientific and artistic interests meet. As Knut Wiggen wrote in the 1967 Fylkingen Bulletin, “the fact that someone receives aids or tools means that at the same moment, he is made responsible for how he uses these aids and tools. In this case, the artist's responsibility would be that he must acquire knowledge of and give artistic expression to the hidden ‘requirement (krav)’ of the time - in relation to basic life values that these new human tools impose on him. “What the probably ill-chosen word ‘requirement (krav)’ has in fact entailed—if it would perchance question about a strongly changed moral system; or the development of a way of thinking complemented of the natural sciences; or about an in-depth knowledge of man, of things and of man and things—seems to be a central problem for the solution of which neither artists nor scientists can fully rely on their respective technologies.” TECHNOPOIESIS presents artists from Northern Ireland and Ireland, showcasing performances by Mark Buckeridge, John Macormac + Robin Price, Muiredach O’Riain and Quantum Foam. A two-night concert—consisting of drums, lasers, electroacoustic interactions, analogue improvisations and AI compositions—will aim to echo Fylkingen’s retrospective quest with today’s concern by searching for forms of poetic tensions and possibilities in the machine age.
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John Macormac + Robin Price, Rule Driven Collaborative performance including a drum kit prepared with contact microphones triggering synthesised sounds in real-time, as well as improvisation with modular synthesisers. Informed by mathematics, geometry and the natural world, each component enacts a set of carefully formulated, self-determined rules.
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Mark Buckeridge, UntitledA lyric-based improvisation performance using voice and piano
Muiredach O'Riain, The Well Trained Algorithm 23 x 1
Generative AI composition, trained with seminal works of J. S. Bach and La Monte Young, "The Well Tempered Clavier" (TWTC) and "The Well Tuned Piano" (TWTP), and performed with midi guitar sending synthesised sounds beyond traditional intonation.
With Support from Konstnärsnamnden, the British Council and the Arts Council of Northern Ireland. Programme
12 May 2023,
Friday Doors at 19h
Quantum Foam, Mark Buckeridge, John Macormac + Robin Price
13 May 2023, Saturday Doors at 19h
Muiredach O’Riain, Mark Buckeridge, John Macormac + Robin Price
Mediating Signals: 01_Tracing Algo-rhythm; Julie Louise Bacon, Helena Hamilton, Una Walker, Flax Art Studios, Belfast.
Funded and supported by a-n/Freelands Foundation award, Belfast City Council and Arts Council of Northern Ireland
Photo by Simon Mills
Funded and supported by a-n/Freelands Foundation award, Belfast City Council and Arts Council of Northern Ireland
Photo by Simon Mills
Mediating Signals: 02_Assigning Ambiguity; Martin Boyle, Peter Glasgow, Michael Hanna, Flax Art Studios, Belfast.
Funded and supported by a-n/Freelands Foundation award, Belfast City Council and Arts Council of Northern Ireland
Photo by Simon Mills
Funded and supported by a-n/Freelands Foundation award, Belfast City Council and Arts Council of Northern Ireland
Photo by Simon Mills
“
The spaces, though ironically designed to support broadcasts into our homes each day, were never designed to be publicly accessi- ble. They are, therefore, fascinating, retaining much of their broadcast infrastructure in the form of acoustic panels, ceil- ings crammed with odd alcoves, bizarre cut-throughs (which presumably allowed staff to sneak off-screen undetected) and – the pièce de résistance – a hair and make-up salon that feels more like a film set than the remnants of the sets themselves.“
--- Review of Mediating Signals by Jane Morrow at Visual Artists Ireland VAN Issue Sep-Oct: Here
The spaces, though ironically designed to support broadcasts into our homes each day, were never designed to be publicly accessi- ble. They are, therefore, fascinating, retaining much of their broadcast infrastructure in the form of acoustic panels, ceil- ings crammed with odd alcoves, bizarre cut-throughs (which presumably allowed staff to sneak off-screen undetected) and – the pièce de résistance – a hair and make-up salon that feels more like a film set than the remnants of the sets themselves.“
--- Review of Mediating Signals by Jane Morrow at Visual Artists Ireland VAN Issue Sep-Oct: Here
Hyperobjects; Art Research Matters, Baum & Leahy in collaboration with Richard Beckett, Jez riley French, Joey O’Gorman, Matmos, Jasmin Märker, Robin Price, Saša Spačal, Mark Peter Wright, Catalyst Arts Gallery.
Funded and supported by Arts Council of Northern Ireland
Funded and supported by Arts Council of Northern Ireland
Radical Arcadia; Paddy Bloomer, Isabel English, Hayley Gault, Michael Hanna, David Shrigley, Jasmin Märker, Zaratan - Arte Contemporânea.
Funded and supported by British Council and Culture Ireland
Funded and supported by British Council and Culture Ireland
Connecting Body - 7 Days of Practising Transformation and Preservation in A White Cube; Lykke Sønderkær, Catalyst Arts Gallery.
Funded and supported by The Fenton Arts Trusts and Arts Council of Northern Ireland
Funded and supported by The Fenton Arts Trusts and Arts Council of Northern Ireland
Funded and supported by Visual Artists Ireland [NI], Arts Council Lottery Fund, Derry City and Strabane District Council
Guide to ‘The Best Way Out is Always Through‘ The Best Way Out is Always Through was an exhibition curated by EMBASSY, Edinburgh at Catalyst Arts, Belfast, from 19th July 2018 to 16th August 2018.