S.Abligua x Odekon
2022single channel video, 4-channel audio, 9min 34secs
archive(ditigal print, woods and leaves, moss, stones)
Created by Hyewon Suk and Anna Fainareti Lioka as a collective Odd Sonorous, “S.Abligua x Odekon” is a project with an experimental film with 4-channel audio and visual archives that actively adapts AI technology as a fundamental artistic imagination. The story starts with a discovery of a plant that used to make a sound and is considered extinct. Based on the AI-generated visual and verbal botanic archives, artists went on a journey to find the lost sound. Whether humans lose their ability to hear plant sounds or plant stops making a sound in the human audible range, it appears that all the ecological and social causes of disconnection between human and plant within the speculative storytelling. Odd Sonorous suggests an act of listening as a way of reconciliation and symbiosis between humans and nature.
“S.Abligua x Odekon”
@ SoundsAbout, Berlin, Germany
@ SoundsAbout, Berlin, Germany
Komposition I
2021sound installation with composition
silk on a wooden box, 15 channel speaker system
79 x 92 x 10 cm
19min 34sec loop
“When
does the line as such die out, and at what moment is a plane born?”
– Wassily Kandinsky
– Wassily Kandinsky
“Komposition I” is a 15-channel sound installation consisting of a 19 minutes 34 seconds composition. Responding to the question “What are the point, line, and plane of sound?”, the composition focuses on the essential sonic elements such as impulse, noise, frequency, frequency beating, etc. The installation resembling a two-dimensional painting allows the audience to listen to musical events as though they are viewing a painting. Activities such as listening (looking) closely or hearing (gazing) at a distance reveal a three-dimensional world as well as play an important role in musical progression.
“Komposition II” is a graphic score printed with a risograph. The riso printing method reveals one color at a time when it prints, so each layer of point and line is distinctive, merging together as a big circular shape at the end. Since the score has no clue of how people are listening and how the music is slightly different depending on their movement(action), the attempt to bring the bodily experience of “Komposition I” back to two-dimension will fail. However, the trial of following the musical progression through the score and using one's ears to encounter ephemerality is constantly carried out by the audience, like we, people, endlessly try to speculate the world with numerous failures.
“Komposition II” is a graphic score printed with a risograph. The riso printing method reveals one color at a time when it prints, so each layer of point and line is distinctive, merging together as a big circular shape at the end. Since the score has no clue of how people are listening and how the music is slightly different depending on their movement(action), the attempt to bring the bodily experience of “Komposition I” back to two-dimension will fail. However, the trial of following the musical progression through the score and using one's ears to encounter ephemerality is constantly carried out by the audience, like we, people, endlessly try to speculate the world with numerous failures.
Solo exhibition “Collision - the line has here replaced the plane”
@ Project Space Yeongdeungpo, Seoul, Korea
Komposition II
2021graphic score
risograph on paper
297 x 420 mm
Solo exhibition “Collision - the line has here replaced the plane”
@ Project Space Yeongdeungpo, Seoul, Korea
Supported by
Seoul Metropolitan Government
Seoul Foundation of Arts and Culture
@ Project Space Yeongdeungpo, Seoul, Korea
Supported by
Seoul Metropolitan Government
Seoul Foundation of Arts and Culture
Intertwined Dialect
2021
site-specific sound installation
“Intertwined Dialect”is a sound installation created by Hyewon Suk and Anna Fainareti Lioka as a collective Odd Sonorous. Inspired by the spatial characteristics of the Floating University, where human and nature meet in the center of Berlin, “Intertwined dialect” explores the sonic possibilities of symbiosis. By using machine learning technology, specifically MelGAN-VC, the human voice is transformed in to the voice of the birds inhabiting around us or even those that are extinct. These new synthetic and hybrid creatures are placed back at the natural site of Floating University and draw attention through their own voices, creating a unique intertwined communication between the human and the non-human entities.
“Climate Care Festival 2021”
@ Floating University, Berlin, Germany
Supported by
Seoul Foundation of Arts and Culture
Seoul Art Space Mullae
@ Floating University, Berlin, Germany
Supported by
Seoul Foundation of Arts and Culture
Seoul Art Space Mullae
Waterside
2021audiovisual performance
“The lake is a large tranquil eye. The lake takes all of light and makes a world out of it.
Through it, the world is already contemplated, already represented.”
– Gaston Bachelard
Through it, the world is already contemplated, already represented.”
– Gaston Bachelard
“Waterside” is a live audiovisual performance influenced by the French philosopher Gaston Bacherlard. In his book, Bacherlard proposed diverse material images of water arising from the matter itself rather than from the form as a way of formal imagination. As one of the four classical elements, water has an image of intimacy, flux, birth, and death, etc. “Waterside” responds to Gaston’s poetic approach by using real water as a main material of visual accompaniment. Experimenting with the relationship between audio and visual, “Waterside” uses the physicality of the sound. The visual composition is created by the physical effect of the sound and the water enables us to see this connected relationship. Especially, for the version of Berlin, “Waterside” uses the main image and sound collected from Berlin. The audience will see the city reshaped or reconstructed by the music, specifically through the lens of water. “Waterside” was lively streamed as part of CTM and transmediale’s Vorspiel 2021 at the SoundsAbout gallery.
Sik-gu
2020 single channel audio installation
“Sik-gu” is a single channel audio installation, created during the two week residency of the 24/X young artists collective. In korean, “sik-gu” means the people who share a meal together like a family. As the title already indicates, sharing a table and eating together is an intimate moment. Reflecting on the theme of intimacy in the residency, Sik-gu recreates the tea times where Hyewon had an intimate conversation with three of the other artists. Instead of a person, an audio speaker is sitting in the chair opposite to where the audience will sit. The audio consists of the three people talking about their story but because it is chopped and distorted, the audience can only partially understand it. The audience can hear the voice and part of the conversation but they will inevitably fail to fully understand since the story is composed without the context. Whether the audience relates to the story or not, three people are telling their own story and enjoying tea times. It resembles our communication. Do we really communicate with the person in front of us? Can we convince them that we fully understand what the other person is talking about? Even when one is assured it was an intimate moment, how can one truly know whether it was a two-way communication or just a monologue?
“DIE ANGST EINES ZERLACHTEN SEELENLEVENS”
@ Krudebude, Leipzig, Germany
@ Krudebude, Leipzig, Germany
