[silence] from Matthew Burtner

[Fred Maus]

happy new year to all!
For those seeking peace and quiet around New York during the early part 
of 2007, this exhibition may be of interest.
all best,
Matthew
http://www.burtner.net/

[silence]

January 31, 2007 - March 31, 2007 

Gigantic ArtSpace <http://www.giganticartspace.com/>
59 Franklin Street
New York, New York 10013

Gigantic ArtSpace [GAS] and free103point9 are pleased to present 
[silence], a exhibition focused on artists' uses of and responses to 
silence - as manifested in sculpture, in installation, in composition, 
in works on paper, and in time-based practices. The works on view 
address the futility of the chase, the beauty of absence, and the rich 
potential of an empty signal. Works from: Matthew Burtner, Jeroen 
Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, 
Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David 
La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, 
Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by 
Dylan J. Gauthier and Galen Joseph-Hunter. 

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 
59 Franklin Street, New York, NY 10013. 
Opening night performances from Matthew Burtner 7 & 8 pm.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy 
Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michael Graeve (2/17), 31 
Down (2/24), Michelle Nagai (3/10), Zachary Dempster & G. Lucas Crane 
(3/24), and others.


ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's 
performance/installation Study 1.0 (feedback) for radio transceiver 
revisits the artist's childhood in Alaska and his ensuing focus on open 
communication in unoccupied places. David LaSpina will present 
photographs of Burtner's performance at the opening reception - a sort 
of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in 
Series H, a study of accumulation, absence, and the nature of that which 
is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. 
dead birds are reunited with their lost birdsong through the 
preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic 
feedback loop between two divergent but thematically similar art 
practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages 
Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra 
low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a 
transcription of Cage's silent masterwork 4'33" (1952) into a flute 
sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an 
attempt to unlock the Archeoacoustic sound dormantly sealed in found and 
historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory 
boundaries through the use of electrical signals and synaesthetic 
output: in this case, a pure "Red" video signal is played as "sound" 
through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert 
Smithson and Steve Reich to reach a third, distended point between the 
suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff 
bang reverb, a kinetic sculpture and semi-accurate, two-dimensional 
hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones 
that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the 
surface of a number of speakers to pulse and vibrate in patterns visible 
to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and 
pervasive flow of electricity throughout our environment to alter our 
perceptions of time and movement.


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