research class by Anna Godzina
In this research class, we will be exploring objects that surround us in order to transform them into sound bodies, activating their potential by creating a sculptural soundscape.
As a part of our process, we will be gathering objects and materials such as containers (buckets, boxes, cases, tubes), metal, wooden and plastic parts or components of objects, constructions or devices and find out how they can be combined into new constellations. We will engage with the city and its inhabitants by looking into the stories that found materials can tell us, perceiving them as artefacts that contain crucial information about human needs, desires, decisions and values.
What we will add to traditional bricolage is the introduction of a definite function other than a mere aesthetic one - the function of sound making.
In order to do so, two technological elements will be involved in our experimental working environment: engines as a source of motion, available to you as a working tool and the exploration of the Arduino computer platform. You do not require any knowledge of programming in order to join the research class. Moreover, one of the main goals is to take away the hesitations you may feel towards this tool and give to you a clear and simple understanding of how an Arduino platform operates and how can you potentially use it in your practice.
The invited guest Pierre Coric will guide you into the digital world of programming. His body of work is a weaving of different technical and technological practices. Navigation of computer programming is crucial to his practice that often culminates in ephemeral installations and performances which reveal to us an offbeat kind of normal.
We shall ask: is a found object a lost object? What happens to it when it enters an artistic process? Which are the different senses involved in the making of a sculptural soundscape? Through a series of experiments, we will become aware of the passages from looking/seeing to listening/hearing, from listening to writing.
The composer and performer Cornelia Zambila will present to us the principals of the Laban Movement Analysis which will offer a concrete way of exploring the re-contextualization of the found object once it is entering the field of the arts. Cornelia Zambila explores in her work the degrees of control and freedom employed by composers and performers, through different notation systems and practices, searching for awareness on time perception and human interactions.
Anna Godzina (b. 1990, Moldavia, lives and works in Athens, Greece and Antwerp, Belgium) studied at the Royal Academy of Fine Arts Antwerp. Her research starts from found objects, materials such as plastic tubes, iron pipes, wheels, lamps, containers or in some cases materials that can be found in the natural environment. Focusing on the simple gestures of everyday life manifesting themselves as encounters of seemingly random objects, the artist explores the materiality of the city while looking into the acoustic property of objects and forms that surround us. These elements are reanimated in the work through the addition of engines, light sources and other devices that generate sound and motion. Anna Godzina creates sculptures and installations whose presence inhabits entire spaces with their structure, texture, movement and sound.
Pierre Coric (1994, Liège, Belgium). Through a multiform practice mixing d.i.y. technologies, crafts, and audience participation, he investigates the processes through which meaningless elements sometimes become meaningful ensembles as well as the borders and the ties between these fluctuating states. Pierre finds his inspiration in various fields such as languages, computer sciences, electronics, textile, rivers, highways, forests, boats, bacterias.
Cornelia Zambila (Bucharest, 1988) is a Belgium-based Romanian composer, performer and maker. In her activity she focuses on finding authenticity of the presence on stage. Cornelia studied composition and orchestra conducting in Bucharest, the Joint Master for New Audiences and Innovative Practices at the Royal Conservatoire of The Hague and is currently completing her Master in Early Music at the Royal Conservatoire of Brussels focusing on historical perception on innovation and experimentation in Western art music, researching Historically Informed Performance Practice as creative tool in generating musical language.