Experimenter presents In Between the Notes, an exhibition that builds on sonic experiences and aural memories. This exhibition, presenting works by Lala Rukh, Parul Thacker, Superhero Sighting Society (Taus Makhacheva & Sabih Ahmed), Biraaj Dodiya and Samson Young, brings together practices that either directly root themselves within sound as material, or are based in influences and aural training.
The exhibition, In Between the Notes, borrows its title from William Farley's 1986 documentary on the legendary Indian classical vocalist Pandit Pran Nath, whose sonic explorations laid the underlying framework of some of the most celebrated avant-garde practitioners of sound art in the 1970's including Marian Zazeela, La Monte Young, Terry Riley, Tania Mouraud, amongst several others. In the film, Pandit Pran Nath describes the ragas as living and breathing systems and talks about the interstices occupied by time in between the notes. The exhibition begins with a room enveloped in Pandit Pran Nath's voice, programmed to a raga cycle, timed to the hour of the day and roots the viewer in the context of careful listening.
In Between the Notes attempts to create shared spaces of active resonance, emphasizing how we listen remains rooted to what we hear. From interventionist actions such as performative recordings, to the manifestation of sounds and vibrations in personal memories, to ancient philosophies of classical musical traditions — blurring fact and fiction — the exhibition draws from a wide range of practices and experiments with frequencies.
How we hear, see and remember music, sound, noise and our environment, both historical and present, emerges as a medium in the exhibition, acoustically connected with each other. Works in the exhibition explore the auditory phenomena, pausing at silences and reflecting on the absences which remain audible.
The exhibition, In Between the Notes, borrows its title from William Farley's 1986 documentary on the legendary Indian classical vocalist Pandit Pran Nath, whose sonic explorations laid the underlying framework of some of the most celebrated avant-garde practitioners of sound art in the 1970's including Marian Zazeela, La Monte Young, Terry Riley, Tania Mouraud, amongst several others. In the film, Pandit Pran Nath describes the ragas as living and breathing systems and talks about the interstices occupied by time in between the notes. The exhibition begins with a room enveloped in Pandit Pran Nath's voice, programmed to a raga cycle, timed to the hour of the day and roots the viewer in the context of careful listening.
In Between the Notes attempts to create shared spaces of active resonance, emphasizing how we listen remains rooted to what we hear. From interventionist actions such as performative recordings, to the manifestation of sounds and vibrations in personal memories, to ancient philosophies of classical musical traditions — blurring fact and fiction — the exhibition draws from a wide range of practices and experiments with frequencies.
How we hear, see and remember music, sound, noise and our environment, both historical and present, emerges as a medium in the exhibition, acoustically connected with each other. Works in the exhibition explore the auditory phenomena, pausing at silences and reflecting on the absences which remain audible.
