The Infinite MIx
"Together, they expand the ways in which we experience moving images and sound, and open up new veins of meaning in art’s potentially ‘infinite mix.’"
The Infinite Mix
In crossing from each piece there is a pitch black corridor as if a sensory deprivation tank. Blanking the mind as if to ready you for the next piece and plank out the previous one in order to look upon it with fresh eyes.
Most of the artists that have displayed their works have taken in mind their visual element and made sure that what you hear not necessarily complements the visual element but definitely draws attention to it.
The Infinite Mix includes works that address history and cultural tensions in ways that are thought-provoking as well as deeply entertaining. These audiovisual pieces include; the real, the staged, and the everyday. Using a wide range of genres including documentary film, music video, experimental film and theatrical performance.
Martin Creed - Work No. 1701
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| Martin Creed - Work No. 1701 (2013) |
In Work No. 1701 a range of individuals cross a New York street, accompanied by a upbeat pop song written and performed by the artist. Which is the first part of the exhibition you hear as this piece is number 1 in the 10 pieces you walk around in order. You are faced with a black corridor and the distance sound of Creed's upbeat music. This is a great first piece as it entices the viewer and puts them in a good mood about the piece before they have even seen it.
Creed, who has been writing songs and leading a band for over 20 years, describes his music and his visual work as an ‘attempt to make something for the world’. As he explains, they both stem from the same place: the desire to ‘say hello, to try to communicate somehow.’
Talking about the film, Creed has commented that ‘doing things in life, living and working, is always using your body’, and that ‘life can look like a dance’. His piece represents the idea that people from all walks of life pass each other every day. Various people with various abilities cross this road without aid. Some with a limp, some hopping with a broken leg but without crutches. Finally a man clearly paralysed from the waste down drags himself across the street.
This is a very emotional piece to watch but the contrast with the upbeat music makes you think differently about it. As if not to feel sorry for them but to encourage and appreciate all the people you walk past as everyone has a burden to bare but you don't notice this in a busy city until people are singled out.
Creed, who has been writing songs and leading a band for over 20 years, describes his music and his visual work as an ‘attempt to make something for the world’. As he explains, they both stem from the same place: the desire to ‘say hello, to try to communicate somehow.’
Talking about the film, Creed has commented that ‘doing things in life, living and working, is always using your body’, and that ‘life can look like a dance’. His piece represents the idea that people from all walks of life pass each other every day. Various people with various abilities cross this road without aid. Some with a limp, some hopping with a broken leg but without crutches. Finally a man clearly paralysed from the waste down drags himself across the street.
This is a very emotional piece to watch but the contrast with the upbeat music makes you think differently about it. As if not to feel sorry for them but to encourage and appreciate all the people you walk past as everyone has a burden to bare but you don't notice this in a busy city until people are singled out.
Stan Douglas - Luanda-Kinshasa
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| Stan Douglas - Luanda-Kinshasa (2013) |
Shot like a documentary film on a set caTrefully crafted to resemble a 70's recording studio in New York. Luanda-Kinshasa depicts a fictional 1970s jazz-funk band engaged in a seemingly endless real-time jam. As the camera appears to circle around the studio, the sound mix focuses on whichever musician the camera is on, enhancing the impression that we are watching a live performance.
But the band’s improvisation is actually a construction, remixed by Douglas in the editing room, it extends through over six hours of ‘alternate takes’ created by recombining various shots and accompanying sections of music. Conjuring a never-ending sequence of variations, Luanda-Kinshasa conjures a vision of culture as a potentially ‘infinite mix.’
Though I was limited with my time in The Infinite Mix gallery I stopped to enjoy this piece. As similar to Creed's piece the sound drew me in. It really was a great mix. However as I sat there I was waiting for the documentary style piece to round up and hint an end but I realised that i was in 'the infinite mix' gallery and that it may not end. So I moved on after thoroughly enjoying the vibrant colours of the visual that reflecting in the sound. But the band’s improvisation is actually a construction, remixed by Douglas in the editing room, it extends through over six hours of ‘alternate takes’ created by recombining various shots and accompanying sections of music. Conjuring a never-ending sequence of variations, Luanda-Kinshasa conjures a vision of culture as a potentially ‘infinite mix.’
Cyprien Gaillard - Nightlife
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| Cyprien Gaillard - Nightlife (2015) |
"Cyprien Gaillard’s 3D film and audio installation Nightlife was shot at night over a period of two years in Cleveland, Los Angeles and Berlin. Like much of Gaillard’s work, the film is a meditation on the ways in which traumatic events of recent history can be read in, or have been memorialised by, urban or ‘natural’ landscapes, architecture and public space."
This piece was accompanied by a dub soundtrack featuring a looped sample of Alton Ellis’s 1970 classic ‘Black Man’s World’. I used Shazam to find the song because I thoroughly enjoyed the pieces track it both complimented and contrasted the visual aspect of the piece.
The most prominent parts of the visual in my mind were the trees. Almost a stop motion style film of the trees 'dancing'. They fitted with the audio so well and completely memorised me.
The 3D element of this visual-audio piece really drew the viewer in further as well as the idea that we sat in a large box in a car park. Really made the surreality of the piece more obvious. The 3D made the piece a lot more personal as if the trees were dancing just for you and pointing towards you.
This was the most visually exciting piece and a great 10th piece to end the series of exhibition. It left me really thinking deeply about visual-audio pieces especially in 3D.
This piece was accompanied by a dub soundtrack featuring a looped sample of Alton Ellis’s 1970 classic ‘Black Man’s World’. I used Shazam to find the song because I thoroughly enjoyed the pieces track it both complimented and contrasted the visual aspect of the piece.
The most prominent parts of the visual in my mind were the trees. Almost a stop motion style film of the trees 'dancing'. They fitted with the audio so well and completely memorised me.
The 3D element of this visual-audio piece really drew the viewer in further as well as the idea that we sat in a large box in a car park. Really made the surreality of the piece more obvious. The 3D made the piece a lot more personal as if the trees were dancing just for you and pointing towards you.
This was the most visually exciting piece and a great 10th piece to end the series of exhibition. It left me really thinking deeply about visual-audio pieces especially in 3D.
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