ZVUČNO ZRCALO ZA KRHOTINE br. 2 - Sara Salamon
11.04.2023. - 22.04.2023.
U sklopu predstavljanja MBZ tima, u Galeriji Na katu prikazuje se zvučna instalacija Zvučno zrcalo za krhotine br. 2 vizualne umjetnice Sare Salamon, kustosice programskog odjela posvećenog instalacijama.
Zvučno zrcalo za krhotine serija je zvučnih instalacija, čija je prva iteracija prikazana u Rijeci u 2021. baveći se pitanjima grada na vjetrometini povijesti. Za Muzički biennale Zagreb 2023. kreirana je nova zvučna kompozicija koja mapira jeke gradskih praznina. Odsustvo ljudskog djelovanja stvara nove kontingencije, odnosno nepredvidive događaje, a autorica pronalazi njihove zvučne manifestacije.
Rad koristi elemente akustične rezonance i jeke kao odraza zvuka, koji se slušatelju pojavljuje s odgodom. U galerijskom postavu, snimke su udaljene i fokusirane 2 metra od izvora zvuka, pomoću eliptičnog akustičnog zrcala. Objekt je izrađen po uzoru na parabolična zrcala koja su se, prije izuma radara, koristili za prisluškivanje pomoću odbijanja i fokusiranja zvučnih valova. Suradnik za geometriju objekta bio je Hrvoje Spudić, a izvedbu Nikola Brlek (Superhands).
Instalacija se može pogledati do 22.4.2023. u radno vrijeme KIC-ove Galerije na katu.
The sound installation Sound Mirror for Debris No. 2 by
visual artist Sara Salamon, curator of the program section
dedicated to installations, will be featured in the upstairs
gallery as part of the MBZ team presentation.
Sound Mirror for Debris is a series of sound installations,
the first of which was shown in Rijeka in 2021, which
address the problems of a city in the whirlwind of history.
A new sound composition mapping the echoes of empty
spaces in the city was created for the 2023 Music
Biennale Zagreb. The absence of human activity creates
new contingencies, i.e., unforeseeable events, and the
author discovers their sound manifestations.
The work uses elements of acoustic resonance and echo
as a reflection of sound that appears to the listener
with a delay. In the gallery, the recordings are distant
and focused 2 m away from the sound source, using
an elliptical sound mirror. The listening point is roughly
marked by the light in the gallery space, and the audience
is free to seek a position where the sound is whispered
into their ear.
The object is modelled on parabolic mirrors which were
used for eavesdropping, before the invention of the
radar, by reflecting and focusing sound waves. Hrvoje
Spudić is an assistant for the object’s geometry, while
Nikola Brlek (Superhands) is a performance assistant.
