Fear and Sound

7 April 2015

The exhibition will open on Friday, 10th of April at 18:00

The initial concept of the show comes from the experience of hearing while feeling fear. Do you remember lying in bed as a child, listening to every crack in the house? Or listening to every noise while walking through an underpass at night? Hearing seems much sharper and even the smallest sound makes an impact on the entire body and mind when we experience fear. But of course, fear manifests itself through sound in a range of ways, as you will see in this show.

Western art, our galleries, and our entire culture has taught us to rely on our intellectual properties as we live our lives, and experiencing the arts: dissect, analyse, rationalise, and you will understand the content of any work. Sound has become an under-looked aspect of our lives-we watch everything, we need to see everything with our eyes-sound played a significantly more important role in our lives before screens, printing presses, and writing arrived. Sound represents something primal, something deeply connected with the animal part of ourselves, rather than the intellectual. Eventually, our hearing has developed from a sense we depended on for survival into a purely communicative and aesthetic sense. But what if we would let go, and let our under-utilised senses fully appreciate what sound does to us instead of experiencing it in a manner we are so used to?

In this show I would like to take you through an array of emotions and feelings caused by sound in its dark, sometimes unpleasant and disturbing qualities by immersing you into a primal experience of sound through a curated collection of sound and video art made by 9 artists from 6 countries. The artists were invited to submit work based on the connection between fear and sound, and the resulting in a diverse show that plays with a range of themes explored within fear and sound, from mystery and darkness, to depression and conflict.

The artists included in the show are:

Laurie Bell
Vadim Kolosov
Julia Krivozubova
Felix Leffrank
Georgina James
Davide Palmentiero
Maria Colina Perez
Julian Scordato
Daniel Wechsler

Attend Event

Friday, 10 April 2015 at 18:00 - Friday, 1 May 2015 at 17:00

Empower - cur. by Rebecca F. Hardy

1 March 2015

Exhibition

Empower is an eclectic collection of artworks that embrace the challenge and changing view of gender, equality and feminism amongst society. It captures the contemporary practice of visual artists and illustrators from Wales and England in various stages of their art careers from art students to emerging to professional artists. All were invited to exhibit by guest curator and artist Rebecca F. Hardy.
Empower is the psychology, sociology and/or biology of gender and feminist issues, from paper-mache sculptures, textile dolls to zines. The exhibition is in celebration for International Women’s day on March the 8th it is an opportunity to celebrate and to mark the economic, political and social achievements of women.

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Artist Talk

On Saturday the 21st of March some of the exhibiting artists from the exhibition will be in conversation with the guest curator discussing their artwork and the exhibition subject matter. Join us for an informal debate about art at Bocs, 21st of March 3pm – 4pm with refreshments.

Event Registration

Elizabeth Hudson – Power Cut

24 January 2015

Exhibition Statement

The exhibition Power Cut is a new body of work by young London-based artist Elizabeth Hudson, which explores feelings of powerlessness. Working across a range of media, Hudson uses absurdity and exaggeration to face her lack of power.

The exhibition takes its title from a work in the show that is based on the artist’s conflation of strength and power in the biblical story Samson and Delilah. Hudson has created a drone (Delilah) that harvests the hair from the 50 people in the world that she perceives as having most power over her life. This hair has then been fashioned into a wig (Crown) for the artist to wear to reclaim their power and take it for her own. The wig has been made in the style of the elaborate headpieces worn by the aristocracy in the 18th century (as epitomised by Marie Antoinette).

As a counter to Power Cut, the installation Black Out is an alarmist imagining of a dystopian future where the artist herself has supreme power. For every well-intentioned policy she has devised, the corresponding worst case scenario seems inevitable; she cannot even imagine a functioning society where she were powerful. The installation is made up of a series of wooden tablets, whose glossy surfaces and chamfered edges mimic blank screened mobile devices. The title of each of these objects reads as a ‘trending’ headline, ready to be shared on social media - if only Hudson’s regime allowed the media to dissent (or iPads to be made of materials other than hand-crafted wood).

#Revenge and #Hudson are a pair of photographs that document an act of resistance carried out by the artist. As she was powerless to prevent loggers from destroying her favourite childhood bluebell woods, Hudson has traced the tree-fellers to exact (peaceful) vengeance by filling their machinery with handmade bluebells. These real images follow the Facebook/Instagram maxim that to have done something, one must be seen to be doing it in a photograph. By sheer coincidence, the tone of #Hudson perfectly matches the Instagram filter ‘Hudson’.

From ridiculous schemes to details that appear to subtly undermine the very point she claims to be making, Hudson defies us to believe her. Each work has multiple layers of potential deception, meaning that one might start to doubt things that initially did not appear to be part of the work, or question the gallery’s complicity in presenting the artist’s version of events. (And if you’re wondering, yes, a three-foot cardboard drone can cross the Atlantic, enter the White House undetected and scalp the President. He now wears a wig.)

The exhibition opens on the 6th of February at 6pm at Bocs.

Workshop:

Art + Power: Covert Creative Circuitry
Using electro-conductive paint and modelling material, learn to create electric circuits hidden in works of art, and find out about the real-world applications of this technology, from designer lighting to drones.
The workshop will run at 1pm on the 7th of February

Ages 6-100.
£4 for children, £7 for adults.
Workshop led by the artist.
Get tickets on Eventbrite.

Artist Talk

The artist talk with Elizabeth Hudson will start at 3pm on the 7th of February.
Get tickets on Eventbrite.

Elizabeth Hudson - Power Cut by Bocs on Mixcloud

Biography:

Elizabeth Hudson (b.1990) graduated from Glasgow School of Art in 2013,
and now lives and works in London. Her practice is multi-disciplinary,
encompassing sculpture, installation, lens-based work and paint. She is
also a published illustrator and a curator with arts collective VERB.

Selected exhibitions include:

Penumbra, A.P.T Gallery, London, (May 2014); My Head is an Animal, South
Square Gallery, Bradford (Dec 2013 - Jan 2014); Prisimism, Transmission
Gallery, Glasgow, (2013); Glasgow School of Art Degree Show, Glasgow
School of Art, Glasgow, (2013); Minnows and Castles, The Art School (GSA),
Glasgow, (2013, solo show); Miniworks II, Schillerpalais, Berlin (2011);
Art on the Wing, Maclaurin Galleries, Ayr (2011); Half Way (part 1),
Mackintosh Gallery (GSA), Glasgow (2011); Art of Nurture (semi-finalists
show), Bank of Scotland, Edinburgh (2011); 12×12x12, The Glue Factory,
Glasgow (2011).

Call for works: Fear and Sound

16 January 2015

Fear and Sound is curatorial project with an open call for artists interested in exploring the relationship between fear and sound.

The initial concept comes from the consciously hearing while experiencing fear – when hearing seems much sharper and every sound makes an impact on the entire body and mind. This is especially interesting in an evolutionary context where hearing developed from a sense we depend on for survival into a purely communicative and aesthetic sense. With this project we would like to immerse the audience into a primal experience of sound through a curated collection of art based on the mentioned theme

Artists are invited to submit their work that can fall into many categories although preference will be given to work that uses sound or has a direct relation to sound and hearing.

The selected work will be exhibited in April 2015 at Bocs Celf, in Caernarfon, Wales.

An important aspect of the call is its restriction to artists under 30 years old (with a small amount of flexibility) – because Bocs is a gallery that focuses its work on young artists.

Bocs is able to pay the artists £40 for a workshop, plus workshop expenses if the artists decides to run a workshop, whether in Bocs or through a webinar.

To apply, please send a biography, and a CV to dimitri@bocs.org.uk.

Along with that please send your portoflio via a file-sharing service like Dropbox, Google Drive, etc.

If you intend to propose a new piece please send your proposal and artist statement (max 1000 words).
If you intend to show existing work please also send an artist statement (max 500 words).

Along with information about yourself and your art, please include:

Where you are from.
Will you be attending the opening on the 3rd of April at 6pm.
Precise technical requirements for your work.
Your contact details including email and phone.

The deadline for applications is the 6th of March.

Stuart Haffenden: Weather Systems

5 January 2015

Stuart Haffenden’s Bocs exhibition ‘Weather Systems’ opens on the 9th of January at 6pm.
As part of the exhibition opening Stuart Haffenden, also known Orrest will preform his DJ set.
Another perk of this opening is that Gert Vos, the chef of the famous and formerly Caernarfon-based pop-up restaurant Oren will be making some amazing food for everyone to try during the opening.
If this is not enough for you, then the exhibition opening will coincide with the opening of the Indycube coworking space at Bocs. So come down to Bocs for an amazing night of music, art, food, and community on the 9th of January at 6pm.

Artist Statement

We are living in The Information Age, and as the name of our era suggests, data is an indispensable commodity. Current technology allows us to sense and quantify our environments at an unprecedented scale, and as consequence we have gained invaluable insights into the innermost workings of our universe. It has also allowed us to ask some important questions about our relationships with our local and global environments, and has enabled an ever-increasing number of people to have access to the vast wealth of knowledge we have collected and spread over the Internet. This demand for accessible data has led to the development of technologies and techniques, like data visualisation and sonification.

Data sonification is the auditory counterpart of data visualisation. Where in visualisation the designer may create a graph or visual representation of large data sets; in sonification the designer aims to use data to generate sound, in order to make audible the structural patterns and different relationships between different data sets over time. These fields of study have largely remained within the scientific community, however current research suggests that the main barrier for sonification to become a ubiquitous technology in every-day life, is due to the lack of aesthetic qualities of current sonification experiments and applications.

Weather Systems is an installation that aims to explore the issue of aesthetic sonification through the use of algorithmic compositional techniques. Over a period of 48 hours in mid August, environmental sensors were placed in the woods outside the Lancaster Institute of Contemporary Arts. These included: a temperature/humidity/dew point sensor, a light intensity sensor, and a carbon dioxide, carbon monoxide and methane gas sensor. These data where then mapped to different sound parameters and structural queues.

The music generated follows an A B A’ B’ structure, where A represents the night time, with the temperature mapped to the pitch of the bell sound, which also signals every passing hour. The seemingly random percussive and granular sounds are triggered when pollutant gas levels meet a certain threshold and the high-pitched metallic sound corresponds to humidity. The disappearance of the bell sounds and the rising melodic synths are mapped to the light intensity data stream, signalling the sunrise. In the B section the melodic and harmonic synthesiser sounds are mapped to temperature, humidity and dew point. Finally the rain and thunder throughout the first section is also driven by dew point.

The final aim is to hopefully allow audience members to hear what two contrasting days, in terms of weather, sound like, bringing to life the imperceptible changes in our environment that we take for granted.

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