... on closeout for only ::
new to stock as of
january 25th, 2013
|tochnit aleph (germany) #ta 103 cd|
toine horvers “selected recordings of performances and installations 1982-2004” compact disc-recordable boxed set
- wall (fragment) (1:09)
- tijd (5:07)
- clouds 4 (fragment) (10:02)
- waves (studio) (3:03)
- clouds 2 (fragment) (7:39)
- stream 2 (2:15)
- clouds 7 (fragments) (3:50)
- scheepshoornstoot (2:30)
- rolling 3 (fragment) (5:12)
- names, sections of the head (fragment) (5:17)
- limestone (fragment) 6:58)
- etmaal voor berlage (fragment) (5:50)
- stream 4 (2:08)
|january 2013 release ; ... lovely set involving a letter-pressed cardboard box, 15 sheets of paper in a black envelope, and a disc containing 13 “recordings of performances and installations” by the dutch artist dealing in “performative installations with sound and movement” ...|
|tochnit aleph press release ::|
selected recordings of performances and installations 1982-2004
by toine horvers.
tochnit aleph ta103
selected and edited by toine horvers & daniel löwenbrück in 2011.
edition of 150 copies. cdr and 15 text-sheets in black folder, house in a custom-made box (215 x 150 x 16mm).
dutch artist toine horvers (born 1947) started in 1969 as a visual artist with movement experiments using his body as a way to explore the relation between time and space. soon after, performances followed in which he connected these movements with actual architectural space and actual time, for instance by performing a piece over 24 hours. sound, in the form of monotone voices or constant drum-rolling, became an important element in these works: sound as a means of making human energy spatial and perceptible.
horvers used to call his immaterial works ‘sculptures’ as an attempt to create statements of energy. through the years language has increasingly become his source of inspiration, becoming both concept and matter and appearing in individual and group performances as well as in installations, books and electronic text displays. the source however is always his fascination for the intangible relation between time and space which he expresses in forms, patterns or procedures that often show similarity with patterns and procedures in ritual ceremonies as well as in childrens' games.
available january 20, 2012
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|1. wall (1982, fragment)|
performed at apollohuis eindhoven, the netherlands, as part of three movement sculptures. sound performed by corné evers. in the long low room of the apollohuis – 8 x 20 meters- i move sideways – at short intervals – across the diameter from one side to the other, by short jumps, four jumps per second. by breathing through my teeth i highlight my movements in the space.. the sound is stereophonically recorded and reproduced by loudspeakers on both side of the space. in about 15 minutes the layers create a wall of sound.
2. tijd (2006)
recorded by concert radio in theater romein leeuwarden, the netherlands. performed by members of cluster voices chamber choir directed by romain bischoff. i contributed four 'vocal sculptures' to the project espacio by cluster voices chamber choir. the piece tijd (time) was a slightly ironic answer to romains' request for a piece for 5 voices with a duration of 5 minutes. 5 singers are standing close together each equipped with a stopwatch. the first person starts the stopwatch and starts counting aloud the seconds. when the first minute is finished a next person starts the stopwatch and starts counting, and so on till 5 persons are counting. this process stops when the first singer reaches minute 5.
3. clouds 4 (1998, fragment)
performed at haagse kunstkring, the hague, the netherlands. six female singer-students from the music conservatorium in the hague are positioned along the walls of the space each equipped with a stopwatch. they are asked to, individually, make long or short voice-waves continuing for one hour. each wave consists of an as much as possible gradually and symmetric increase and decrease of pitch parallel with volume. the singers individually decided the duration of the waves. they also were free to make their increase and decrease in steps or in glissando's.
4. waves (2004, studio)
during my stay in 2003 on the aran islands along the irish west coast, i made oral and written textual descriptions of the movements of clouds and waves, often timed with a stopwatch. 'waves' is a studio-recording in layers of my own voice while reading aloud 4 timed notations of the movements of the waves.
5. clouds 2 (1988, fragment)
performed at project arts centre dublin, ireland. 'clouds 2' was a sound sculpture as contribution to conference on sculpture curated by jenny haughton, performed by three members of the black raven piper band. the theatre space of the project arts centre has public galleries on three sides of the stage. behind each gallery a narrow beamed theatre light was positioned which could be operated by hand in both light-intensity and direction. three drummers each carrying a different type of snare drum and a stopwatch, were positioned in the stage space, each facing one of the three theatre lights. they were asked to make drum rolls for one hour while continuously moving to and fro in the line of the light in a slow pace, increasing the volume of their drum roll when getting nearer to the light source. the light operator had to follow the drummer along his line through the space and at the same time increase or decrease the intensity of the light. the drummers continuously had to estimate their volume of rolling in relation to their position in the space. the performance lasted for exactly one hour.
6. stream 2 (1994)
studio-construction of a sound installation as contribution to the group show the knossos labyrinth in equilibrist gallery st.niklaas, belgium. in this fragment from ovid's metamorphoses, the confusion of the labyrinth is compared to the complex movements of the river meander. for 'stream 2' parts of the text, read aloud in latin, were recorded onto endless tapes and played in the exhibition from cassette walkmen with small loudspeakers, arranged in a moving line through the gallery space. because of the unregular speed-quality of the walkmen the text moves to and fro and has the soft but high-frequency sound of moving water.
7. clouds 7 (1992, fragments)
permanent sound installation in the c-block elevators of the ministry of housing, planning and environment in den haag, the netherlands, designed by architect jan hoogstad. hard-and software and sound processing steim by harry stokman and paul spaanderman voices of singer students sweelinck conservatorium amsterdam. the new building for the ministry of housing, planning and environment got the nickname 'transparent ministry' because of its enormous glass covered spaces. my starting point for a commissioned work of art in one of the elevator shafts, was based on the somewhat ironic idea that the elevator-towers are the only spaces in the building where no outside influences are noticed. the work consists of a sound of human voices, which the user of the elevator travels through and which is variable by the influence of the weather conditions outside. through the entire height of the elevator shaft 32 loudspeakers are installed. one side-panel in each elevator, consists of non-soundproof material. in a computer memory 29 pitches of the human voice - from base to soprano - are stored. the data from the buildings weather station, giving information about light, wind, temperature and rain, is directly transformed into a changeable 'choir' sounding from the loudspeakers. no more than 8 consecutive loudspeakers can sound together. the choir changes its vertical position in the shaft as well as its composition, density, volume and pitch. in 'clouds 7' the weather patterns are not directly translated, but the weather's unpredictable movements are continually used as impulses for changes in the 'clouds of voices'. in 2008 the technical installation has been revised.
8. scheepshoornstoot (2004)
performed by cluster voices chamber choir directed by roman bischoff. recording by concert radio in theater romein leeuwarden, the netherlands. for years now, visual artist joe cillen has been working on a project in which noordereiland (north island) in rotterdam is perceived as a ship: m.s. (motor ship) noordereiland. where possible, he aims to involve the noordereiland community in the project. arising from this concept, artists were asked to come up with a design for a ships' horn. my ship's horn is designed to be 'sounded' by the voices of islanders the 'noorder-eiland scheeps-hoorn choir' bridging the distance to the shore. the choir's repertoire comprises just one piece: 'scheeps-hoorn-stoot' (one blow of the ships' horn) the piece consists of the compound word: 'scheeps-hoorn-stoot' which is sung for 10 seconds and repeated 3 x 3 times. there is a 5-second pause between each compound word and, between the groups of 3, a 20-seconds pause. a set of 3 times 3 times scheeps-hoorn-stoot therefore takes 2 minutes and 40 seconds. the piece has to be performed with brass megaphones on special days by 3 groups of singers, positioned along the quay of the island and sung in shifting layers. for the performance of cluster voices the singers used their hands around their mouth instead of the brass megaphones.
9. rolling 3 (1986, fragment)
studio recording by hans venmans. percussionist cor links. during a stay on inis oírr, the smallest of the aran islands on the west coast of ireland, i made recordings of waves entering and leaving a deep grove in the rocks, dragging stones up and down with them. for rolling 3 i asked a percussionist to continuously roll on a snare drum varying his volume of rolling in reverse with the activity of the waves on the recording, which movements are made visible on a led-panel. because of the irregularity of the waves on the rocks, the performer is continuously confronted both physically and mentally with this rockiness.
10. names, sections of the head (1998, fragment)
sound installation as contribution to the symposium eye and ear at duende artist's collective rotterdam, the netherlands. performed by singers of koorproject rotterdam thanks to maarten michielsen. the symposium 'eye and ear' had to do with the relationship between image, sound and space. in 'names, sections of the head' i sought to draw a connection between the spatiality of the sectional systems as depicted in medical books when describing the human body, and the architectonic spatiality in the building of duende. in each of the acoustic hall ways of the monumental former school building, situated on top of each other and connected on both sides by open stairways, a person was situated on whose head light lines were projected indicating the anatomical sections. next to the projectors were two singers who alternately recited aloud all latin names of elements appearing in the projected section. on each hall level a different section system was projected: frontal, sagittal, axial, and the names recited on a different pitch. when the names of a certain section were finished the singers operate the projector for the next section.
the sounds of the voices mingled in the staircases due to the extremely sensitive acoustics.
11. limestone (2003, fragment)
studio construction with the voices of 18 residents of the island inis oírr, ireland. from january to april 2003 i worked in the guest studio at aras eanna on inis oírr, the smallest of the aran islands on the west coast of ireland. this period has been inspiring for the development of my work with the relationship between time/space, and language. i have described cloud movements, waves, landscapes and rock structures in the form of 'written' drawings. i also described these elements verbally and recorded this on tape. in concluding my work period on the island, i selected a stone, on which i marked the four wind directions, and asked a number of islanders to give an oral description of the form, structure and colour of the stone. some islanders did this in irish, others in english. in the sound installation 'limestone' their vocal descriptions are heard simultaneously from a various number of loudspeakers in a continuous flow of voices.
12. etmaal voor berlage (1985, fragment)
vpro radio broadcast from an installation at the gemeentemuseum den haag, the netherlands. performed by 288 participants. technical installation steim software paul van goudoever. as part of the project 'artists and the 50-year-old berlage building', i was commissioned to come up with a temporary art work based on this last and most beautiful building by the architect hendrik berlage. for me, it was the erezaal (reception hall) that most captured the spirit of this building, and possibly the architecture of berlage in general. the situation of the hall within the building, its dimensions, colour and incidence of light, makes it rise above its own architecture, giving it something spiritual and meditative. i decided that a fitting tribute to this would be a demonstration of human energy and concentration: 'day for berlage' was a movement/sound sculpture where human voices are heard continuously over a twenty-four hour period, starting from silence at 00.00 am, gradually increasing to a climax at midday and then decreasing to silence again at 24.00 pm. starting and ending with two voices, each hour a larger new group was installed, without interrupting the sound. at midday a group of 24 participants occupied the chairs around the table on which two monitors dictated the voice volume related to that moment of the day.
13. stream 4 (1995)
'stream 4' is a fragment of weekly stereo radio broadcast. the centrum beeldende kunst rotterdam, the netherlands, invited artists to come up with a proposal for a temporary work of art, inspired by the urban situation in the laurenskwartier, the place where rotterdam, and also the port came into being. the laurenskerk, one of the few buildings that remain of the old centre after the bombings during the second world war, is the central point of this area. keeping in mind that today's port is still moving further away from the old centre, my proposal consisted of a temporary connection by means of the medium radio. for the 12 week period of the event a weekly short real-time sound connection was made between the port and the laurenskerk, and broadcasted live via stadsradio rotterdam. every wednesday at precisely 1.16 pm, three percussionists performed a drum roll on the largest bell of the church with wooden hammers, while at the same time a short telephone conversation took place with the captain of a foreign ship in the port. the humming tone of the bell, and the captain's voice who is telling something about his ship in his mother tongue were broadcasted simultaneously, for 2 minutes, on stadsradio, each sound source on one channel of the stereo signal.