Hangar and BEEP Collection begin Collaboration

The BEEP Collection, NewArtFundation and Hangar begin a new collaboration project, which consists of a support to the production by BEEP, which allows the realization of pieces by three artists or collectives in residence of Hangar. These pieces are presented at Ars Electronica, Linz, from September 5 to 9, as part of the BEEP Collection’s annual exhibition at that event, and are then incorporated into the BEEP Collection.

The resident artists of Hangar selected for this first edition of the project are Kenneth Dow, Patricio Rivera and the Toplap collective (formed by Lina Bautista and Iván Paz).

This agreement represents a great opportunity for artists residing in Hangar, as it allows them to produce a new piece, present it in a context of maximum relevance in the international panorama, and integrate their work into a reference electronic art collection, such as the BEEP Collection.

It is essential to bear in mind that this collaboration is not based on the concept of incorporating finished pieces, but on collaboration to make a production process possible. And that process does not end strictly at the moment when the pieces are presented in Ars Electronica and incorporated into the BEEP Collection. That is the first step in a process that remains open. What is incorporated into the Collection is an artist’s proof, which allows the artist to continue developing the same piece, as well as being able to present it in other contexts.

In this first edition of this collaboration, the selection of projects has been carried out jointly by Hangar and BEEP. In successive editions, however, the selection of projects will be carried out by the Hangar Program Committee.

About the works

Kenneth Dow‘s PsyCHO TRance//K-Hole consists of a series of parts that comprise a limit use of technology. One of them, for example, called OfoStep, consists of a bicycle lock, taken from one of the bikesharing the Shanghai services (a service that broke and left the bicycles abandoned in the street), turned into a sequencer. The buttons that allow it to be programmed are the same ones that allowed the combination that opened the lock to enter, and no screen has been added: it is the same device, turned into a musical instrument that is both rudimentary and complex.

Patricio Rivera presents his piece Agism (photo). A paintball gun mounted on an articulated robotic support automatically writes the word “agism” on the wall of the exhibition space, shooting with a mixture of paint and horse excrement. In the artist’s words, “the piece addresses the declarative character of the shot as a force of performatic enunciation and an exclamation point of an intention; a statement, though regulated by law, free to be executed within the elusive alibi of a work of art.

Toplap‘s Post-window piece proposes a thought on the semantic, semiotic and affective bridges that connect our sonorous and linguistic imaginaries, and explores the possibility of extending the writing of computer code to the (upper) level of human writing. Is it possible to write the code of a piece of music in words? The device looks like a primitive computer, with an alphanumeric keyboard and an analog monitor, in which the visitor has no choice but to type using the keyboard. What the visitor writes generates and modifies in real time the musical piece that the device creates.


Categories: Collaborations |

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