I can start by saying that the exhibition was arranged
as the output of my scholarship where I invited Matej Gavula as a support.
We work well together.
When we started putting the exhibition together,
I came up with a theme that I defined during a residence programme in Brno
which was, that I am interested in low frequencies, everything around the limit of audibility, ie below 20Hz.
I was working mainly with sound. I wanted to analyze the vibration as a result of the work of machines.
The project was called Inaudible and dealt with unwanted sound generated by human activity.
Matej entered it with a very austere information and responded to vibrations through objects
Working with the material, which is his medium of choice.
There are three pairs of objects, or photographic records, which are put into pairs and respond to the topic.
The important thing for me was the environment, the gallery as such,
i tried to tune the space in some way, to compose something that would activate the space and its properties.
It's a composition made of things. I like to work in situ, things start to complement each other only on the spot.
This is a video diary that I kept in the synagogue as a site manager..
Slowmotion, used mostly in video has become a sound component to me..
It's in some storage room, where neon lights might fall during a P-wave, they break.
These flashing neons are sonified. With Matej we named it Remix.
XYZ (Milan Tittel, Matej Gavula) have pressed a vinyl containing the sound of a blinking neon.
This is an analogue version of that piece.
The sound of a clinking neon is played outside into the parterre, onto the terrace.
With the strongest soundwave, the ceiling, all the equipment, even the windows and lights resonate.
Microphones pick up the sound from the inside and send it to the terrace, outwards from the gallery.
Matej and I have been thinking about someone who could put this whole into context.
In the medium of text and in conversations about the project, looking at it from another side.
I'm not talking about a curator because in the end we approached Andrej Kabal.
He is active in the music scene and is quite multifunctional.
At a time when he did not know what the exhibition will look like and how it will sound,
he wrote an introduction text using only partial information,
which managed to summarize all of our interventions in this space.
We agreed that after he sees the exhibition in person,
an outro text will be written, at the end of the exhibition, in the form of a music review.
It all started while we had a pleasant time with Jan Gašparovič.
We had a discussion where we talked a little about sounds and frequencies.
I found out that Jano is quite obsessed with these topics,
and that he is trying to translate these things into his art.
Unexpectedly, Jano asked me if I would like to write a curatorial text for his exhibition.
I told him I am not a curator and that I dont really know anything about art and these things.
Although I do know something, but I definitely do not have the knowledge of an curator or a art theorist.
Jano told me that this is actually what he wants, that he wants someone to write some informal, relaxed text.
He has read the press releases I have written for our techno events.
Then the guys showed me how they imagine the exhibition.
The exhibition was constantly in the process of development and didnt dwell on one concept, which was interesting.
In the beginning the show was just about two or three objects and gradually more objects appeared.
I have tried to somehow grasp the whole of it.
I believe that the exhibition's aim is very easy to grasp and its quite OK.
There are some tremors here, some patterns, which are created either by sound or by nature.
At the opening I have talked about how Jano is fascinated by the sounds of machines
which are the by-products of the work of those machines.
And that these secondary effects, this vibrational waste, has its own world, and its working for me.
For me that's terribly interesting.
I think that if we look at and hear the exhibition, we will find ourselves in an embrace of objects.
Each of these objects somehow represents this aspect of an creation of those patterns and elusive things.
I've always been a fan of recontextualizing things.
Good things have always come out of an recontextualization.
Since I'm into music, I always like to talk about synthetizers such as Roland TB-303 or Roland TR-808
which originally served a completely different purpose and were meant to emulate the sound of live drums,
but they were used in a completely different context and created a new musical genre.
In hip hop, the turntable as a musical instrument was also the product of a recontextualisation.
The turntable was used to create something new, some new context.
New visual or new sound context.
This exhibition is about creating new visual and sound contexts,
using fundamental laws of nature, that surround us.