"In Bocca Al Lupo", is another perspective on my project "In The Shadow of the Silent Mountain:" a new text from a trip to the summit of Monte Cervialto in 2016, writing from the album booklet describing a journey to the peak of Monte Polveracchio in 2014, and a rendition of a 2013 account of a wintery walk on Monte Accelica. This rendition 'musicalises' the rivers, snow and wolf prints by turning an audio recording into a score and the text into a lyric."In Bocca Al Lupo" was published by The Learned Pig as part of their Wolf Crossing editorial season.
"Into The Outside", the film made by myself and Chiara Caterina has had two more screenings, both times as contributions to two new group shows. It was shown as part of "Connecting Columns," an exhibition curated by Cathy Lane and Lisa Hall at the Srishti Outpost at Mill Hall, a Collateral Venue at the Kochi-Muziris Biennale from March 1st to March 10th, 2017.
It was also shown in the exhibition "Ego et Eco: Individualismo e Coscienza Ecologica" at Palazzo Delle Arti Napoli from 22nd of April til 29th of April, 2017. This time, the film was projected at epic scale in a darkened room in the gallery. The opening of this exhibition was scheduled to coincide with Earth Day and with the launch of Simone Ciglia's fascinating book "Il Campo Espanso."
"A Crossing Bell" was reworked for the "What Has To Be Done" group show at the Today Art Museum, Beijing. Rather than the Essex vernacular architecture-inspired original at the Estuary Festival, for the Today Art Museum in 2017, the work takes on another local meaning, this time using a temple bell sourced in Beijing with red painted wood and columns and cross-bars I remember from when I once visited the Lama / Yonge Temple.
“Ancient Chinese acoustics long ago recognised that there was sound beyond human hearing. Touching bells when sound had disappeared still yielded tactile perception of vibrations,” Don Ihde Listening And Voice.
“[T]he emotional power of the tocsin in such circumstances transcended that of any other source of information,” Alain Corbin Village Bells.
A Crossing Bell was an installation for the Estuary Festival 2016 Points of Departure exhibition. Originally commissioned as a response to the Gravesend-Tilbury foot ferry, the work was eventually located at the point where passengers are about to join the boat or have just arrived from it, the bell hanging in a structure designed to echo elements of Essex coastal architecture and constructed from planks that once were part of Southend Pier.
Photos: Benedict Johnson benedictjohnson.com
From the exhibition interpretation text: "Installed near the Tilbury ferry within a custom-built wooden shelter that offers views over the wide river, the engraved bell is there to be rung by passengers and festival-goers as they offer their prayers for a crossing (their own or someone else’s, a friend’s or a stranger’s, a crossing here at the Thames or one that lies further afield). The aspiration is that the bell transform the short journey on the openness of the swift-flowing river and suggest other crossings, other times and other places; its un-amplified peals finding their place amongst engine noise, the cries of white feathered gulls, voices and the soundings of the Thames itself".
The edited collection of essays Beyond Text? features Rupert Cox's and my short essay Air Pressure: A Sound Film, written as we were developing the work created from our experiences on the farm in the middle of Narita airport towards the exhbition. The book, with many intriguing contributions, also includes a DVD which has an early single-screen draft of our filmic response. It is great to see the front cover featuring a still from our film that was shot out over the Egg House roof to the perimeter wall beyond which the airport has been shut down by an electrical storm (that is giving the sky that mauve cast).
'Night Time', the film Chiara Caterina and I made during the Liminaria residency earlier this year - a film which is a prototype for 'Into The Outside' - was shown at an exhibition in the Museo degli Orologi da Torre in San Marco dei Cavoti, Southern Italy. The other artists from the residency were Hong-Kai Wang, Enrico Coniglio and Alejandro Cornejo Monitbeller.
The second instalment of our Dark Mountains trilogy, here are some screen grabs from Chiara Caterina's and my new film, made on the Liminaria residency in the Fortore region and premiered in the Museo Degli Orologi da Torre at San Marco Dei Cavotti. Now back home, I realise that elements of what we were listening to, seeing and thinking of resonate with some of the themes from my "I See A Darkness" essay from 2002.
A film collaboration with Chiara Caterina - an element of our Silent Mountains project and the first instalment in our Dark Mountains trilogy - will be shown at the Jerwood Gallery, Hastings, as part of Distant Fictions, a prelude exhibition of the Diep~Haven Cross-Channel Contemporary Art Festival. Our contribution is for a talk given by one of the artists, Sissu Tarka.
"The Cave Mouth and The Giant Voice" film shown at the Association of Social Anthropologists of the UK and Commonwealth (ASA) 2015 conference in the Film, Audio and Multimedia Programme, convened by Tom Rice.
The Cave Mouth and the Giant Voice is a new installation by Rupert Cox and Angus Carlyle that participates in the Staging Disorder exhibition at London College of Communication, curated by Esther Teichmann and Christopher Stewart and running from the 26th of January until 12th of March. Presented as a ten minute single screen and multichannel work, it explores the memory of Okinawan islander Yogi-San of his experiences sheltering from the 1945 US Naval bombardment - the 'typhoon of steel'. The words onscreen combine Yogi-San's testimony - a full transcript of which is available in the exhibition guide - with a pared down commentary.