https://kusumnormoyle.net Kusum Normoyle Sat, 13 Jul 2019 08:30:38 +0000 https://kusumnormoyle.net en https://kusumnormoyle.net/About-Contact Sat, 13 Jul 2019 08:30:38 +0000 Kusum Normoyle https://kusumnormoyle.net/About-Contact <img width="3771" height="2484" width_o="3771" height_o="2484" data-src="https://freight.cargo.site/t/original/i/80e776f15bed36661a95361cc0d7d732d8330bd1b6ef404c6db047df40f92dfc/UMV-DOG_Kusum-Normoyle_0027.JPG" data-mid="46924932" border="0" src="https://freight.cargo.site/w/1000/i/80e776f15bed36661a95361cc0d7d732d8330bd1b6ef404c6db047df40f92dfc/UMV-DOG_Kusum-Normoyle_0027.JPG" /> Kusum Normoyle is a musician and artist working with voice for performance, video and installation. She takes screaming, feedback, resonance and intervention and puts them to work in outdoor, gallery, experimental and dance music contexts. Her work and research is particularly focused on the relation of body, voice, acoustic feedback to audio amplification systems of scale.Her work has been included in numerous national and international galleries and events including: Borderlands, Dark Mofo; Arts House (VIC); TarraWarra Biennial 2018: From Will to Form; This is a Voice, MAAS &amp; The Wellcome Collection; The Substation; Bergen Kunsthall; Red Bull Music Academy; Artspace Sydney; Primavera: Young Australian Artists; Redlands Konica Minolta Art Prize; ISSUE Project Room NYC; SuperDeluxe at Artspace for the 17th Biennale of Sydney; Liquid Architecture; N.K Berlin; UrBANGUILD JPN; DOGODEK/THE EVENT: 29th Biennial of Graphic Art, Slovenia;&nbsp; Dunedin Public Art Gallery; City Gallery Wellington. She has on-going collaborative music projects with Ivan Lisyak as techno HVISKE and Peter Blamey in Hard Hat. ︎&nbsp;kusum@kusumnormoyle.net︎ artist CV︎ professional CV To find out about upcoming events and performances, join the mailing list below. Email Address https://kusumnormoyle.net/News Mon, 02 Jul 2018 11:15:30 +0000 Kusum Normoyle https://kusumnormoyle.net/News <img width="550" height="701" width_o="550" height_o="701" data-src="https://freight.cargo.site/t/original/i/bc40bd6a4673199689d703c9659b3c51fd904d12e3a172deadffded944a699be/_collidbooks_covers_0-isbn9780262029667-type.jpg" data-mid="53876682" border="0" src="https://freight.cargo.site/w/550/i/bc40bd6a4673199689d703c9659b3c51fd904d12e3a172deadffded944a699be/_collidbooks_covers_0-isbn9780262029667-type.jpg" /> <img width="518" height="410" width_o="518" height_o="410" data-src="https://freight.cargo.site/t/original/i/27da4e92848288ef58236a45710e4f1076f08ac1dc601820e9d32e350dac17ad/Screen-Shot-2019-06-01-at-4.31.16-pm.png" data-mid="43506337" border="0" src="https://freight.cargo.site/w/518/i/27da4e92848288ef58236a45710e4f1076f08ac1dc601820e9d32e350dac17ad/Screen-Shot-2019-06-01-at-4.31.16-pm.png" /> <img width="856" height="822" width_o="856" height_o="822" 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width_o="800" height_o="566" data-src="https://freight.cargo.site/t/original/i/86e5770a510fb81bdb0f4c641a0c019a0f290d9dbe07a897a7d2ef6332f94a23/DasSuperpaper_issue29-32_pg2_o_800.jpg" data-mid="20079212" border="0" src="https://freight.cargo.site/w/800/i/86e5770a510fb81bdb0f4c641a0c019a0f290d9dbe07a897a7d2ef6332f94a23/DasSuperpaper_issue29-32_pg2_o_800.jpg" /> https://kusumnormoyle.net/Home-Image-Scroll Thu, 11 Jul 2019 02:27:17 +0000 Kusum Normoyle https://kusumnormoyle.net/Home-Image-Scroll <img width="3663" height="5494" width_o="3663" height_o="5494" data-src="https://freight.cargo.site/t/original/i/377d2239c3615ab2909b8f1a1b58bb2826f135c1c8a743613c24b0097253ff6d/48111252667_f52479d0fc_o.jpg" data-mid="46389383" border="0" src="https://freight.cargo.site/w/1000/i/377d2239c3615ab2909b8f1a1b58bb2826f135c1c8a743613c24b0097253ff6d/48111252667_f52479d0fc_o.jpg" /> https://kusumnormoyle.net/Info Thu, 11 Jul 2019 02:27:18 +0000 Kusum Normoyle https://kusumnormoyle.net/Info Arcana Mundi — Economy and Eccentricity “Profuse strains of unpremeditated art.” (Shelley) &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; A rock is a perfect metaphor, an allegory in volume. When placed it’s sculptural limits beget a kind of artistic proposition — and when considered with reduced anthropomorphism and ungeologically — produce a ready-made analog to the causation and bounds of our attempts at the understanding of all things. Here the sculptor has made no concessions; no attempts to curry favor with curators or collectors — pieces wholly outside discourse. And if pressed for an affiliate movement for these “sculptures” (i.e. Cubism, Mannerism, etc.)… perhaps Monism or Cosmogonism? Definitely not Conceptualism or Pataphysics — Actualism? The analog? Well for sure it is 1:1. Weird; yes — a knot to be admired for it’s curves — not for untying. An emergent surface as thick as it’s mass.&nbsp; &nbsp; Were it possible for the instances of our minds or world events&nbsp;to be mapped and dimensionally materialized, something similar to a rock would appear — areas of smoothness yielding to pockmarked particularities, density shifts and feathered explosions. What really is the shape of a boom town? A pilgrim’s journey? A section of jungle mayhem? A boring era? The silhouette of a father’s cold slap? The contours of a brief, intense friendship? Comfortably we perceive all of these things as ready to be integrated into ledgers or novels or timelines; but really they are queer crags and striations of unimaginable idiosyncrasy. So yes, the reflective, reasonable yield of our mind has much symmetry (computation, cataloguing, narrativizing, etc.) but it’s actual shape is no shape, but unfolding chaos and singularity visible only to our particular time-scale. Our species-wide symmetries and quantizations are basically improvisations white-labeled onto directionless infinitude attempting the constant creation of navigable Dimension. So, look intimately at a rock, walk around it, get up close to it, savor it’s complexion and composition as you would any painting or temple and see it as the faultless mirror that it is — a truly perfect sculpture. ABSTRACTION AND EMPIRICAL ILLUSTRATION We live our lives made up of a great quantity of isolated instants. So as to be lost at the heart of a multitude of things. (From the Double Dream of Spring, 1970.) <img width="1164" height="1158" width_o="1164" height_o="1158" data-src="https://freight.cargo.site/t/original/i/2e70f6597716e5d2c27a215e53255c72020047c375451b82ba899bb4b9ec5570/Untitled-1.png" data-mid="46386656" border="0" data-scale="85" data-no-zoom src="https://freight.cargo.site/w/1000/i/2e70f6597716e5d2c27a215e53255c72020047c375451b82ba899bb4b9ec5570/Untitled-1.png" /> Gavrilo Princip’s last grocery list written The time that alligator ate that fish When the Yongzheng Emperor found that weird dust bunny under his throne The great earthquake of Alexandria The invention of expectation in literature When the heaviest cacao fruit fell in Takalik Abaj Animesh eats his first Fly Agaric mushroom https://kusumnormoyle.net/Solid-Loud-Matter-2 Thu, 11 Jul 2019 13:17:20 +0000 Kusum Normoyle https://kusumnormoyle.net/Solid-Loud-Matter-2 Borderlands / Dark Mofo, 2019 <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/41008ea6ac3db00a1cfbd2951953ee9dd4b385445857a5891b65a0eb07958a27/48111187468_f14535ab57_o.jpg" data-mid="46470708" border="0" src="https://freight.cargo.site/w/1000/i/41008ea6ac3db00a1cfbd2951953ee9dd4b385445857a5891b65a0eb07958a27/48111187468_f14535ab57_o.jpg" /> <img width="5459" height="3639" width_o="5459" height_o="3639" data-src="https://freight.cargo.site/t/original/i/463481f30c59bf7d4cf45ca0adc0f1f7b1e647e55c6086a53e280f36739c82c9/48111190193_5abcd1d8b4_o.jpg" data-mid="46470828" border="0" src="https://freight.cargo.site/w/1000/i/463481f30c59bf7d4cf45ca0adc0f1f7b1e647e55c6086a53e280f36739c82c9/48111190193_5abcd1d8b4_o.jpg" /><img width="3700" height="5550" width_o="3700" height_o="5550" data-src="https://freight.cargo.site/t/original/i/d382d0a5e837f8611166761cf3676c104e2ea8d878caefc08e8cf0e218a05aeb/48111251177_fa6654c3cf_o.jpg" data-mid="46470825" border="0" src="https://freight.cargo.site/w/1000/i/d382d0a5e837f8611166761cf3676c104e2ea8d878caefc08e8cf0e218a05aeb/48111251177_fa6654c3cf_o.jpg" /><img width="3663" height="5494" width_o="3663" height_o="5494" data-src="https://freight.cargo.site/t/original/i/62d88bda91789311d56fb7ca5f70df586fdd489adf9e33b8d5610ac2bedceafe/48111252667_f52479d0fc_o.jpg" data-mid="46470835" border="0" src="https://freight.cargo.site/w/1000/i/62d88bda91789311d56fb7ca5f70df586fdd489adf9e33b8d5610ac2bedceafe/48111252667_f52479d0fc_o.jpg" /><img width="1868" height="2800" width_o="1868" height_o="2800" data-src="https://freight.cargo.site/t/original/i/7c80a329cd283a8e67a805f24b84fc05a012b9521d18879d4125cf5b49c3fdad/DSC01544-1.jpg" data-mid="46468938" border="0" src="https://freight.cargo.site/w/1000/i/7c80a329cd283a8e67a805f24b84fc05a012b9521d18879d4125cf5b49c3fdad/DSC01544-1.jpg" /><img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/39d979b574b8e4c8fe3d26a2a012aa507fbb22d32550a1bc5168de20e30842d8/48111254537_5116894357_o.jpg" data-mid="46470725" border="0" src="https://freight.cargo.site/w/1000/i/39d979b574b8e4c8fe3d26a2a012aa507fbb22d32550a1bc5168de20e30842d8/48111254537_5116894357_o.jpg" /><img width="5263" height="3509" width_o="5263" height_o="3509" data-src="https://freight.cargo.site/t/original/i/290ca2b5614a79b584e2a553375a7a4013454b14bb540d2eee8708afc50174ba/48111159521_ffaabac2af_o.jpg" data-mid="46471114" border="0" src="https://freight.cargo.site/w/1000/i/290ca2b5614a79b584e2a553375a7a4013454b14bb540d2eee8708afc50174ba/48111159521_ffaabac2af_o.jpg" /> Images: Jesse Hunniford and Jeremy Belinfante Video: Keith Deverell https://kusumnormoyle.net/Solid-Loud-Matter-2018 Wed, 05 Dec 2018 04:52:14 +0000 Kusum Normoyle https://kusumnormoyle.net/Solid-Loud-Matter-2018 Solid (Loud) Matter / TarraWarra Biennial: From Will to Form, 2018 <img width="886" height="591" width_o="886" height_o="591" data-src="https://freight.cargo.site/t/original/i/77d5ae91e8f530e0872010e29faa0e9d005f47b3dde97879437adb84c82ddd6e/2P4A7099.jpg" data-mid="30368798" border="0" src="https://freight.cargo.site/w/886/i/77d5ae91e8f530e0872010e29faa0e9d005f47b3dde97879437adb84c82ddd6e/2P4A7099.jpg" /> <img width="886" height="591" width_o="886" height_o="591" data-src="https://freight.cargo.site/t/original/i/27d2fb2e01bc11a1dcc03ec9d507ccde24a8234104991d3702c2e04ba61af683/2P4A7164.jpg" data-mid="30367903" border="0" src="https://freight.cargo.site/w/886/i/27d2fb2e01bc11a1dcc03ec9d507ccde24a8234104991d3702c2e04ba61af683/2P4A7164.jpg" /><img width="4344" height="2896" width_o="4344" height_o="2896" data-src="https://freight.cargo.site/t/original/i/ed51b7e54168057bab4b82d85518c9394afe7eb107c1853bffe559b10f14ae4e/2P4A7112.jpg" data-mid="29924026" border="0" src="https://freight.cargo.site/w/1000/i/ed51b7e54168057bab4b82d85518c9394afe7eb107c1853bffe559b10f14ae4e/2P4A7112.jpg" /> <img width="886" height="591" width_o="886" height_o="591" data-src="https://freight.cargo.site/t/original/i/8fdd8b51df408f42be11d379336b8ff32357bb5cde7f57dc32bfc47875eb0400/2P4A7083.jpg" data-mid="30367902" border="0" src="https://freight.cargo.site/w/886/i/8fdd8b51df408f42be11d379336b8ff32357bb5cde7f57dc32bfc47875eb0400/2P4A7083.jpg" /><img width="886" height="591" width_o="886" height_o="591" data-src="https://freight.cargo.site/t/original/i/aa6a7b23cde707fae3372cb58e05e0c08a758b36fc1f214fcab73670b72e1eb9/2P4A7030.jpg" data-mid="30367804" border="0" src="https://freight.cargo.site/w/886/i/aa6a7b23cde707fae3372cb58e05e0c08a758b36fc1f214fcab73670b72e1eb9/2P4A7030.jpg" /><img width="886" height="591" width_o="886" height_o="591" data-src="https://freight.cargo.site/t/original/i/56d698b56111601e5378e12650ffd3261249fca1b2eb3daaf593d9d4af16f0d0/2P4A7078.jpg" data-mid="30367871" border="0" src="https://freight.cargo.site/w/886/i/56d698b56111601e5378e12650ffd3261249fca1b2eb3daaf593d9d4af16f0d0/2P4A7078.jpg" /><img width="886" height="591" width_o="886" height_o="591" data-src="https://freight.cargo.site/t/original/i/13a0890a50c621d22c573c23e752d41915a5f2b45f9ef648a6467c287b5df2e2/2P4A7074.jpg" data-mid="30367863" border="0" src="https://freight.cargo.site/w/886/i/13a0890a50c621d22c573c23e752d41915a5f2b45f9ef648a6467c287b5df2e2/2P4A7074.jpg" /> Solid (Loud) Matter, was a performance devised for Will to Form: Activated at the TarraWarra Museum of Art in 2018. Set against the outer walls of the gallery, the artist projected her particular style of uncompromising, guttural vocal music - tuning audio feedback with her body she communes with the amplifier monolith - taking experimental music in the gallery context to new volumes. This performance builds on Normoyle’s established practice, which disrupts the supposed quietude of the art gallery and investigates aesthetic and literal expressions of the voice and body through sound materials, noise making and their relationship to location and environment. Will to Form: Activated, presented by TarraWarra Biennial 2018 in partnership with Melbourne International Arts Festival 2018. Performance manager: Mikhaela RodwellDocumentation: Hospital HillImages: Blue Fish Red Fish Photography This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. https://kusumnormoyle.net/Magnesite-Norway-2018 Mon, 02 Jul 2018 04:30:42 +0000 Kusum Normoyle https://kusumnormoyle.net/Magnesite-Norway-2018 Magnesite Norway, 2018 (Trailer) <img width="2500" height="703" width_o="2500" height_o="703" data-src="https://freight.cargo.site/t/original/i/3c741d6a157c2d2ae7924b12f3b913da9e9e4cd06339184139415e4d59ca2487/moss_2.jpg" data-mid="21042415" border="0" src="https://freight.cargo.site/w/1000/i/3c741d6a157c2d2ae7924b12f3b913da9e9e4cd06339184139415e4d59ca2487/moss_2.jpg" /><img width="2500" height="703" width_o="2500" height_o="703" data-src="https://freight.cargo.site/t/original/i/88a04bec4638a5bccf359da04ebc76c05b47e67e2d22c9d4053dc53b9eac3358/water_ice_green0-copy.jpg" data-mid="21042148" border="0" src="https://freight.cargo.site/w/1000/i/88a04bec4638a5bccf359da04ebc76c05b47e67e2d22c9d4053dc53b9eac3358/water_ice_green0-copy.jpg" /><img width="3840" height="1080" width_o="3840" height_o="1080" data-src="https://freight.cargo.site/t/original/i/77ed97e49b9213f1d8053b96bd30266fd0aedd2f143c7de454aab4d94f212115/lookout_mountain.jpg" data-mid="21042509" border="0" src="https://freight.cargo.site/w/1000/i/77ed97e49b9213f1d8053b96bd30266fd0aedd2f143c7de454aab4d94f212115/lookout_mountain.jpg" /><img width="2500" height="703" width_o="2500" height_o="703" data-src="https://freight.cargo.site/t/original/i/472e3a8948bf17d2f5c6a1104c1ffd1aeb5ab94c29d8b1ee329706f01bf7e9d7/waterfall_duo.jpg" data-mid="21043221" border="0" src="https://freight.cargo.site/w/1000/i/472e3a8948bf17d2f5c6a1104c1ffd1aeb5ab94c29d8b1ee329706f01bf7e9d7/waterfall_duo.jpg" /> <img width="3359" height="2240" width_o="3359" height_o="2240" data-src="https://freight.cargo.site/t/original/i/ae391d2cb774181fbf284cfe78943a4d01a8ceca087c98420de6ede2e10fd21b/_AC_3229_A.jpg" data-mid="46392881" border="0" src="https://freight.cargo.site/w/1000/i/ae391d2cb774181fbf284cfe78943a4d01a8ceca087c98420de6ede2e10fd21b/_AC_3229_A.jpg" /> <img width="3359" height="2240" width_o="3359" height_o="2240" data-src="https://freight.cargo.site/t/original/i/e974f46e75bf028a1604ad9d070fbbcd362be245272439a6b0a6faec2e2bd776/_AC_3229_B.jpg" data-mid="46392879" border="0" src="https://freight.cargo.site/w/1000/i/e974f46e75bf028a1604ad9d070fbbcd362be245272439a6b0a6faec2e2bd776/_AC_3229_B.jpg" /> Magnesite Norway, is a dual channel video and sound installation using documentation of improvised music performances by Kusum Normoyle (voice and amplifier) and Mette Rasmussen (alto saxophone) in the Norwegian landscape during the summer of 2016. The work builds on Normoyle’s previous video work in a number of ways. Through Rasmussen the project took place in Norway, the country in which she currently lives, giving both performers new locations to investigate, and the platform to make collaborative performances from two discrete practices. Location videographer, Nick Garner brings a contemplative and inquisitive presence to the documentation material, and Normoyle’s edit of the resulting footage combines both the performance documentation and location documentation to produce sculptural form across two screens that is new to her video work. The work is defined by contrast: the nature of performing inside versus outside, the tensions between Normoyle’s raw vocalisations and Rasmussen’s jazz and free improvisation training, the physicality and precarity of the performances against the stillness of the sites, the dissonance of the sound produced in comparison to the ‘romantic’ Norwegian landscape. Sound in the installation plays an important role in portraying the performer’s struggle with the ability to resonate within or compete with Skjervsfossen waterfall, or the 8 second natural reverb in turbine hall of The Norweigen Museum of Hydro Power and Industry. In Magnesite Norway, we see again how Normoyle’s work tests the limits of the ‘experimental’ and ‘improvised’ music frameworks, by holding a camera to the bodies that create the music, outside the venue and bringing it back to the gallery as a visual arts practice. ︎ Link to view Magnesite Norway via password ︎ Watch Rassmussen and Normoyle Live at Ludo Sounds, Bergen Kunsthalle Magnesite Norway: Dual channel HD video, 4.1 sound, 23:00 mins Performances: Kusum Normoyle (voice and amplifier) &amp; Mette Rasmussen (alto saxophone) Location videography: Nick GarnerRecording mix &amp; master: Lasse MarhaugSound design &amp; video edit: Kusum NormoyleColourist: Billy Wychgel Locations: Hardangervidda National Park (various), Norweigen Museum of Hydro Power and Industry, Skjervsfossen waterfall, Utsikten lookout.Exhibition premiere: TarraWarra Biennial 2018: From Will to Form, curated by Emily Cormack. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. https://kusumnormoyle.net/Moon-Piercer-2017 Mon, 09 Jul 2018 05:43:47 +0000 Kusum Normoyle https://kusumnormoyle.net/Moon-Piercer-2017 Moon Piercer, 2017 <img width="1400" height="924" width_o="1400" height_o="924" data-src="https://freight.cargo.site/t/original/i/bc8a44b7355e02b215608719e9e08f6532cce48019f9e7a848869d99fac76803/Normoyle_redlands_2_web_1400.jpg" data-mid="19999224" border="0" src="https://freight.cargo.site/w/1000/i/bc8a44b7355e02b215608719e9e08f6532cce48019f9e7a848869d99fac76803/Normoyle_redlands_2_web_1400.jpg" /><img width="800" height="520" width_o="800" height_o="520" data-src="https://freight.cargo.site/t/original/i/7b13160e61e139c568f42899742db8d7d8c67c18ee7ea4717764aec7888f0544/Normoyle_redlands_1_web_800.jpg" data-mid="20398966" border="0" src="https://freight.cargo.site/w/800/i/7b13160e61e139c568f42899742db8d7d8c67c18ee7ea4717764aec7888f0544/Normoyle_redlands_1_web_800.jpg" /> In Moon Piercer, designs based on audio speaker cables are laser engraved into the underside of perspex. This work was created for an exhibited in, the Konica Minolta Redlands Art Prize, 2017 at National Art School, Sydney. Images: Peter Morgan. https://kusumnormoyle.net/A-Giddiness-Best-Left-Unsaid-2018 Wed, 05 Dec 2018 05:02:21 +0000 Kusum Normoyle https://kusumnormoyle.net/A-Giddiness-Best-Left-Unsaid-2018 A Giddiness Best Left Unsaid, 2018 <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/1477b24b750ecd922295b2f1f088a4dd51c2b374394c680489e2ac8b9c71e9f0/42909271_2217416591869960_8644620632463507456_o.jpg" data-mid="29924262" border="0" src="https://freight.cargo.site/w/1000/i/1477b24b750ecd922295b2f1f088a4dd51c2b374394c680489e2ac8b9c71e9f0/42909271_2217416591869960_8644620632463507456_o.jpg" /><img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/cd73a22c1e26373dade3153ec45b17c917ae2b7878e6e6f347baed109b007793/42663256_2217412595203693_7713998637868515328_o.jpg" data-mid="29924259" border="0" src="https://freight.cargo.site/w/1000/i/cd73a22c1e26373dade3153ec45b17c917ae2b7878e6e6f347baed109b007793/42663256_2217412595203693_7713998637868515328_o.jpg" /><img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/4bb7e0eebad9b0a344760263e41ad08a171bb016370bed511ffc6676119118ec/42871437_2217417165203236_2806842109544366080_o.jpg" data-mid="29924260" border="0" src="https://freight.cargo.site/w/1000/i/4bb7e0eebad9b0a344760263e41ad08a171bb016370bed511ffc6676119118ec/42871437_2217417165203236_2806842109544366080_o.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/efd01aa8167466d0faf973610df0cc6daf6e87b721377671f2b8f70afecfbac5/43097948_2217416548536631_3412893618854166528_o.jpg" data-mid="29924269" border="0" src="https://freight.cargo.site/w/1000/i/efd01aa8167466d0faf973610df0cc6daf6e87b721377671f2b8f70afecfbac5/43097948_2217416548536631_3412893618854166528_o.jpg" /><img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/3f3ce8419009c9a97cbbc4d0fbcd365172238f45a2fede485291746f885a046b/43018965_2217408681870751_623245513231171584_o.jpg" data-mid="29924266" border="0" src="https://freight.cargo.site/w/1000/i/3f3ce8419009c9a97cbbc4d0fbcd365172238f45a2fede485291746f885a046b/43018965_2217408681870751_623245513231171584_o.jpg" /><img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/6930c3bce3a3705535722b5acf368bec997c7000366b33ad8dacf13e34b2385c/43079501_2217418475203105_215386652774760448_o.jpg" data-mid="29924268" border="0" src="https://freight.cargo.site/w/1000/i/6930c3bce3a3705535722b5acf368bec997c7000366b33ad8dacf13e34b2385c/43079501_2217418475203105_215386652774760448_o.jpg" /><img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/2f588e88e6ec0e710ff5d29f0b1d1b6a80e0be95e05d517591974b26c256c65c/43070588_2217409681870651_5550607869818175488_o.jpg" data-mid="29924267" border="0" src="https://freight.cargo.site/w/1000/i/2f588e88e6ec0e710ff5d29f0b1d1b6a80e0be95e05d517591974b26c256c65c/43070588_2217409681870651_5550607869818175488_o.jpg" /><img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/72f82e5185c7e2b41aebce282a12ec1021c41fc04cc356fca9174c73113241e5/42965174_2217420241869595_4349793382462128128_o.jpg" data-mid="29924264" border="0" src="https://freight.cargo.site/w/1000/i/72f82e5185c7e2b41aebce282a12ec1021c41fc04cc356fca9174c73113241e5/42965174_2217420241869595_4349793382462128128_o.jpg" /> <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/46e0c8573da3009c3821bf2c8cca4328d1bcfb59b84854cadf17e7618fcbe578/42965197_2217403311871288_6996124768789331968_o.jpg" data-mid="29924265" border="0" src="https://freight.cargo.site/w/1000/i/46e0c8573da3009c3821bf2c8cca4328d1bcfb59b84854cadf17e7618fcbe578/42965197_2217403311871288_6996124768789331968_o.jpg" />An installation by Ella Barlcay for SOFT CENTRE 2018. Performance with Kusum Normoyle (voice electronics) and Brian Fuata (voice), produced by Sam Whiteside. 550 cm diameter simming pool, looped video, electronics, water, aluminium, sound.A Giddiness Best Left Unsaid, explores the form of information. From the hot mess of cables, cooling tanks, exhaust fans, backup diesel engines and industrial grade lead-acid batteries that make up the modern server farm, to the more ethereal spaces inhabited by lofty visions and internet sex sprites, the more we learn about the aesthetics of computing, the weirder it gets.Images: Jordan Munns. https://kusumnormoyle.net/Slow-Dark-2016 Mon, 02 Jul 2018 04:30:43 +0000 Kusum Normoyle https://kusumnormoyle.net/Slow-Dark-2016 Slow /Dark, 2016 <img width="2091" height="2970" width_o="2091" height_o="2970" data-src="https://freight.cargo.site/t/original/i/3cc7b566a445d230695899b8b7f3f53ebc660828f5c7ee16b7db6e210eeb6a40/_slowdark_mediumres-2.jpg" data-mid="21356732" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/3cc7b566a445d230695899b8b7f3f53ebc660828f5c7ee16b7db6e210eeb6a40/_slowdark_mediumres-2.jpg" /><img width="1560" height="790" width_o="1560" height_o="790" data-src="https://freight.cargo.site/t/original/i/503c5a1634faaf970d3035bcb3fc353688bcba209ad50f1b99bc5d1ae7795df6/_48a8672.jpg" data-mid="20399023" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/503c5a1634faaf970d3035bcb3fc353688bcba209ad50f1b99bc5d1ae7795df6/_48a8672.jpg" /><img width="518" height="808" width_o="518" height_o="808" data-src="https://freight.cargo.site/t/original/i/df3b01cb5926b3509261e9467c450a272875f4933e6b07d71a859cef76e057b5/8A8716_1200.jpg" data-mid="20883105" border="0" src="https://freight.cargo.site/w/518/i/df3b01cb5926b3509261e9467c450a272875f4933e6b07d71a859cef76e057b5/8A8716_1200.jpg" /><img width="565" height="808" width_o="565" height_o="808" data-src="https://freight.cargo.site/t/original/i/b897a375d8107cd5d16082ad37f8be004752d22cb5e7eebb0f51b2733645e5e1/_48A8679_1200.jpg" data-mid="20883099" border="0" data-scale="96" src="https://freight.cargo.site/w/565/i/b897a375d8107cd5d16082ad37f8be004752d22cb5e7eebb0f51b2733645e5e1/_48A8679_1200.jpg" /><img width="534" height="808" width_o="534" height_o="808" data-src="https://freight.cargo.site/t/original/i/54bcdd494e60d9e0d66eb5487156998acccc0dba035bdfd35f34f3ffb877703c/_48A8729_1200.jpg" data-mid="20883104" border="0" data-scale="97" src="https://freight.cargo.site/w/534/i/54bcdd494e60d9e0d66eb5487156998acccc0dba035bdfd35f34f3ffb877703c/_48A8729_1200.jpg" /><img width="1212" height="808" width_o="1212" height_o="808" data-src="https://freight.cargo.site/t/original/i/e3666c87f89e5505f60029cf37876ade0b4536ae1f1f3c5445bd43fdd7b0a855/_48A8695_1212.jpg" data-mid="20883100" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/e3666c87f89e5505f60029cf37876ade0b4536ae1f1f3c5445bd43fdd7b0a855/_48A8695_1212.jpg" /><img width="1207" height="808" width_o="1207" height_o="808" data-src="https://freight.cargo.site/t/original/i/628a5f39df090e9163b276988bce8c71ecbf499941a89830ddd91512eafc353c/_48A8728_1207.jpg" data-mid="20883103" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/628a5f39df090e9163b276988bce8c71ecbf499941a89830ddd91512eafc353c/_48A8728_1207.jpg" /><img width="6596" height="4404" width_o="6596" height_o="4404" data-src="https://freight.cargo.site/t/original/i/4d319f86d73f3254b32970a165b3a9201ee585261f3480199a645b7e56a58fd3/SD_NP_8.jpg" data-mid="20399076" border="0" src="https://freight.cargo.site/w/1000/i/4d319f86d73f3254b32970a165b3a9201ee585261f3480199a645b7e56a58fd3/SD_NP_8.jpg" /> <img width="1000" height="673" width_o="1000" height_o="673" data-src="https://freight.cargo.site/t/original/i/28229eff3682a0909aa75c7a2bb0e159777fad4264051342647657480201d889/SD_NP_2.jpg" data-mid="20399070" border="0" src="https://freight.cargo.site/w/1000/i/28229eff3682a0909aa75c7a2bb0e159777fad4264051342647657480201d889/SD_NP_2.jpg" /> <img width="1000" height="673" width_o="1000" height_o="673" data-src="https://freight.cargo.site/t/original/i/2dd3d217e183e2ccc813aa6d69d97658d91309436ddce4b2bd4a0b4176335ecb/SD_NP_1.jpg" data-mid="20399069" border="0" src="https://freight.cargo.site/w/1000/i/2dd3d217e183e2ccc813aa6d69d97658d91309436ddce4b2bd4a0b4176335ecb/SD_NP_1.jpg" /><img width="6596" height="4404" width_o="6596" height_o="4404" data-src="https://freight.cargo.site/t/original/i/980564318c260a767e1d1b84fa87e4b0df061dc637b1e4443dcbb605f85acc17/SD_NP_6.jpg" data-mid="20399074" border="0" src="https://freight.cargo.site/w/1000/i/980564318c260a767e1d1b84fa87e4b0df061dc637b1e4443dcbb605f85acc17/SD_NP_6.jpg" /> Slow /Dark: The Speaker Who Grew Up To Become A Canvas. By Tiarney Miekus.&nbsp; A sound that thinks it’s a painting. A speaker that thinks it’s the bearer of the never-ending bliss of commodified connectivity. A death metal crest that doesn’t realise it’s found its way into an art installation. These are the kinds of confusions and (dis)associations, the kinds of jokes, that we find in Kusum Normoyle’s Slow /Dark. Armed with voice, multiple speakers and a publication brimming with diagrams, death metal insignia, transmissions and stacks, Slow /Dark revolves on materialising and re-contextualising sound, offering a specific account of utterances in their materiality which is, of course, simultaneously very unspecific, dispersed and endlessly dynamic. In many ways Slow /Dark appears as a formal transformation of the performative site interventions Normoyle is well-known for; public amplified screaming across cemeteries, rooftops, trams and city centres, performances better termed as S.I.T.E. (Screaming in the Everyday). Slow /Dark is a more precise manifestation, offering a subtler intervention that continues Normoyle’s dispersed voice, the linkage of public spaces and sound, and the capacity for perpetuating disruption. Sound-in-itself is both the most pivotal and the most unimportant aspect of Normoyle’s work. In Slow /Dark the only sound we hear is the guttural and non-linguistic utterances and clicks of Normoyle’s voice, sounds which are re-recorded from initial playbacks and distributed at a low-end 55Hz, resonating alongside periods of silences and gaps. The speakers are prioritised over the speaking, as Normoyle positions a speaker into a canvas frame, delivering a sound dressed up like a painting and inserted at a literal visual level. The speaker knows it’s an imposter and for all the humour of the formal confusion, Normoyle’s utterances are now able to purposefully re-contextualise their own artifacts and space; sound cannot be understood outside of the materiality that renders it possible. Slow /Dark immediately signals there is a voice without a body, a voice that favours displacement through multiple speakers. There is only one physical body present in this work: the listening body, your body. To listen within Slow /Dark is to cast attention to the factors that effect listening (whether these factors be personal, spatial, linguistic, social or visual) and to negotiate this perpetual mediation, as Normoyle’s voice is simultaneously non-locatable and multiply located. By depopulating her own voice from her own body, Normoyle’s voice is granted new and differing materiality, where sound is newly expressed in configurations that are potentially endless. This prioritising of material over utterance tends towards both the limits and limitlessness of sound. A tension that pervades Normoyle’s work is the tension between what a sound is, as we hear it, and what a sound has the propensity to be, its capacity to be materialised in multifarious ways, how it can determine and work within a space, how it can be re-contextualised and reproduced; it’s the guts of a sound criticality. By ensuring the audible is manifested through objects of cognition, interpretive value is not given to sound itself, but rather the ideas, practices and associations of uttering and listening. Sound emerges as an index of everything else; sociality, commodification, black metal insignia, paintings, frames, circuits, diagrams, transmissions, jacks, stretched material, a body walking through a gallery. Sound is never pinned down to one material or instance; it is fatally fleeting. These negotiations and associations find their play in an accompanying publication created by Normoyle, Hethre Contant and Peter Blamey, which takes up the voice of a company spruiking exciting products like ‘The Lamprey’ that essentially turns the ear bud into a loudspeaker or ‘Patch Bay to the Sea’ which attunes one’s mind and ear to Gaia, letting you “listen to the drones of vitality shimmering through the currents of existence like the sun filtering and reflecting upon an ocean of memories.” Our relationship to these objects appears not as meaningful, but hyperbolic and gratifying. Through the publication the work of sound is presented as a labour that material commodities can alleviate or enhance, with sound further expressed through the language of techno-science and the utopias of marketing. As we move into (beyond?) the post-human, Slow /Dark sparks inquiry of the technologies that speak and listen for us, displaying that sound is determined by more than our own mouths and ears; sound is subject to dynamic techno-forms, commodities, desires and systems, as well as being regulated interpreted, transmitted, perceived, monetarised and socialised. At the same moment subjectivity becomes distributed, networked and technologised, we’re greeted with the paradox that sound is inhuman, post-human and very, very human. Within the exhibition publication sits a diagram of the publication’s ‘performers’ where the sociality and creative input between Normoyle, Contant and Blamey (as well as Simone Mandl) is rendered as sonic transmission, inescapably looped and fed back into each other, with the diagram a reference to composer Alvin Lucier’s similar schematic for Music for Solo Performer. Douglas Kahn has described Lucier’s now well-known decision to think of sounds as measurable wavelengths as having “shifted consideration of musical sounds to all dimensions” rather than the two-dimensional “up or down the keyboard”.1 This desire and tendency towards total expansion, an unfettered multidimensionality that simultaneously knows its own structures, is likewise characteristic of Normyole’s work. Yet despite this important similarity a divide separates the two: Lucier’s schematic diagram wasn’t captioned in death metal font. I have a theory that metal music may be the only art form that escaped postmodernism, which is at once metal’s greatest charm and greatest ignorance. While those outside a metal community may take the music and the insignia ironically, to those within the community, metal is an authentic, sincere and uninterrupted transferal of sound. The aim here is not to critique the phantasmic experience of metal, but the lack of criticality of the experience. The sounds and insignia of metal are normalised through social, historical and cultural tropes that reference certain (largely male-dominated) communities and these marks unconsciously guide our perception of them; what happens if we pick up this death metal crest and place it here instead? What happens when we refuse to over-determine sound and its visuals and materials? What happens if we make a new gesture with an old trope? Slow /Dark signals the conflicting and varying relationships between the subjective experience of sound and it’s material conditions, which are in turn always mediated by social and cultural processes. By claiming there is no such thing as an uninterrupted transfer of sound, Normoyle’s work is expanding and preserving a space of criticality that emphasises the shifting and malleable attentions of listening, with sound positioned as something occurring through infinite production and re-production. Listening is not a simple activity but is also a sociality, a body, a contextualising, a visualising and an attention to the how-and-why sound ever materialises in the first place. The work strings together voice, space, visuals, technologies, commodities and cultural tropes - fragments of our contemporary that are delivered as complexly and paradoxically linked, with sound offering a means to articulating notions which often feel both extremely concrete and extremely vague, actual and digital, aesthetic and scientific, fleeting and slow. There is subtle ethic of defiance at play, a refusal to accept habitual practices, regulations and associations, which further gestures towards the future by continually deferring the question of what sounds are, in favour of what sounds can be and do. 1. Kahn, Douglas. ‘Alvin Lucier: I am Sitting in a Room, Immersed and Propagated.’ OASE Immersed 78, 2009, 24-37.Publication: Kusum Normoyle, Peter Blamey, Heather Contant Exhibition essay: Tiarney Miekus Thanks: Liam Garstang &amp; Richard Kean Exhibition history: Artspace, Ideas Platform, 2016 Nicholas Projects, Melbourne, 2016 Artspace Images: Jessica MaurerThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.