To mark the 100th anniversary of the foundation of the First Armenian Republic, Yerevan will host the “International Contemporary Art Exhibition: Armenia 2018. Soundlines of Contemporary Art”, which from September 25 to October 25 will engage the capital city with more than fifty international artists exhibiting in seven different locations around the city…
“Soundlines of Contemporary Art”, curated by Mazdak Faiznia and Marina Hakobyan and created and organized by Shaula International LLC, is held under the high patronage of the Presidency of Armenia and the patronage of the Canadian Government, the Ministry of Culture of Armenia, the Ministry of Cultural Activities and Tourism of Italy, the cultural promotional project of the Ministry of Foreign Affairs of Italy Vivere All’italiana, the Italian Embassy in Armenia. The event is further supported by the Ministry of Foreign Affairs of Armenia, the EU Delegation to Armenia and the Armenian General Benevolent Union (AGBU).
Composer and sonic artist Roland Emile Kuit at the Aram Khachaturian Museum
Composer and sonic artist Roland Emile Kuit is considered a pioneer of the art form generally referred to as “sound installation”. He introduced and taught this form of audio art at the Vrije Academie The Hague, as well to the installation area. A metamorphosis from the traditional speaker boxes into ‘sonic spaces’.
Kuit’s sonic work ranges from experimental sound-architectural installations to acousmatic performances, often in cooperation with artists, designers and scientists. Kuit is researching chaotic systems, sound at atomic levels, morphology and decision-making processes beyond algorithm and stochastic approaches.
Kuit lectures, performs/exhibits worldwide at universities, art galleries, museums and creative hubs.
ACRYLIC INTONATIONS – Roland Emile Kuit
Kuit was this year at the SONO Studios in Prague recording his latest work ‘Tactile Utterance’ for Tomas Rajlich with the Fama Q String Quartet. Kuit had the opportunity to record a painting Tomas Rajlich in his atelier. For this occasion, Kuit had brought his ZOOM H6 recorder and connected 4 contact microphones to the canvas. As Rajlich was working, proportioning out and shaping the acrylic paint, Kuit managed to seize this sonic autograph in paint of Tomas Rajlich.
These recordings were taken back to the Netherlands to Kuit’s studio. Here he had to find ways to deal with these raw recordings. The idea was to create a quadraphonic sonic art space by processing the material into sonic art. Roland used the Kyma system to analyse these sounds in the spectral realm.
As Rajlich is modifying the appearance, hardness, flexibility, texture, and other characteristics of the paint surface, Kuit had to find a way to work likewise. Kuit’s idea of working in the spectral realm is that he can add more ways to deconstruct sound. He has now the possibility to separate frequencies, amplitudes and time, reconstructing sounds composing new textures.
Kuit created from acrylic sounds the spectra used by Oscillator Banks of 256 separate oscillators. Each oscillator is associated with a patial from the time-varying spectrum given in the Spectrum field. As a result this data is modulated and articulated into the ‘sonic space’. Air as canvas, acrilyc has a voice now.