Tuning in a Vacuum manifested as a series of collaborations between performers and seven new sound-based sculptures. Materials, space and sound played out in a politics of negotiation, the physicality of the sculptures’ structural and audio qualities shaping the dynamics of the performers. The performance is different every time, as each encounter with the objects presents something new. The theme of pairs runs through the piece.
Duets between objects and performers developed into trios, quads and quintets, across different bodies, finally becoming multi-limbed with audio phasing as performers and sculptures merged with one another and the space.
The bronze age Sussex trumpet, discovered down a well, is one of the earliest musical instruments from the area, and similar ancient trumpets have often been found discarded as pairs, suggesting their use in ritual. Textiles and hand dyes that covered the sound absorbers and the handmade costumes were inspired by local artist Ethel Mairet. My in-depth research as resident at The Bauhaus Foundation, looking at the Triadic Ballet by Oskar Schlemmer, Bauhaus stage experiments (and canteen), fabrics produced by Otti Berger; as well as Gertrud Grunow’s colour, pitch and movement system informed the foundation of the installation for this performance of the objects.
Tuning in a Vacuum was performed by Luke Birch, Claire Godsmark, Emma Lindsay, Claudia Kappenberg and Rita Evans.
Our movements in the space were guided by Movement Advisor Yael Flexer.
Live Sound by Suzie Burrows.
Curated by Noelle Collins, Exhibitions & Offsite Curator, Towner Eastbourne.
Supported by The Foundation Foundation Emerging Artist Award.