Hrvoje Pelicarić / Scaled-down flux point (for sphere, 8 ear-piece loudspeakers and Umwelt)
Thursday, 9th November 2017 at 8 p.m.
9th – 13th November 2017
Multimedijalni kulturni centar
Ulica slobode 28, Split
OPENING HOURS: Mo – Fr 20 – 22 h
Scaled-down flux point is an 8-channel audio-spatial installation which consists of a sphere designed for the listener’s head, equipped with a miniature multichannel sound system. The interior is designed strictly out of audio material, reproduced in controlled conditions of the sphere, while the rest of the stimuli are reduced to a minimum. The sphere is simultaneously a point of acoustic collecting and transformation of existing ratios: the emotion of miniature sound is expanded and intimate, projected inwards, and reduced in size. The listener is in focus where the assembling of the inner image, as well as the flow of the inward and outward (time) are exposed.
This piece, which was originally part of a graduate thesis at the Film & Video department, is a natural continuation of Hrvoje Pelicarić’s lifelong dedication to the phenomenon of sound and sound behavior in different environments. This research deals with time that is present in different artistic media – its character, aesthetic and logic, relationship toward “real” time, and different creative strategies used in the work, directly or indirectly related to the notion of time. For quite some time now, Pelicarić has been interested in the perception of time and the character and the nature of the mechanisms in which it functions and passes. Studying the work by the American artist Gary Hill. directly influenced this work. Hill proved to have a unique insight into the nature of inner time of the video medium – through the work with text, image, sound, and space. The link was the nature of time present in Hill’s work, which in their treatment resemble the Japanese Noh theater, popularized by Zeami Motokiyo (1363.-1443.), and his treatment of time according to the Ma concept. The Ma concept is actually a time-space concept originally from China which flourished in Japanese culture and became omnipresent; from everyday language, theater, design and architecture, film. It can explain space, time or space-time; in any case rhythm is most important, and presence or absence of something; it can also be described as a pause, void or interval; it speaks of silence in opposition to sound, or shortage in relation to surplus. In Western civilization this concept is definitely not present enough, and the fields in which it is somewhat present are architecture/design and film. In his text titled “Intervals (Ma) in space and time: foundations for religio-aesthetic paradigm in Japan”, the author Richard B. Pilgrim states: The word Ma basically means an “interval” between two (or more) spatial or temporal things and events. Thus it is not only used in compounds to suggest measurement but carries meanings such as gap, opening, space between, time between, and so forth. A room is called Ma, for example, as it refers to the space between the walls; a rest in music is also Ma as the pause between the notes or sounds.
Naturally continuing the research started in previous works titled Space (plus-minus) – in which he dealt with consciousness of space and the presence in exhibition space – and 1:8, in which the focus was placed on the relation of size/quantity of the surrounding sound present in space opposed to the reproduced miniature sound, Pelicarić enters the sphere of the relation of time and space with this work, naturally once again through the medium of sound. His Scaled-down flux point (for sphere, 8 ear-piece loudspeakers and Umwelt) guides us into an interesting and foreign environment, stripped from outside noises, which accelerate certain sounds which we do not normally hear because the sphere collects sounds and creates a certain Umwelt: “self-centered world”, “environment”, “surrounding”, in which Pelicarić places us to together test the passing of time, our own presence in time and the relation between time and space through sound.
Hrvoje Pelicarić is a musician, producer and multimedia artist born 23rd of April 1974 in Split. He graduated sound engineering at the School of audio engineering in Rotterdam in 2001, with a BA in Film & Video (2014) and MA in Media art at the Arts Academy in Split (2017). He has been active in the independent culture scene from 1996 (cofounder of the cultural-artistic association Uzgon). Since 1994 he has worked as a musician and a performer in the experimental music and art scene, producing music for different theater productions (groups Zidar Betonsky and Fractal Falus Teatar). He was a lecturer at the School of audio engineering in Ljubljana from 2004 to 2009, when he started working as an associate professor in Sound engineering at the Arts Academy in Split. He has been working as a recording technician and a music producer since 2002, and has participated in a number of independent records (Sphericube, Bilk, Klaus, Turato91, Cul-de-Sac, Trobecove krušne peći). As an author he participated in a number of group shows and held one solo show. He founded the ISPOD BINE festival in Split in 2016, and is an artistic and technical director. He works with sound in the broadest sense, produces music for film and theater and makes audio-spatial installations.
CURATOR: Natasha Kadin
DESIGN: Nikola Križanac
NMG PROGRAMME CURATORS: Natasha Kadin, Lana Beović, Tina Vukasović
TRANSLATION, LECTURE AND PROOFREADING: Lana Beović
EXHIBITION LAYOUT AND DOCUMENTATION: Gildo Bavčević
PROGRAMME NMG@PRAKTIKA SUPPORTED BY: Ministarstvo kulture RH, Grad Split, Splitsko-dalmatinska županija
MAVENA SUPPORTED BY: Nacionalna zaklada za razvoj civilnog društva, Zaklada Kultura nova
ACKNOWLEDGEMENTS: KUM, MKC, PDM, HULU