Boiler House was a site specific
sound installation at the Cornelius Cardew festival in conjunction with the
South Bank at Morley College. Taking inspiration from Cardew's improvisational
methods of generating music, the piece set in the lower operational levels of
the building, responded to the architecture of the site and the accompanying
network of utilities that activates the building. Using live audio feeds,
recordings and low frequency pulses, the installation constructed an immersive
re-imagining of Morley in keeping with the spirit of Cardew and the legacy of
The Hayward touring exhibition Every Day is a
Good Day was the first major retrospective in the UK of the visual art of the
American composer and artist John Cage. To sit alongside this exhibition the De
La Warr Pavilion presented 'A Nod to Cage', a rolling programme of artists'
projects that responded to Cage's work. Sourcing inspiration from John Cage's
piece 'Bird Cage' (1972), the project set out to examine elements of chance,
texture, repetition and social space using sound in a site-specific context. Bird
sonically compromised of a real time live feed picking up external sound
sources, for example, seagulls, sea and traffic from the roof of the pavilion.
In the gallery space stood a monolith of speakers streaming the live feed
alongside layers of continuous bass drones and pulses of low end frequencies.
Charles Atlas, Charlie Hooker, Cybraphon,
Felix's Machines, Felix Thorn, Found Collective, Laura Kuhn, Mira Calix,
Margaret Leng Tang, Mount Kimbie, Shelley Parker, Steve Beresford, Stewart Lee,
Tania Chen, Void Vector, Yoko Ono.
An evening celebrating the exhibition Cold War
Modern: Design (1945-1970), Shelley Parker, created Cast - an emotive and
atmospheric sound scape of field recordings and sounds responding to the
notions of myth, religion and authenticity inferred by the casts to evoke a
feeling of post-apocalyptic future in the V&A's Cast Courts.
Man-Made was a curated project by CT Editions
exploring consumer relationships with man made commodities. Based in the West
End during the four days of Frieze, Man-Made presented and sold identical
multiples of one object each day. Design historian Emily King selected an item
for sale, whilst performance artist Oriana Fox responded to Man-Made with a
performance entitled Material Girl and a site specific sound installation
entitled Consume from Shelley Parker ran in the space for four days. Taking
influence from the desire to consume, the piece was a sonic composite of
recordings made from the industrial, erratic sounds recorded in central
London's busy shopping area.