SynchroniCity / / /  Voicelessness

 

Tom Tlalim / Christian Nyampeta

Curator : Adiya Porat-Kligler


SynchroniCity is a series of exhibitions that brings together artists from different localities using new technologies, and enables collaborative simultaneous artistic action. The synchronised joint action bridges the gap of locality, thereby extending the field of vision, into which the place of action extends, beyond the screen. This activity draws distant actions nearer, while an action in physical space is converted into light beams in the depths of the network, as human bodies are encoded into digital data. The joint action unifies worlds.

 

Voicelessness

“The point of blindness in hearing as an object is silence. With the entry into language, the object is experienced as lost forever, and life's course is an eternal search for that object, which always remains lost. The nearest representation of that sound as object is the scream1.

 

A sound requires reflection: the sound wave dependent on its environment to be heard. It is heard as it travels through causal chains of particles, each modulating back and forth within its confined amidst other particles. The sound wave “travels” over matter, and is amplified by the resistance of air particles, which facilitates resonation. Air particles work as a “listening” surface, as each particle embodies the sound wave and carries it along as a movement pattern. This is the ability to carry a message by means of resonation.
Resonating, or “reflecting” in therapeutic language describes the process by which an event that takes place in the other, is reflected in the listener in a physical manner, and vice verse. A profound form of listening would be required in order to listen to all of those voices that seek to be heard. The ability to resonate invites a listening beyond the personal histories of each of the sides. The language of resonation may enable such a bidirectional process where one side invites the voice of the other to meet and reflect in the listener, whilst returning the voice in ways that have not been spoken yet. The essence of the art of reflection is a sharing of an experience which crosses through the curtain of solitude.

 

As an artist who works in both the sonic and visual domains, Tom Tlalim came to the realisation that visual art is not necessarily soundless. Even without containing a sonic element, is might still contain the absence of sound within it .His exhibition deals with that which is unheard but present, that which cannot be voiced, The muted or the incommunicable. In Voicelessness, Tlalim evokes the ethics of non-voice, and presents works that ask to be listened to. In the space of the gallery video works are projected on semi-translucent screens, alongside sound works that leak into one another. Each of the works deals in its way with unspokenness, or the inability to express.
Tlalim invites the London-based artist Christian Nyampeta to project himself into the space, and intervene from his own space in east London. Nyampeta will bring himself into the situation being unable to be there, and based on his evaluation of the situation as it resonates through the medium of the internet. Through the evening, both artists will perform an intervention, under the title Voicing the Occasion. Their joint action is based on Skype calls, referenced texts and letters exchanged between them during the time Nyampeta spent in Africa, where he had been visiting for the first time since he had left Rwanda as a refugee in his youth. Nyampeta will project photographs from his work in Africa, where he himself had been taking photos of local residents doing their daily activities, and as he exchanges roles with them. The texts read throughout the evening were written during the process of correspondence between the artists prior to the show, sharing their mutual experience as immigrants who have left their homeland, to became european nationals. Tlalim and Nyampeta will attempt and fail to connect, to develop a dialogue, while modulating between clear messages and abstract sound.

 

 

[1]Gruber-Fridlander, Michal,Cnaan, Vered, “the voice and the gaze” Resling 2002 p. 115