April 4 – 29, 2012  Opening Reception: Wednesday, April 4, 2012 | 6 – 9pm 

White Box is pleased to present the collaborative project between John Aslanidis and Berlin-based sound artist, Brian May: Sonic Network no.9. Akin to their first collaboration in 2006, May has composed a generative sound piece to be played for the duration of the exhibition in conjunction with Aslanidis’ painting, Sonic Network no.9. 

Each of the four panels that comprise Sonic Network no.9 contains a grid relative to a set of mathematical intervals that Aslanidis uses to create a drawing of compositional intervals, similar to a musical score. May has written an algorithm—using a programming language for sound synthesis, called “SuperCollider”—that determines the characteristics and timing of the sound in relation to the intervals. Taking into consideration the structure and composition of the painting, May emulates the mechanisms of painting by responding to the moiré (wave-like) patterns, which are demonstrated via audio interference of the sine waves (known as beat frequencies) in the sound piece. The sine wave tones created are thus audio representations of the circular forms, geometric shapes, and reverberating patterns inherent within Aslanidis’ piece.

Consequently, the interaction between the sound piece, the painting, and the observer is always different, as the painting perpetually shifts upon being viewed and the sound piece mirrors this, creating sounds which correspond to colors emanating from the painting. Order and chaos is present in both the sound piece and the painting, the resulting effect being one of synergy between analogue and digital mediums.

For press inquiries please contact press@whiteboxny.org or 212-714-2347.

Thursday March 22, 2012 | 4:15pm – 5:30pm
Room 108 | Williams Center for the Arts
Lafayette College, Easton, PA

Emergence & Structure is an exhibition of artists whose work embodies the emerging complexity apparent in the vast variety of process and architecture currently omnipresent in the natural world. The respective artists utilize aspects of science to inform their work by adapting scientifically inspired methodologies, employing conceptual underpinnings related to scientific discovery, or observing the study of natural systems and structures that exist in all scales throughout the universe.
In the spirit of an open, interdisciplinary exchange, this exhibition will promote the interrelatedness of nature’s processes through visual modeling. By integrating emergent principles via such artistic construction, the exhibition’s primary goal is to inspire innovative thinking and stimulate one’s imagination about the natural world and our relationship to it.
The long-term implications of this endeavor will encourage a full, integral dialogue, dissolving unnecessary boundaries between art and science and redefining the collaborative combination as the enhancement of human capability. Art can do this because it has the capacity to take us into the experience of others. Our very future depends upon how we answer the challenge of reevaluating both art and science’s role in a future society. By viewing the universe through the eyes of scientifically inspired artists, our perceptions will be challenged, and a world normally hidden, just out of sight, can be revealed.

New York–based artists Ron Janowich and Daniel Hill will curate the exhibition.

March 20 – April 21, 2012
Richard A. and Rissa W. Grossman Gallery
Lafayette College
Williams Visual Arts Building
243 North Third Street
Easton, Pennsylvania
Michiko Okaya
Director, Lafayette Art Galleries

http://galleries.lafayette.edu

May 24 – August 11, 2012
MDC Freedom Tower Gallery
Art Gallery System
Miami Dade College
600 Biscayne Boulevard
Miami, Florida
Jeremy Mikolajczak,
Executive Director, Art Gallery System
www.mdc.edu/ags

October 5 – November 16, 2012
University Gallery
School of Art + Art History
College of Fine Arts
University of Florida
Gainesville, Florida
Amy Vigilante
Director, University Galleries
www.arts.ufl.edu/galleries

dr. julius | ap shows in the gallery of the new concrete with the cooperation of the Australian painter John Aslanidis and the Berlin-based musician Brian May from the UK for the first time an image + sound installation. Together, Aslanidis and May, the large painting Sonic Network No.9, which consists of four panels and 244 measure cm in the height by 304 in breadth, and a generative music piece that is designed as a response to the painting, with each other in relationship.

In his painting series used John Aslanidis Sonic Network is a row developed mathematical intervals that define through a grid on the canvas transferred foci of overlapping circular geometries. These intervals are developed compositional drawings in this sense to “score” of the paintings of this series for many years worked.

Starting from these fixed points in compositional Aslandis’ No painting Sonic Network. 9 Brian May has developed an algorithm that determines the characteristics and timing of the notes in relation to these points. The resulting sound piece is designed so that only pure sinusoidal tones of different wavelengths are generated. These are thus representations of the audio-circular shapes of the painting.

Brian May uses for its Sound composition for the real-time sound synthesis and algorithmic composition SuperCollider programming language developed by which the piece is both produced as well as playing. The exhibition will be created as correlating with the painting of a sound installation in space-mounted sound system of a computer in real time.

The sound piece is generative and endlessly, with no fixed start or end point. This correlates with the idea of infinite continuation of geometric structures is a fundamental element of Sonic’s network series. Consequently, the overall perception of the exhibition by the interaction of sound pieces, paintings and the viewer will change constantly: are the by changing the angle of view constantly occurring optical displacements of the geometric shapes of the painting in sound piece of programming SuperCollider using each as a changing sound frequencies. reflected

the intention of the sound-track, therefore, is to produce an audible equivalent of the optically vibrant geometric patterns and forms of painting. The basic characteristics of the painting such as color, structure, composition and the products resulting from the multilayered circuit geometry moiré patterns are reflected by the many superpositions of sine waves of sound the sound-track. Other aspects of image + sound installation is about the question of order and chaos, which is made by both the generative sound installation as well as in painting, and the relationship between analog and digital media and its potential synergies that result from their combination. Brian May [* 1966 in Manchester, GB] composes, produces and plays his music since 1990 in Australia, Japan, Europe and North America. Currently he lives and works as a music producer and sound artist based in Berlin and performs regularly around the world to international venues and festivals and in clubs. The first collaboration between John Aslanidis and Brian May found in an exhibition at the gallery Austral Avenue in Melbourne in 2006. It developed a music piece Brian May in response to Sonic Network No. 2nd John Aslanidis [* 1961 in Sydney, AUS] lives and works in Melbourne.He has a painter an intense relationship with music and sound: He was in the 1990s, a member of Clan Analogue, a collective of sound and visual artists in Sydney and Melbourne, and later an artist of electronic music labels Zonar Recordings. In the exhibition “Sight and Sound – the history of music and abstraction in the Australian art”, created by Steven Tonkin curated at the Arts Centre in Melbourne in June 2010, worked together John Aslanidis with the cellist and composer Ben Skepp from Tokyo, who is also a piece of music No painting on the Sonic Network. 2 composed. 2011 followed by “Sounds Good”, one of Claudia Calirman at Location One in New York, curated group exhibition in which John Aslanidis, Katy Dove, Phoebe Hui, Sophie Hunter, Miler Lagos, John O’Connell, Gonzalo Puch and Zane Saunders is a collective visual response to a common piece of music developed. In addition, Aslanidis was in 2011, jointly involved with Gibert Hsiao, Daniel Hill and Laura Watt, at the exhibition “Sound and Vision” at McKenzie Fine Art, New York. Aslanidis with dr. julius | ap since the exhibition “multiple multiple _” joined in December 2010.

Aslanidis + May | No Sonic Network. 9

Opening Thursday, 6th October 2011, 19 clock

Running time 7 October to 6 November 2011

Open Thurs – Sat 15-19 clock and every day by appointment dr. julius | ap Leberstrasse sixty ten thousand eight hundred twenty-nine Berlin 49 030 243 743 www.dr-julius.de info@dr-julius.de train Südkreuz + Julius-Leber-Brücke, Bus 106 + 204 to Leuthener Street

Opening Friday, October 6, 2011, 7 pm

No Sonic Network. 9

John Aslanidis [OFF], Painting / Painting + Brian May [GB], sound installation / sound installation

dr. julius | ap is pleased to announce a cooperation of Australian painter John Aslanidis and Berlin-based British musician Brian May This will be the first vision + sound installation ever in the gallery of the New Concrete. The exhibition will comprise of a large painting, Sonic Network No.9, constructed of four panels measuring 244 cm in height by 304 cm in length, and a generative sound piece, Which Will be a response to the painting.

In the sonic paintings Network John Aslanidis uses a set of mathematical intervals, Which are relative to a grid on each of the four canvases. The drawing he derive from these intervals is akin to a “musical score”. This is a drawing of compositional intervals, Which Aslanidis has used in composing the sonic network series.

It is from these compositional points that Brian May has written to Algorithm Which deterministic mines the characteristics and timing of the tones in relation to the points as conceived in the sound piece. The sine wave tones created are audio representations of circular forms.

Brian May’s sound piece will be using the programming language for sound synthesis supercollider to compose, produce and play the piece, Which Will be played in conjunction with the painting from a computer through a sound system for the duration of the exhibition.

The sound piece is generative and infinite, with no fixed start or end point in the composition. This correlates with the idea of infinity, a basic element of the sonic network series.

Consequently, the interaction between the sound piece, the painting and the observer will always be different, as the painting perpetually shifts upon being viewed and the sound piece emanating from SuperCollider mirrors this.

The intention of the sound piece is to create an equivalent of the reverberating patterns and geometric shapes, resembling the patterns in the painting. In addition to this the composer will be taking into consideration the structure and composition of the painting and respond to the moiré patterns – Which Will Be Represented via audio interference of the sine waves, known as beat frequencies in the sound piece.

Using super collider, Brian May wants to be able to create sounds Which correspond to colors emanating from the painting.

Order and chaos is present in both the sound piece and the painting, the resulting effect being one of synergy between analogue and digital mediums. Brian May [born in 1966 in Manchester , GB] has been producing and performing music across Australia, Japan, Europe and North America since 1990th Currently he is working as music producer and sound artist in Berlin, performing on a regular basis internationally. The first collaboration between Brian May and John Aslanidis was in an exhibition at Melbourne Austral Avenue in 2006. In this exhibition Brian May composed a sound piece in response to Sonic Network No. 2nd John Aslanidis [* 1961 in Sydney, AUS] has a history working in the area of music and sound, having been part of Clan Analogue – a collective of sound and visual artists based in Sydney and Melbourne in the 1990s – and later being a visual artist on recordings Zonar to electronic music label based in the late 1990s and early 2000s In 2011, for the exhibition “Sounds Good”, curated by Claudia Calirman at Location One in New York, John Aslanidis, Katy Dove, Phoebe Hui Sophie Hunter, Miler Lagos, John O’Connell, Gonzalo Puch, and Zane Saunders all collaborated to create a visual responses to sound a collaborative piece. In addition to this Aslanidis participated in the exhibition “Sound and Vision” at McKenzie Fine Art in New York, with Gilbert Hsiao, Daniel Hill and Laura Watts. Aslanidis has been participating in “multiple-multiple _” in December 2010, a group exhibition featuring all dr. julius | ap artists.

Aslanidis + May | No Sonic Network. 9

Opening Friday, October 6, 2011, 7 pm

To be seen from October 7 to November 6, 2011

Open Thurs – Sat 3-7 pm and by appointment dr. julius | ap Leberstrasse sixty ten thousand eight hundred twenty-nine Berlin 49 030 243 743 www.dr-julius.de info@dr-julius.de train Südkreuz + Julius-Leber-Brücke, bus 106 to + 204 Leuthener Street

Featuring visual responses to a collaborative sound piece by artists John Aslanidis, Katy Dove, Phoebe Hui, Sophie Hunter, Miler Lagos, John O’Connell, Gonzalo Puch, and Zane Saunders.

Curated by Claudia Calirman

OPENING RECEPTION:
Tuesday, June 14, 2011 6-8 PM
DATES: June 15 – July 29, 2011
HOURS: Tuesday – Saturday 12-6 PM

Location One is proud to present Sounds Good, featuring visual responses to a collaborative sound piece by artists John Aslanidis, Katy Dove, Phoebe Hui, Sophie Hunter, Miler Lagos, John O’Connell, Gonzalo Puch, and Zane Saunders. The pieces relate to movement, rhythm, vibration, energy, and the expanding visual field. The show opens on June 14 and will be on view until July 29.

Australian artist John Aslanidis’s monumental painting Sonic Network no.10 comprises four canvases that translate the vibrations of sound into a visual display. At first, the composition of colorful squares seems optically chaotic. This apparent chaos, however, is the result of a meticulously orchestrated, laborious process that recalls the madness of order. From far away his canvases look as if they are randomly composed, but as the viewer approaches it becomes clear that they are actually highly organized abstract geometric grids, with chance elements interspersed to interrupt the rigidity of his web.

Katy Dove’s work for this exhibition responds to the rhythm and movement that has been involved in developing the collaborative sound track through group improvised music sessions. Repetitive mark making, the action of ink slowly drying, and the geometry that comes from movement of the hand echo the human and textural qualities of the sound. The resulting works on fabric and in moving image suggest a psychological state inherent in these processes. Based in Glasgow, Scotland, Dove is known for animations that juxtapose bodily motions with abstract shapes, mixing the organic and the geometric.

Hong Kong–based artist Phoebe Hui took inspiration from a harmonograph—a musical instrument made of two pendulums suspended through holes in a table—for her interactive audiovisual installation Granular Graph II: The Tank and the Pendulum. In this work, Hui invites the viewer to become a living pendulum, swinging on the instrument’s ropes and giving rise to a mix of vibrational patterns and sounds. Hui’s experimentations with music and kinetics also led her to create Vexation – for K, an electronic musical instrument that plays the composition “Vexation” by French composer Erik Satie. The audience can play the instrument by rotating a compass, thus creating a variety of tones through the contact of different shades of pencil marks on the soundboard.

British theatre director Sophie Hunter’s installation Lucretia is based on a fragment of Benjamin Britten’s opera The Rape of Lucretia—specifically, the image of a group of women spinning at a loom as their husbands are off waging war. Hunter extracts various elements of the opera, such as the orchestra, the narrative, and the opera house itself, and deconstructs and examines them devoid of their original context. She then reassembles these elements to record an altogether new score—a densely collaged soundtrack made of both music and noise—drawing a parallel between the act of weaving and the recording or encoding of information and memory.

Colombian artist Miler Lagos reflects on the relationship between the natural and the artificial worlds. His five-minute video Attraction shows a heart-shaped red balloon plunging into the water. The impact of the fall is dramatically amplified, creating the effect of an exaggerated explosion. To create his sculpture Cimiento, Lagos began with a stack of seven thousand sheets of paper, each printed with an image of a woodcut by the Japanese artist Ottawa Hiroshige, and painstakingly carved it into the shape of a log. In Tree Rings Dating, four hundred identical pages from The New York Times come together in a mesmerizing three-dimensional collage—a spherical form with a transversal cut simulating the rings of a tree. The sculpture alludes both to the recording of the passage of time and to daily events, since it is made out of newspapers.

John O’Connell, a multimedia artist from Dublin, Ireland, is represented in the exhibition by a series of drawings evoking an intimate and dreamy environment. Built from a myriad of interrelated elements borrowed from his make-believe universe, the drawings straddle the line between real and fictional, process-based and result-oriented. To create these fantastical compositions, O’Connell begins with hand-constructed miniature set models that reproduce the imaginary landscapes of the artist’s poetic, whimsical, and lyrical universe.

Spanish artist Gonzalo Puch’s wall curtain juxtaposes disparate elements in unexpected and often funny tableaux, suggesting intricate narratives out of random elements. Plants, flowers, and pieces of food inhabit his curtain with photographs, sketches, and drawings, creating an open environment populated by the artist’s imagination. It is a world where chaos is not a threat, but a generative force inviting viewers to think outside of their comfort zone. Though Puch is interested in a variety of issues, including science, music, biology, and environmental studies, his art draws primarily on nature for both themes and materials.

Zane Saunders’s series of ceramic-fired clay wall sculptures are inspired by organic forms. His designs utilize a variety of waving shapes that recur in natural landscapes. Saunders was born in Cairns, North Queensland, Australia, where he still works today. He explores issues related to spirituality and the environment, often juxtaposing elements from nature and contemporary life. Through his use of raw and organic materials, he conveys a sense of the beauty and wonder lurking in the world all around us.

ABOUT LOCATION ONE

Based in the Soho arts district of New York, Location One is an independent, non-profit organization dedicated to fostering new forms of creative expression and cultural exchange through exhibitions, residencies, performances, public lectures and workshops. Traditionally focused on technological experimentation and new media, Location One’s residencies and programs have favored social and political discourse and dialogue, and acted as a catalyst for collaborations. With a unique environment providing individualized training, support, and guidance to each artist, as well as exposure for their creations and collaborations, Location One continues to nurture the spirit of experimentation that it considers the cornerstone of its mission.