selected words
Three-part publication accompanying Solo Exhibition at the Venice Biennial
Rapture is a three-part publication exploring the broader contextual framework of the Camille Norment's investigations in her solo project for the Venice Biennale 2015. It reflects upon the relationship between sound and the visual arts, across time, as well as it complicates the hegemony of vision in contemporary theory and art practice.
In the first volume that was launched in tandem with the opening of the Biennale in May 2015, authors David Toop, María del Pilar Blanco and Rob Stone contribute essays reflecting on how sounds shapes our environment, our bodies and our minds. This first publication also includes a discussion between curators Katya García-Antón and Antonio Cataldo with artist Camille Norment, unfolding her artistic perspective on how sound has the power to act as a mediator of cultural experience.
In the second volume, Anne Hilde Neset, Greg Tate and Sami Khatib contribute essays reflecting on how sounds shape our environment, our bodies and our minds, haunting the memory like an earworm.Music expert and journalist Anne Hilde Neset analyzes disembodied voices and the meaning of sounds whose origins are unseen. Through the emblematic figure of Jimi Hendrix, writer, musician, producer and Columbia University’s visiting professor Greg Tate addresses the way in which music is ultimately measured by a performer’s ability to elicit the body in pain, the militarised body and the injured body. Philosopher and postdoctoral researcher at the American University of Beirut Sami Khatib writes about the ‘fugue’, a term belonging both to the realm of music and psychiatry, and its potential to denote a state of dissociation, a crisis of identity related to altered environments, affecting the memories, personality and other identifying characteristics upon which individuality hinges. The publication also includes a discussion between curators Katya García-Antón and Antonio Cataldo with Norment, reflecting upon the notion of sound as a powerful mediator of cultural experience.
In the third volume, Nabil Ahmed and Nida Ghouse contribute essays reflecting on how sounds shape our environment,our bodies and our minds. Artist, researcher and Goldsmiths lecturer Nabil Ahmed speaks about chaos and its sonorous multiplicity, not as absolute disorder but rather as the unpredictable, whirling vibration of nonhuman forces that bind the universe. Researcher and curator Nida Ghouse analyses the ancient Indian concept of na-da, a metaphysical assumption that places the entire cosmos and all the forms of life within it as producers of audible and inaudible vibrations. A reprint of Sara Teasdale's poem There Will Come Soft Rains, penned in 1920 and a source of inspiration for Norment and her performance with composer and author David Toop, isalso featured. This last publication also includes an additional discussion between Norment and curators Katya García-Antón and Antonio Cataldo, exploring the reasoning behind an artistic practice that seeks to remistify sound's shaping of our collective consciousness.
Rapture is a three-part publication exploring the broader contextual framework of the Camille Norment's investigations in her solo project for the Venice Biennale 2015. It reflects upon the relationship between sound and the visual arts, across time, as well as it complicates the hegemony of vision in contemporary theory and art practice.
In the first volume that was launched in tandem with the opening of the Biennale in May 2015, authors David Toop, María del Pilar Blanco and Rob Stone contribute essays reflecting on how sounds shapes our environment, our bodies and our minds. This first publication also includes a discussion between curators Katya García-Antón and Antonio Cataldo with artist Camille Norment, unfolding her artistic perspective on how sound has the power to act as a mediator of cultural experience.
In the second volume, Anne Hilde Neset, Greg Tate and Sami Khatib contribute essays reflecting on how sounds shape our environment, our bodies and our minds, haunting the memory like an earworm.Music expert and journalist Anne Hilde Neset analyzes disembodied voices and the meaning of sounds whose origins are unseen. Through the emblematic figure of Jimi Hendrix, writer, musician, producer and Columbia University’s visiting professor Greg Tate addresses the way in which music is ultimately measured by a performer’s ability to elicit the body in pain, the militarised body and the injured body. Philosopher and postdoctoral researcher at the American University of Beirut Sami Khatib writes about the ‘fugue’, a term belonging both to the realm of music and psychiatry, and its potential to denote a state of dissociation, a crisis of identity related to altered environments, affecting the memories, personality and other identifying characteristics upon which individuality hinges. The publication also includes a discussion between curators Katya García-Antón and Antonio Cataldo with Norment, reflecting upon the notion of sound as a powerful mediator of cultural experience.
In the third volume, Nabil Ahmed and Nida Ghouse contribute essays reflecting on how sounds shape our environment,our bodies and our minds. Artist, researcher and Goldsmiths lecturer Nabil Ahmed speaks about chaos and its sonorous multiplicity, not as absolute disorder but rather as the unpredictable, whirling vibration of nonhuman forces that bind the universe. Researcher and curator Nida Ghouse analyses the ancient Indian concept of na-da, a metaphysical assumption that places the entire cosmos and all the forms of life within it as producers of audible and inaudible vibrations. A reprint of Sara Teasdale's poem There Will Come Soft Rains, penned in 1920 and a source of inspiration for Norment and her performance with composer and author David Toop, isalso featured. This last publication also includes an additional discussion between Norment and curators Katya García-Antón and Antonio Cataldo, exploring the reasoning behind an artistic practice that seeks to remistify sound's shaping of our collective consciousness.
