Join us for the second and final instalment of sound-focused events celebrating 1001 Remarkable Objects, a new exhibition presenting an unexpected juxtaposition of objects in 25 rooms that lead us on a journey across time and memory.
The selection includes objects that have never been exhibited until now alongside much-loved Powerhouse Collection icons.
Presented by Liquid Architecture and curated by Del Lumanta, the evening will feature practitioners working with sound who have been invited to respond sonically to objects in the exhibition — delving into how we contemplate meaning through objects and exploring how sound can be used to evade the limitations of legacy, commemoration and nostalgia an object holds.
The night’s performances include Bree van Reyk, Clocks and Clouds and Harrison Rae.
Program
LIVE MUSIC PERFORMANCE
6–9pm
Bree van Reyk
Clocks & Clouds
Harrison Rae
DJ
5–9pm Makeda
INTERACTIVE VISUALS
5–9pm
Akil Ahamat – Endless Butterfly Kisses (2021)
Akil Ahamat – Sonata in b minor for Unity (2021)
BAR
5–9pm Bar by Grifter
Details
Accessibility
We encourage visitors with accessibility requirements to contact us via book@powerhouse.com.au or (02) 9217 0222 for help in planning your visit. We accept Companion Cards.
Curators
Liquid Architecture is a Naarm (Melbourne)-based organisation founded in 2000 supporting experimental, interdisciplinary and critical work addressing sound and listening in context.
Del Lumanta is a Sydney-based artist, musician, and organiser. They directed Double Vision (2015–19), a free-form sound series that presented the work of DIY practitioners, experimental artists and musicians. Double Vision was presented at the Museum of Contemporary Art, Verge Gallery, and the Red Rattler Theatre.
Artists
Bree van Reyk plays drums and percussion, writes and produces music, creates performances and makes unkempt musical instruments using old bits of wood and guitar strings.
Clock and Clouds are made up of musicians Kraig Grady and Terumi Narushima whose acoustic performances comprise specially ‘mesotonally’ tuned vibraphone and harmonium. These instruments, with their special pure harmonic tuning, explore the beauty of room resonances via ancient sacred scales and multi-dimensional geometry realised in sound.
Akil Ahamat’s work across video, sound, performance, installation and games considers the physical and social isolation of online experience and its effects in configuring contemporary subjectivity. Driven particularly by their research into the use of ASMR in online spaces as a self-administered therapeutic tool, Akil translates its restorative effects into intimate audio experiences in the public space of the gallery. Translated further back into online experiences in recent work, these aesthetics are used to sensorially reproduce core questions about listening and relating.
