The piper retraced his steps to the entrance of the cave, closely followed by the fairy. She agreed that when he saw the light, he could go in peace. He staggered along in the dark, almost overcome by exhaustion, but bravely pouring out his breath, in hopes of reaching his haven. The notes became harsh and discordant, the drones began to groan and the chantes to screech. In spite of the struggle, the contest was too great. The music ceased, and then the fairy attacked and slew him. The harsh notes of the pipe warned the party over the cave that some calamity had befallen the explorers, and unsheathing their swords they rushed to the rescue. Just as they gained the entrance the piper finished his last bar. They found the mangled body of the piper beyond which were the bodies of his companions.
New work showing soon in the context of the exhibition with Temporary Pleasure “An Uaimh Bhinn” curated by Orpheu de Jong, on view from 25 Jan til 16 Feb at BRUTUS, Rotterdam.
GIANTS
By
Lugh O’Neill
Featuring vocal and instrumental performance by Dylan Kerr and Marie Requa Gailey
Drums by Michael Speers
Motorbiker - Kevin Ricq
Instrument maker - Joseph Summers
Director of Photography & Camera - Paul D’Eath
Camera - Marseille - Sekou Abineri
Production - Marseille : Victor Dermenghem
Costume Stylist - Aoife Adole Akue
Colour Correction - Talin Seigmann
Special thanks to :
Temporary Pleasure, Orpheu de Jong, Amira Gad, Michael McLoughlin, Olan Monk, John Leo Gillen, Stan Vrebos, Irini Vazanellis, The Tyrone Guthrie Centre, The Arts Council, National Trust for Scotland, S+T+ARTS EU, Manuel Cirauqui, Berta Gutierrez, Harlan Levey, Heleen Kosse, International Film Festival Rotterdam.
Exhibition view images of Giants, taken by @jeroenverrecht at the An Uaimh Bhinn exhibition, with @temporary.pleasure curated by @orpheuthewizard at @brutus.rotterdam
✨🪨🌊
Scenography @temporary.pleasure@vrebosstan
Lighting @hnry.evbs@emmamilasiute
GIANTS credits
Featuring vocal and instrumental performance by Dylan Kerr and Marie Requa Gailey
Drums by Michael Speers
Motorbiker - Kevin Ricq
Instrument maker - Joseph Summers
Director of Photography & Camera - Paul D’Eath
Camera - Marseille - Sekou Abineri
Production - Marseille : Victor Dermenghem
Costume Stylist - Aoife Adole Akue
Colour Correction - Talin Seigmann
Special thanks to :
Temporary Pleasure, Orpheu de Jong, Amira Gad, Michael McLoughlin, Olan Monk, John Leo Gillen, Stan Vrebos, Irini Vazanellis, Pepijn de Jong, The Tyrone Guthrie Centre, The Arts Council, National Trust for Scotland, S+T+ARTS EU, Manuel Cirauqui, Berta Gutierrez, Harlan Levey, Heleen Kosse, International Film Festival Rotterdam.
Made possible by @startseu
MAXXI @museomaxxi will host the premiere of the performance version of KARST on the 14th of Oct
featuring
LEISHA THOMAS @leishathomas__
DYLAN KERR @dylan__kerr
MARIE REQUA GAILEY @m_requa
The initiative of KARST was to assess and access the origins, and perhaps birth of arts and ritual in naturally acoustic, underground spaces, with the aim to contextualise contemporary architectural spaces reserved for those activities in comparison. Considering the significance that the acoustics of caves had on singing, but also the media art aspect of the likely practices of singing combined with flickering wall paintings in the movement of fire light, natural caves seem like a pertinent vantage point from which to reflect on the significance of acoustic space on artistic creation. The aim is to attempt to bring ourselves closer to an aesthetic and ritualistic sensibility which enchanted those who developed artistic practices in natural caves, and to heighten our awareness of how that sensibility has endured until now, and of whether contemporary architectural spaces succeed and/or fail to create similarly rich acoustic spaces for arts and rituals.
The approach to creating KARST was also inspired by more recent examples of various cultural uses of sound, spoken or musical, as a means to inhabit and contextualise environments. Taking cues from media theorists and anthropologists such as McLuhan and Viveiros de Castro, it becomes clear that sound as an integral part of human experience diminished as abstracted methods of understanding and communicating emerged. And that in parallel to that, our capacity to develop subjective relationships to environments and spaces was hindered.
Animation by Paul Bizkargüenaga @glock_x_time
Thank you
@cccb_barcelona , @startseu
Jennie Browne and the Doolin Cave for allowing us access for recording.
Barcelona Cicle de l’Aigua for facilitating access to the city's underground water infrastructure.
@artscouncilireland , whose support via the Bursary award of 2020 allowed me to develop a large number of the tools I use today for spatial and generative composition.
#repairingthepresent #reworld #rewild #retool #startseu
Delighted to be at @theshedny for the opening of @studiotomassaraceno ' show and the new site specific work Free The Air, for which i worked with Tomás to create a composition and spatial sound design.
The sound consist of a generative and spatial composition, defusing sounds, activity and movements of spiders throughout a spatial sound system and through shakers mounted on gigantic nets which act as a membrane, distributing vibrations and providing a haptic experience.
Working alongside @studiotomassaraceno@theshedny teams @3dtexgmbh@emenderby@charaaal@jesseevan@chrisrbrts over the past 2.5years and as the big bubble took shape has been a great experience.
