Cripta747 is delight to present the outcomes of the projects developed by the composer Lee Fraser (UK, 1981) and the artist Hilary Galbreaith (US, 1989) during their time in residence over the past two months.
Unlike the previous editions there have been some changes in the guidelines and in the application process. This year artists have been invited to submit a research proposal by a wide committee of 15 curators, art critic, museum and non profit art organisation’s directors among the most interesting institutions settled all over the world. The projects were shortlisted by an international jury composed by Barbara Casavecchia, Salvatore Lacagnina and Elena Volpato, appointed Hilary Galbreaith and Lee Fraser.
Trained as a composer in the field of electroacoustic music, since his early works, Lee Fraser has been developing an idea of liminality through sound materials which exist on the boundary of the recognisable and the non recognisable. In recent years his research has taken a new path, focussing exclusively on digital synthesis as a means of generating material and incorporating aspects of experimental psychology, psychoacoustics and acousmatic theory.As part of Cripta747’s Residency Programme Lee Fraser has produced an installation which draws on some of the ideas implemented in his recent pieces, continuing an ongoing concern with synthesised sound objects and complex auditory experiences. He has created an environment resembling a controlled laboratory experiment, where the absence of natural light reduces the presence of visual information and drives the attention to the limits of the human auditory system, illustrating flaws in the way it processes aural information and pointing towards an ontology of sound which exists outside of the human experience. In this work he utilises several psychoacoustic techniques with a view to creating a complex psychological ecology of sound, while at the same time approximating an idea of the sublime in the Kantian sense - that is, an experience whereby rationality performs an act of violence on sensibility. By gesturing towards magnitudes of sound which lie outside the scope of human cognition, Fraser suggests an idea of scale which might be difficult to parse. The installation will also feature subtle visual stimuli which tease ideas of a collective unconscious, using pseudo-esoteric symbolism to dramatise the illusory nature of meaning and human interiority.
Having grown up between Southern California and Virginia, Hilary Galbreaith’s childhood and adolescence was marked by the DIY and “health”culture of California, the San Diego punk scene, traditional crafts from the American South, and the trompe-l’oeil worlds of Disneyland and Hollywood.She draw inspiration from a wide variety of sources such as Youtube tutorials and DIY sites, the “hobby” section of arts and crafts stores, post-punk music, bizarre store window displays, comics, medieval frescos, traditional crafts and costumes, B-movies and horror films, and satirical science fiction. Galbreaith creates playfully dark, comedic fictions that address the 21st century body, the way it lives with the ambivalences and contradictions of everyday technologies such as screens, social networks, and digitalized bureaucracy. Systems of control and efficiency are often inextricably linked. What interests the artist is not an objective study of these phenomena, but the manner in which their presence in our lives plays out, often from a feminine or ambiguously gendered point of view. Everyday experiences are the genesis for stories that parody and magnify their original inspirations, at once a bodily interpretation of technological mediation, and the exploration of an interior world.For the open studio, Hilary Galbreaith presents the first showing of Parade, the third installment of her project “Bug Eyes”, a carnivalesque sci-fi saga in which strange and bizarre mutations have begun to spread throughout the world’s population. The installation at Cripta747 presents the video that she created during her residency, and for which she invited the Turin-based experimental jazz collective Pietra Tonale to collaborate to create the soundtrack. For the opening, on October 30th at 7pm, she also presents a live performance together with some of the musicians of Pietra Tonale who will play the instruments built during the workshop BYODIY (Instrument Building for the Party at the End of the World).
A special thanks to Pietra Tonale, for the precious help, the passion and the knowledge shared with Hilary Galbreaith and to the Professor Andrea Valle for his intercession with Studiumlab. Thanks to SMET in the persons of Professors Stefano Bassanese and Andrea Agostini for their memories about the school and Enore Zaffiri and for making Lee Fraser’s meeting with the students possible.
Using primarily found and recycled materials, Hilary Galbreaith invites participants to create instruments and sound objects. These instruments will be some of the primary tools used to compose the music for “Parade”, the third installment of “Bug Eyes”, a darkly comic story of fantastical mutations and their consequences in a hyper-connected, late capitalist society. The recorded sounds could then be looped and edited with software, tapes, loop pedals, etc.
The participants are provided of a collection of found materials that the artist have gathered in her studio at Cripta747 during two months of residence, as well as a piezos, a jigsaw, 2 drills, screws, nails, a sander, a hand metal saw and a carbon disc metal cutter, a sewing machine, and supplies for making papier-mâché – but they can bring anything that inspires them or that they think could be useful (scrap wood and metal, old or broken guitar/ violin/cello/ukulele chords, pieces of plastic, cereal boxes, old clothes, rubber bands, motors, tape players, chains, pottery, combs, any recording devices, etc etc etc.) It is especially interesting to combine the artist’s practice with people experiences and knowledge to create new and unexpected things. No previous artistic experience or knowledge is requested, just figuring out how to build objects, make weird sounds and bang on things with sticks.
The only imperative is that the end result be danceable. It can be weird, dark, industrial, stupid, cartoony, traditional, goth, … but there has to be a danceable beat in order for the performance to work. The spirit of this workshop is experimentation, fun and knowledge sharing.
Trained as a composer in the traditional sense at Dartington College of Arts in UK with Frank Denyer, Fraser went on to study electroacoustic music at MA level with Denis Smalley, at City University London. During this time, he attended a lecture by the American composer John Chowning on the subject of one of his most important works, “Stria” (1977), which was composed entirely through digital synthesis. Inspired by the creative freedom of this working methodology, Fraser began using Csound, a programming language for audio, developing complex sonorities from the bottom up in a bid to overcome the inherent referentiality of recorded sound. He then went on to study a Phd in electroacoustic composition at the University of Manchester.
Here, Fraser began exploring the idea of liminality, working with physical models of recognisable sounds and stretching characteristic features of those sounds to the limit of recognisability, as in “Ply” (2011), which is based on a phenomenological analysis of a struck harpsichord note. Another work from this period which was also presented by the artist is “The Visions of Ezekiel” (2012). Taking its title from the biblical account of the 6th century B.C. prophet Ezekiel, whose symbolic visions point towards a realm outside the physical space in which the narrative is set, the work weaves a thread between the strange and the familiar, locating points of alterity in the uncanny spaces in-between these poles. This kind of interplay illustrates an enduring tension in Fraser’s work between an acceptance of interiority and the speculative pursuit of an Outside. In the lecture Fraser went on to discuss his recent work, which further develops notions of exteriority, utilising certain psychoacoustic techniques to point out flaws in the human auditory system and hinting at a non-anthropic ontology of sound. The lecture ended with a presentation of a piece from 2017 called “Reliq Ens”, which was commissioned by BBC for Cut & Splice Festival in Manchester.
Cripta747 is pleased to present the 2019 edition of Cripta747 Residency Programme.
Unlike the previous editions, there have been some changes in the guidelines and in the application process. This year, artists have been invited to submit a research proposal by a wide committee of 15 curators, museum and non profit art organisation’s directors, artists and professors of Fine Arts Academy among the most interesting institutions settled all over the world. This in order to assure the spirit of openness, the representativeness of the contemporary researches and languages and, at the same time, to support independent thought and emerging artists’ career.
Participants were asked to present a proposal that outlined the specific topic and research interests they intend to carry out while in residence, showing how this experience may benefit them, their practice and their project at a very early stage of development.
The projects were shortlisted by Cripta747’s curatorial team that, together with an international jury composed by Barbara Casavecchia (writer, independent curator and educator), Salvatore Lacagnina (art critic and curator) and Elena Volpato (art historian and curator at GAM – Galleria d’Arte Moderna of Turin), appointed Hilary Galbreaith (US, 1989) and Lee Fraser (UK, 1981).
The jury has appreciated the specificity of their project proposals, the artists’ mature methodological approach, the transdisciplinarity of the researches and their potential to involve different institutions and people in town and to deepen some perspectives and events that have contributed to define the social, artistic and cultural history of the city in the last decades.
Cripta747 Residency Programme is a project by Cripta747 realised with the support of Compagnia di San Paolo, Regione Piemonte and Città di Torino.
Lee Fraser is a British composer, born in London in 1981, working in the field of electroacoustic music. His work is characterised by its concern with synthetic sound and complex auditory experiences. Drawing from his interest in digital synthesis, psychoacoustics and acousmatic theory, Fraser’s sound materials blur the distinction between the organic and the abstract, illustrating a tension in his work between an acknowledgment of nature and a desire to transcend its limitations.In addition to his fixed media work, Fraser regularly performs in a live capacity, both solo and in collaboration with other artists.Recent concert and festival appearances include: Sentralen, Oslo (2018); Cafe OTO, London (2018); Cut & Splice, Manchester (2017); Darmstadt International Summer Course for New Music, Darmstadt (2016); LUFF, Lausanne (2016).His work has received numerous awards and acknowledgments, including the Luigi Russolo Grand Prize 2013, and he has been been commissioned by the BBC, Distractfold and Ensemble Adapter. Many of his compositions have been published by Entr’acte (2014) and Ge-stell (2018).
Hilary Galbreaith was born in 1989 in Florida and graduated from the Experimental School of Art Annecy Alpes. From 2017-2018 she was a laureate of 40mcube's program GENERATOR.She creates playfully dark, comedic fictions that address the 21st century body, the way it lives with the contradictions and ambivalences of technologies such as screens, social networks, and digitalized bureaucracy, often from a feminine or ambiguously gendered point of view. Everyday experiences are the genesis for stories that parody their original inspirations, at once a bodily interpretation of technological mediation, and the exploration of an interior world.Grotesque, psychoanalysis, DIY movements, neo-spiritualism, kitsch and pop culture are recurrent themes. Drawing and short fiction (sci-fi and horror) are the basis for a practice that spans video, performance, installations and multiples, often using a “cheap” collage technique of found materials and fabric or paper mâché.Recent exhibitions, screenings and performances include Les Nourritures Criées, La Criée, Rennes (2019); Bug Eyes, In Extenso, Clermont-Ferrand (2019); Rennes Art Weekend, Rennes (2019); Hubhug Sculpture Project, Rennes (2018); La Nuit de la Tigresse, Zoo Gallery, Nantes (2018); Cellar Door, Arondit, Paris (2018); Postpop, Galerie Art et Essai, Rennes (2018); and HOPE, newscenario.net
Barbara Casavecchia is a writer, independent curator and educator based in Milan where she teaches at Brera art academy. She graduated in art history from the University of Pavia and got scholarships for Reading University, UK, and J.D. Calandra Institute CUNY – Graduate Center, NY. She attended Scuola di Specializzazione in Storia dell’Arte, Milan University, but didn’t file her final dissertation because she started to work. In 2017/18, with other two professors at Brera, Lucrezia Cippitelli and Simone Frangi, she organized the research project Coloniality and Visual Cultures (comprising a year-long seminar, artist-run workshops, a screening program, a public program and a group exhibition titled “Aministia”). In 2018/19, with the same colleagues, she promoted the seminar “Politics of Sexuality and Visual Cultures”.Contributing editor for Frieze, her articles and essays have appeared in Art Agenda, Art Review, D/La Repubblica, Flash Art, Mousse, South/documenta 14, Spike, Arts of the Working Class, Interwoven, The Exhibitionist, Doppiozero, Kaleidoscope, Studio, among others, as well as in several artist books and catalogues. From 2005 to 2011 she contributed to the cultural pages of La Repubblica Milano.In 2018, she curated the exhibition Susan Hiller. Social Facts, at OGR, Turin. From 2008 through 2017, she co-curated with Andrea Zegna the public art project All’Aperto (Fondazione Zegna, Trivero), with community projects and permanent site-specific installations by Daniel Buren, Alberto Garutti, Stefano Arienti, Roman Signer, Marcello Maloberti, Dan Graham, Liliana Moro; Alek O., Laura Pugno, Valentina Vetturi. In 2014, she co-curated the retrospective Maria Lai. Ricucire il mondo at MAN, Nuoro (with Lorenzo Giusti).She is currently curating OGR YOU (in collaboration with Sergey Kantsedal), a project promoted by Fondazione Arte CRT at OGR, Turin. It comprises a series of free lecture/performances by international artists, who also run workshops behind closed doors for a group of 15 participants (age 18-20 years), selected by open call. The group organizes special OGR You evenings and an end-of-the-year festival. In 2018, the artists involved were: Roberto Fassone, Angelo Plessas, Ambra Pittoni & Paul-Flavien Enriquez-Sarano, Slavs & Tatars, Gernot Wieland, Eva e Franco Mattes, Invernomuto, Adelita Husni-Bey. In 2019: Francesco Fonassi, Adam Christensen, Massimo Grimaldi, Elisa Giardina Papa, Luca Garino, Sophie Jung, Diego Marcon.
Salvatore Lacagnina is an art critic and curator based in Rome.His curatorial practice grew to pursue extensive developments of the art institutions within their global context, simultaneously treating institutions as living bodies and complex narratives, situated and engaged in their specific social and cultural reality.He studied contemporary Italian literature at the University of Bologna and has worked as an editor in Milan.In 2018 he developed Eine Phantastik, an ongoing research on imagination, childhood, art and politics, first presented at Shedhalle Zurich. In 2017 he was the initiator of Studio14 together with Paolo Do as part of documenta 14. From 2008 to 2016 he headed the artistic program of the Swiss Institute in Rome with venues in Rome, Milan, and Venice (till 2012); an emphasis of his program was to challenge the notion of national borders implicit in such an institution. From 2001 to 2008 he was the Director of the Galleria Civica d’Arte Contemporanea Montevergini, Syracuse. In 2008 and in 2012 he curated several projects within the 5th and the 7th Berlin Biennale for Contemporary art. In 2013 he cofounded Studio Roma, a collective program and joint research project conceived to challenge the spaces, timeframes, formats, and hierarchies of contemporary research and disciplinary specialization.
Elena Volpato is an art historian and curator at the GAM – Galleria Civica d’Arte Moderna e Contemporanea in Turin. In 1999 she created the VideotecaGAM, the first public collection of artists’ videos and films in Italy.Since 2009 she has been the curator in charge of the contemporary collections of the museum of which she curated the new display Pittura Spazio Scultura: works by Italian artists in the sixties and eighties, in 2019.She has curated numerous exhibitions including Cronostasi. Filmic time, photographic time, in 2009 and All the memory of the world, 2010, dedicated to the complexity of historical knowledge in relation to images. She also curated some monographic exhibitions of artists such as Ian Kaer, Martha Rosler and Eva Marisaldi. She has collaborated in the creation of artist video reviews in numerous international institutions such as the Museo Nacional Centro de Arte Reina Sofia and the Tate Modern in London.She has published numerous essays dedicated to various themes of contemporary art. He collaborated with Saturno, the cultural supplement of the Fatto Quotidiano in 2011 and 2012.Since 2017, she is curator in charge of the exhibitions of FLAT, the Book Art Turin Fair, for which she has created two monographic exhibitions dedicated to Ettore Sottsass and Dieter Roth and the collective exhibition Lettura per voci e silenzio.