Polish translation of Ronald Reagan’s joke about american and communist dogs. The audio was played back in loop for 1 hour on Patelnia Square, Warsaw on the 4th of july 2016 in the occasion of the NATO summit in Poland.
Here’s story about three dogs.
An American dog, a Polish dog and a Russian dog.
They are all having a visit, and the American dog was telling them how things were in his country.
He said, “You know, you bark… after you bark long enough, then somebody comes along, gives you some meat.”
And the polish dog said, “What’s meat?”
And the Russian dog says, “What’s bark?”.
Ronald Reagan – President of the United States
info
THREE DOGS
EXAGGERATED FOOTSTEPS
In the video I activate the different acoustics of an empty building by means of a pair of metal plates attached to my shoes.
BEYOND THE YELLOW LINE
A microphone moves closer and closer to a passing train and eventually gets hit. In this work, the microphone is exposed to the consequences of breaking the (safety) distance which usually separates it from the sound source.
UP IN THE VALLEY 2014 – ONLINE DOCUMENTATION
MORE INFO ABOUT “UP IN THE VALLEY” HERE.
IN THE BLINK OF AN EAR
In the video I activate the acoustics of an empty factory by hitting the wall with a stick. To visually emphasize the sound of the hit, I adopt the association: silence=black / sound=light.
THROUGH THE WINDOW
A loudspeaker is positioned on the second floor inside a building.
A performer stands outside the building with a microphone in his hand.
When the performer is ready, they throw the microphone inside the building, trying to get it through the window and land it as close to the loudspeaker as possible.
When the microphone lands inside the building, it triggers a sound feedback.
The audience can split up and watch the action from either outside or inside the building.
MY TARGET IS YOUR EYES
photo by Luca Ghedini
A performer tries to hit a microphone with a slingshot. The impact of the hit is amplified and diffused at high volume from a loudspeaker. The amplification of the hit allows the thrower to experience the “sensitivity” of the microphone, or in other words: to understand and share the feelings of another body.
HOW FAR CAN I GET
A performer swings a microphone in the air and loosen the cable a few more inches with each turn. The action continues until the cable is long enough that the microphone crashes against the wall.
The performance is a metaphor about becoming aware of one own’s limitations.
Rough documentation video (PSSWRD: “nevertoofar”)
Les Feuilles Mortes
This is my personal version of the classic “Autumn Leaves”. Voice and piano together, searching for each other. A “broken” relationship that still works.
LISTENING POLITICS IN THE CITY OF LONDON
Here’s my contribution to the book “On Listening”. Written in the form of a theatre script, the text tells about the adventures of an attentive listener who is trying to capture the acoustic quality of a strictly surveilled area situated in the financial centre of London. More about the book on the CRiSAP website.
IN THE FIELD
Here’s the interview I made for the book “In the Field – The Art of Field Recording”. The main themes I discuss in the interview are: 1) the recordist as a performer 2) the act of recording as an intervention, and 3) the relational approach to the “field”. Order the book here.
Listening Workshop
A VOICE WANDERS IN DISPERSION AROUND THE CITY
In the video, I use my voice as a strategy that allows me to survive in a city where I feel like a stranger. Led by the acoustics of the places I encounter in my wandering, I end up silent in an empty building. My voice has the double function of making me discovering the acoustic response of the places I find, and sustaining my own presence already undermined by the clash with the metropolis.
(FAIL WE MAY) SAIL WE MUST
The work includes two recordings of two different music rehearsal sessions that I recorded in the halls of a music school. The musicians in the recordings practice their pieces and repeat them over and over again. Their perseverance encourages listeners to understand failure as a necessary step in the process of growth. There’s no mistake you can’t learn from…
Don’t you dare to go under
Don’t let ‘em steal your thunder
Listen to the sound
Well, let ‘em grind that down
Don’t let them bastards grind you down
Lemmy – Motörhead
Soundstorming Amsterdam DOCU
MEMORIES OF A PIGEON SHOOTER
An elderly man tells about his former career as amateur pigeon shooter. After telling about his prizes and victories, the meaning of his stories slowly comes to surface: the desire to remain somehow attached to his life memories and not be forgotten.
A BALLOON FOR LINZ
A Balloon for Linz brings to light the acoustic response of specific locations in Linz. Together with the video, a series of exploratory walks were organized in the city of Linz. Participants were invited to pop balloons and listen to the acoustic architecture of the urban space. The project received an honorary mention at the Prix Ars Electronica 2011.
IT’S NOT THE ARCHITECT’S FAULT…
A retired hairdresser, a business man , a plumber, an accountant for the city council, a bird hunter, two young design students, a former real estate agent, a local urban planner… these are the people I interviewed on the main themes presented at the Italian Pavillion at the Venice Architecture Biennale 2010.
The piece was presented at the closing event of the Italian Pavillion, Venice Architecture Biennale, 21 nov. 2010.