Sound and video collage
Любомир Тимків, перформанс “ВСЕ” / Lubomyr Tymkiv, performance “ВСЕ”
The following is not so much a collaged video as a video of collage/performance. It is interesting nonetheless.
http://www.youtube.com/watch?v=J2fOUMrbIFQ
Taken during the opening exhibition of “Brain Cell” artist Ryosuke Cohen (Osaka, Japan).
Lviv, Ukraine, September 10, 2011.
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SOUND COLLAGE:
I have just had this link sent to me via email, and thought I would share it:
www.youtube.com/watch?v=G8uNDCoS4l8&feature=email
“Around a decade ago I did a painting called “Boys Are Bubbles Also”. It was based on photos I took of my partner’s grandkids playing at a children’s museum’s large bubble making machine. The translucent colors were rainbow-hued, very strong and durable but also of course fragile as they popped and disappeared. This phenomenon became for me a symbol of life itself, and when making “Our Collage Life” I found myself applying that theme. Just about everyone who is given the chance at an education at some point might make a collage as an art project and also as a gift. It is something I think most of us, even if we don’t have any sense of being an artist, can relate to, and maybe enjoy in the end. Carrying on with that tradition over the years and in this film, I began to realize how our lives and our memories are collage-like too. Collages, moments, memories, photos, bubbles…Life is a bittersweet hodgepodge of sorrow, joy, adversity and hope. When gathering images for this film and feeling again the memories, experiences, circumstances surrounding them, it came home to me about how I wasn’t always necessarily happy , optimistic, free of anxiety, while these images were taking shape, that I wasn’t necessarily in a place where I thought “things may get better”, but I also know that while actually taking the photos or doing the collages that during those moments things were beyond being better, that in those moments things and I were actually pretty good. I am nearing 50 years old and still have moods of interior grumpiness (to say the least) and doubt about the point of “it” all, though when I look at everything which went into the making of this film, both the images and the experiences which they came from, I am happy that what comes across is mainly a sense of wonder. No, I am not a famous artist or celebrity or politician. I am not even rich (!), so you might ask yourself why on earth you should care what I think or have to say, and I might agree with you, but I’m still going to ask this of you anyway: just for more than the slim chance that things might get better, why not give yourself a little time to try and remember what is good in life despite the rest, and stick around too.”
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Dear all,
This was recently sent to me via a collage forum, and I thought I would share this with the community at large. It’s interesting to think of collage as an encompassing medium, and exciting to be able to share audio work alongside paper collage and found object/assemblage.
I hope the artist will not mind my posting this here for your perusal.
http://www.freakywaves.com/community/?q=fr%2Fnode%2F339
http://www.freakywaves.com/vb/Vincent/music.htm
“In brief, this is a collection of large scale works (up to 20 instruments on one composition, nothing that is rushed verse/chorus). I tried to focus on the following theme : compassion. My music went elsewhere, but sometimes reaches it under small tributes to what I love.
Hard percussive sounds (piano, classical guitar, double basses, cellos that hit the chords or focus on unusual textures) are entering the world of fragile strings and winds (sometimes even proudly melodic).
This collection of works first started and developed like a fusion of my toughest, more dissonant sounds and tendencies (the long labored Audiomachie piece in 2009 was worth the work and it showed me that even the most noisy textures can be gracious and heavenly if we care enough for them by giving them what they need to live in company instead of leaving them in their silly ugly side) with my more recent love and developed abilities to compose melodic chamber music with twisted counterpoints (independent lines everywhere with dissonances in hooks) and structures composed in faith of patterns exploring the possibilities of the recordings led by an unusual instrumentation that I am able to elaborate since 2004.
Poems are included with the music works (both in French and English depending on the poems), although they are mostly not heard in the music. These poems almost all take the form of a tribute. Some were written for a music piece that I do not expect to compose (in tribute to Béla Tarr, to Björk or to an unknown man) for various reasons. When I approach a common subject, I try to explore an unusual perspective. I don’t think any of these poems have the same style. Some are closer to my music composition with many permutations of words making new sounds and sometimes evocate hidden words. Other poems evocate old values that come to my imagination for unknown reasons.
Since about two years, I rarely sing for my pleasure. Composition is my passion, not playing an instrument. My voice used to be perfect for what I wanted to do, but I lost interest for cartoonish voices and I want to explore something else instead of falling into an habit of what is expected. Viveka Eriksson prefers painting to singing lately (what a talent everywhere) and other vocalists are unavailable or not in my mind for these compositions. I decided to leave this new music almost instrumental. Only the initial composition gave me satisfaction through my several attempts at singing it with another vocal approach and yet it is soon over (“Bye the world !”). You will hear another voice during the album, but it is found and used as a pure sound texture.
Enjoy ! Berger Rond [2011.01.08]
En bref, il s’agit d’une collection de compositions à grands déploiements (jusqu’à 20 instruments par composition, sans aucun couplet/refrain forcé et rendu obligatoire par convention stupide). J’ai essayé de me concentrer sur le thème
suivant : compassion. Ma musique s’est dirigée autrement, mais quelques fois atteint la compassion sous la forme de petits hommages à ce que j’aime.
Des sons percussifs et durs (au piano, à la guitare classique, à la contrebasse, aux violoncelles de cordes frappées ou de textures acoustiques) entrent dans le monde des cordes et vents fragiles (parfois même fièrement mélodiques).
Cette collection de compositions a d’abord commencé comme une fusion de mes sons les plus durs et les plus dissonants (je pense notamment à Audiomachie, un long et ardu travail de composition en 2009 qui a valu le travail, car cela m’a démontré comment les textures les plus bruyantes peuvent être gracieuses et belles si nous les aimons suffisamment en leur donnant ce qu’elles ont besoin pour vivre en compagnie au lieu de les laisser dans leur laideur un peu ridicule et facile) avec mes habiletés développées plus tardivement pour la composition de musique de chambre aux contrepoints tordus (lignes indépendantes et dissonances mélodiques) à travers des structures composées dans la foi de motifs explorant les possibilités des enregistrements menés par une instrumentation inhabituelle que je suis capable d’amener depuis 2004.
Les poèmes inclus avec la musique (français et anglais) ne sont pas souvent entendus. Ils prennent souvent la forme de l’hommage. Certains ont été écrits pour une composition que je ne pense pas amener (en hommage à Béla Tarr, à Björk ou à un homme inconnu) pour diverses raisons. Quand j’approche un sujet commun, j’essaie d’explorer une perspective inhabituelle. Je ne pense pas que ces poèmes sont écrits dans le même style. Certains sont plus près de ma musique avec des permutations de mots assez sonores et même près de mots cachés. D’autres poèmes évoquent de vieilles valeurs qui viennent à moi pour des raisons obscures qui m’intriguent.
Depuis environ deux ans, je chante rarement pour mon plaisir. La compassion est ma passion, pas le fait de jouer d’un instrument. Ma voix a déjà été parfaitement à mon goût pour ce que je voulais amener. Mais, j’ai perdu l’intérêt pour les voix de cartoon et je veux maintenant explorer autre chose au lieu de tomber dans l’habitude de ce qui est prévu. Dernièrement, Viveka Eriksson préfère la peinture au chant (quel talent partout) et d’autres chanteurs ou vocalistes ne sont pas disponibles ou absents de mon esprit pour ces compositions. J’ai décidé de laisser cette musique presque instrumentale. Seule la composition initiale m’a donné pleine satisfaction après plusieurs tentatives de la chanter à l’aide d’une nouvelle approche et même dans ce cas-là, tout est bientôt terminé (un “Bye the world !” enthousiasme pour la vie à venir). Vous allez entendre une autre voix durant l’album, mais elle a été trouvée pour une utilisation en texture sonore pure.
Plaisir ! Berger Rond [2011.01.08] ”
VIDEO COLLAGE
Robert Tucker, Video
http://www.youtube.com/watch?v=zWhkLdgLYAY
PAVEL SHANGIN:
Collagista! 