The practice of Jana Winderen (b. 1965, Norway) engages sonic ecosystems which are hard for humans to access, both physically and aurally, because they exist deep under water, in remote areas, or in frequency ranges inaudible to the human ear. Her activities include site-specific and spatial audio installations and concerts, which have been exhibited and performed internationally in public spaces and institutions including Kunstnernes Hus, Oslo, Norway (2019); Thailand Art Biennale, Krabi (2018); TBA21 Academy, Vienna, Austria (2017); and MoMA, New York, United States (2013). Listening Through the Dead Zones is an IHME Helsinki Commission 2020.
Sound installationm 22 min 54 sec, on loop
Monday to Thursday: 8 am to 9 pm (last entry 8 pm)
Fridays to Sundays: 8 am to 10 pm (last entry 9 pm)
Green Roof, Marina Barrage, 8 Marina Gardens Drive, Singapore 018951
‘Dead zones’ are water bodies that suffer from hypoxia, low oxygen concentrations in the water that make marine life unsustainable and are caused by algal overgrowths,
a phenomenon related to an excess of nutrients in the water. The algae’s bacterial decomposition is a high oxygen-consuming process that depletes the amount of oxygen available for other species to survive. Although dead zones can form spontaneously, scientists have observed the exponential increase in their number since the 1960s and remarked that there is a causal relation to polluting inputs produced by human activity. Listening Through the Dead Zones is a sonic contemplation over the disruptive impact of human activities on subaqueous environments. Sounds from Greenland’s Arctic Ocean, Iceland, Norway and from the tropical waters around Thailand, the Caribbean Sea, and Panama have been recorded by the artist with hydrophones and composed in a richly layered sound installation. Audiences are invited to eavesdrop onto underwater soundscapes populated by various animal species that depend on sound to communicate, hunt, and orientate while shipping, oil extraction, military sonars, leisure boat traffic and other anthropogenic factors inflict acoustic distress on marine life.
This project was originally initiated by IHME Helsinki, a contemporary art organisation in Finland that situates its activities in a dialogue between art and science.
Part of Free Jazz IV. Geomancers
Sound installationm 22 min 54 sec, on loop
Monday to Thursday: 8 am to 9 pm (last entry 8 pm)
Fridays to Sundays: 8 am to 10 pm (last entry 9 pm)
Green Roof, Marina Barrage, 8 Marina Gardens Drive, Singapore 018951
‘Dead zones’ are water bodies that suffer from hypoxia, low oxygen concentrations in the water that make marine life unsustainable and are caused by algal overgrowths,
a phenomenon related to an excess of nutrients in the water. The algae’s bacterial decomposition is a high oxygen-consuming process that depletes the amount of oxygen available for other species to survive. Although dead zones can form spontaneously, scientists have observed the exponential increase in their number since the 1960s and remarked that there is a causal relation to polluting inputs produced by human activity. Listening Through the Dead Zones is a sonic contemplation over the disruptive impact of human activities on subaqueous environments. Sounds from Greenland’s Arctic Ocean, Iceland, Norway and from the tropical waters around Thailand, the Caribbean Sea, and Panama have been recorded by the artist with hydrophones and composed in a richly layered sound installation. Audiences are invited to eavesdrop onto underwater soundscapes populated by various animal species that depend on sound to communicate, hunt, and orientate while shipping, oil extraction, military sonars, leisure boat traffic and other anthropogenic factors inflict acoustic distress on marine life.
This project was originally initiated by IHME Helsinki, a contemporary art organisation in Finland that situates its activities in a dialogue between art and science.
Part of Free Jazz IV. Geomancers
Fellowship period: 1 July – 31 December 2016
During her fellowship, Sissel Tolaas will be carrying out fieldwork and research on everyday smells in urban environments: smell and tolerance, smell and communication, smell and navigation, etc. Her research focus is on the smell identities of Singapore's diverse neighbourhoods. Tolaas will carry out fieldwork in selected neighbourhoods, particularly areas that have been developed by Singaporean architect William Lim. She will collect and investigate the smell phenomena of each neighbourhood, mapping these neighbourhoods according to their smells. The outcome of Tolaas' research will be presented in NTU CCA Singapore's forthcoming exhibition Incomplete Urbanism: Attempts of Critical Spatial Practice.
]]>Fellowship period: 1 July – 31 December 2016
During her fellowship, Sissel Tolaas will be carrying out fieldwork and research on everyday smells in urban environments: smell and tolerance, smell and communication, smell and navigation, etc. Her research focus is on the smell identities of Singapore's diverse neighbourhoods. Tolaas will carry out fieldwork in selected neighbourhoods, particularly areas that have been developed by Singaporean architect William Lim. She will collect and investigate the smell phenomena of each neighbourhood, mapping these neighbourhoods according to their smells. The outcome of Tolaas' research will be presented in NTU CCA Singapore's forthcoming exhibition Incomplete Urbanism: Attempts of Critical Spatial Practice.