Seda näituseinfot pole tõlgitud Eesti keelde. Näitame selle asemel Inglise keelset näituseinfot.
Like a stream, noise flows from known and unknown sources, echoing through volumes and cold planes, and permeating various spatial modalities—land, sea, air, human and non-human bodies, media, data, news, infrastructures and information platforms. The daily overload of sound erodes the space and disturbs the stability of the consciousness that inhabits it. The consciousness, in turn, ceases to be within itself and, seeking to discover ways of distinguishing recognisable forms, keeps getting lost in movement, unable to find the centre of space, a point of reference, wandering restlessly in its inability to recognise.
Unable to endure the void, the mind instinctively begins to connect cognitive biases, to apophatically discern systematicity or meaning that is not necessarily there, to pareidolicly search for hidden forms. It finds itself in a situation where it is caught by a desire to discover repetitions and patterns, to extract tangibility from scarce or insufficient data, and to create new models of sound from noise.
Applied to the chaos-driven order of thought, the audio, visual and structural elements of space create a new self-representation that establishes a multifaceted aesthetic system, a grammar, a social code—or its negation. The flooding affect creates memories that manage to preserve time and place just for a little moment, briefly merging the flow into an experience that will soon transcend all opposites, clear meanings and word-intertwining structures. However, the contingency of meaning and existence, the uncertainty of all things again loses touch with linear time, with the nostalgia of the past and the anticipation of the future, breaking away and falling into the intangible, into the present, bouncing off the cold metal. Noise repenetrates into the space that persistently disobeys any centre, disrupting it with its involvement, embracing objects marked with traces of something that has not yet happened, the realness of which can only be known from the vibratory sensation transmitted by hand. Ignas Krunglevičius (b. 1979) is a composer and visual artist with a BA and an MA in Composition Studies from the Norwegian Academy of Music. While most of his work consists of installations, video art and sculptures, the artist also works as a composer, creates musical performances and actively participates in electronic/contemporary music festivals, as well as film festivals.
