Sound surfaces - Urban ShortCut - Изкуство и свързаност

Exhibition „Sound surfaces“

Veliko Tarnovo city, Art Galleries “Rafael Mihailov” – gallery “Debut”
Opening 11.04.2024, 5 pm

The project is realized in the area of the discipline “Intermedia” with students in 2nd year, from the majors “Painting”, “Mural arts” and “Sculpture”at the Facility of Arts of VTU “St. St. Ciryl and Metodius”

Participants in the exhibition:

Anna – Maria Tonkova, Valeria Marinova, Desislava Stoyanova, Maria Sandeva, Ralitsa Hristova, Teodora Georgieva, Tsvetina, Yordanova, Yavora Zheleva, Yasen Dimitrov

Leaders of the project:

Prof. Dr. Atanas Totlyakov and Chief Assistant Ekaterina Ivanova

The theme and motivation that the project exploits – “Visual music’ are defined by the nature of the term Intermedia and the believed to be its author Dick Higgins in the 1960s 1. The concept is imposed by the need to describe strategies for interdisciplinarity between different artistic practices in the world of art, as well the inclusion of those who seemingly do not belong to it.

1. The term intermedia is mostly associated with the name of Dick Higgins, but for the sake of accuracy it should note that in his words (Higgins, Intermedia, 1965, Leonardo, vol. 34, no. 1, p. 49), for the first time the term was coined by Samuel Taylor Coleridge. (n.a.)

Typical of the practice of Fluxus artists, (including Higgins), is the unconventional mixing of media, genres, incorporating technology and other areas of human knowledge into the visual arts, as a result of which new ones are formed. The result of such collaborations often gives the name of the emerging practices: the term “visual poetry” for example describes an intermediate medium between painting and poetry; the combination between drawing with brush and “haiku” make up a new genre like “haiga” etc. We shouldn’t overlook the fact that one of the most influential names in the world of music and visual art in the 20th century associated with Fluxus is that of John Cage – an innovator in the field of experimental music and mixing the sound art with performance, objects, images, etc. That is a logical prerequisite for concepts such as object music, action music. Today, with the expansion of technological innovation, with the term “visual music” is mostly operated in the mixing of digital capabilities and image manipulation which gives the common definition of this type of work as “audio – visual”. Presumably for the same reason the essence of intermedia (often unilaterally) is equated with concepts such as “new media”, “technoethics”, “digital media”, “post-conceptualism”, “multimedia” 2.

This somewhat closes the underlying ideas of Fluxus above all in the digital environment and actions, limiting the discovery approaches of the considered as founders of intermedia artists. In this context, “Sound Surfaces” presents ideas, the essence of which reproduces and remains very close to the original concept by Dick Higgins and Fluxus. The works are extremely different – conceptually and visually. Music, sound and their characteristics are transform into a new form by means of an unconventional form of drawing and painting, varying between the performative act, the modernist practices and the conceptual; the compositional structure and logic in the song are visualized by object, installation, built and based on mathematical formulas. Thus through the mixing of music, sound, mathematics and non – typical drawing tools, a new visual form is built, the basis on which the Fluxus-Charge appears. But at the same time, each of the the works is stated here, in modern times, by the substitute of postmodernism, metamodernist approach. This new order in art can be briefly described as oscillating between the constructivism of modernity and the deconstruction of postmodernity – and precisely in this one fluctuating environment comes the turn of the reconstruction of metamodernism 3.

These oscillations – between the cold-digital and the naïve enjoyment of crafting; between the sensibility and the logic of the mind, situate the works from the exhibition in a new environment and set a new direction – that of reconstruction for things, for understanding and doing art. Which state of “novelty” is understandably inherent and naturally to the young artists in the exhibition as human beings, feeling and expressing their own and no other tense.

2. https://en.wikipedia.org/wiki/Intermedia

3. Withers, St., The New Dawn: Metamodernism II/ Kultura, 1.10.2019, https://kultura.bg/

Participants:

Anna-Maria Tonkova

“Eleonor Rigby in Numerical Values - A Visual Interpretation”
Material, technique: digital printing, etalbond
Dimensions: Series of 2 works, each measuring 100/100cm. The work is part of the “Sound Surfaces” project, implemented within the “Intermedia” discipline. Leaders: Prof. Dr. Atanas Totlyakov and Ch. Assistant Professor Ekaterina Ivanova, Ph.D

Tsvetina Yordanova

“Trasology of Musical Identity”
Material, technique: Two-layer board for laser engraving, vectorization of fingerprints using the Inscape program; digital photography, digital print on paper, wooden frame 30/40cm. Disc size: D 20 cm.
Year of creation: 2024
The work is part of the “Sound Surfaces” project, implemented within the “Intermedia” discipline. Leaders: Prof. Dr. Atanas Totlyakov and Ch. Assistant Professor Ekaterina Ivanova, Ph.D

Ralitsa Hristova

“Vibrations”
Material, technique: canvas, photography (acrylic, digital print)
Canvas size: 100/70 cm
Size of photographs: series of 2 pcs. with dimensions of 50/70 cm.
Year of creation: 2024
The work is part of the “Sound Surfaces” project, implemented within the “Intermedia” discipline. Leaders: Prof. Dr. Atanas Totlyakov and Ch. Assistant Professor Ekaterina Ivanova, Ph.D

Desislava Stoyanova

“In Depth”
Material, technique: canvas, acrylic
Size: 100/80cm.
Year of creation: 2024
The work is part of the “Sound Surfaces” project, implemented within the “Intermedia” discipline. Leaders: Prof. Dr. Atanas Totlyakov and Ch. Assistant Professor Ekaterina Ivanova, Ph.D

Yavora Zheleva

“The Sound of Black”
Material, technique: canvas, acrylic, 3D paste, structural paste
Size – 90/70cm.
Year of creation: 2024
The work is part of the “Sound Surfaces” project, implemented within the “Intermedia” discipline. Leaders: Prof. Dr. Atanas Totlyakov and Ch. Assistant Professor Ekaterina Ivanova, Ph.D

Teodora Georgieva

Diptych “Reflections of sound I-II” – 100/150 cm.; mixed technique
Year of creation: 2024
The work is part of the “Sound Surfaces” project, implemented within the “Intermedia” discipline. Leaders: Prof. Dr. Atanas Totlyakov and Ch. Assistant Professor Ekaterina Ivanova, Ph.D

Maria Sandeva

Diptych “Traces”
Material: digital print, etalbond
Size: 2 pcs. every 50/70cm.
Year of creation: 2024
The work is part of the “Sound Surfaces” project, implemented within the “Intermedia” discipline. Leaders: Prof. Dr. Atanas Totlyakov and Ch. Assistant Professor Ekaterina Ivanova, Ph.D

“Visual Music”
General installation parameters: 150/135 cm.
Material, technique: chipboard, wire, acrylic
Panel with 3D visualization: digital printing, dimensions: 100/70cm. Year of creation: 2024
The work is part of the “Sound Surfaces” project, implemented in the “Intermedia” discipline. Leaders: Prof. Dr. Atanas Totlyakov and Ch. Assistant Professor Ekaterina Ivanova, Ph.D

Yasen Dimitrov

Valeria Marinova

“Music in what you do not hear”
Series of 4 pcs. drawings each measuring 100/70cm.
Material, technique: cardboard, rust
Year of creation: 2024
The work is part of the “Sound Surfaces” project, implemented within the “Intermedia” discipline. Leaders: Prof. Dr. Atanas Totlyakov and Ch. Assistant Professor Ekaterina Ivanova, Ph.D

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