Salomé Voegelin and David Mollin
Salomé Voegelin is an artist and writer who is concerned with the practice and philosophy of sound. In 2007 she was commissioned to produce a site-specific sound piece for RADAR in Loughborough, UK, and produced a collaborative sound work for the Bregenz Kunstverein, Magazin 4, Austria. She is the curator of ‚Clickanywhere‘, an online sound exhibition. clickanywhere.crisap.org
Her published writing includes ‚Sonic Memory Material as "Pathetic Trigger" ‚ in Organised Sound, Cambridge University Press, April 2006, ‚The Anxiety of the Lonely Listener‘ in /Seconds, on-line journal, issue 05 (03/2007), available at ‚A Speech for Noise‘ in Earshot 5, 2007, and most recently ‚Völlig Losgelöst‘, a chapter in Autumn Leaves: Sound and the Environment, (ed. Carlyle, Double Entendre, 2007). Her book Listening to Noise and Silence: towards a Philosophy of Sound Art will be published by Continuum Press in May 2010.
David Mollin completed his PhD research in Fine Art at Goldsmiths, University of London in 2006. He works as a writer and regularly exhibits as a painter and video artist. Shows include ‘Century City’ as part of the ‘Big Blue‘ installation organized by Peter Lewis at the Tate Modern and ‘Gymnasion’ at the Bregenz Kunstverein, ‘Death of Romance’ at Ganton Street, Sir®Eal, at Redux Project Space, London and ‘I Can’t Fight This Feeling’, Crowe T. Brookes Gallery, St Louis. Mollin has worked collaboratively with Matthew Arnatt on the project, 100 Reviews published by Alberta Press in association with Greengrassi Gallery. Other publications include ‘Dreams and Conflicts. The Dictatorship of the Viewer, The 50th Venice Biennale’, authored with Matthew Arnatt and Peter Fillingham. He has also worked collaboratively on sound work with Salome Voegelin, exhibiting work as part of 4.55 in Bregenz, Austria. Mollin is on the editorial board and contributing writer for ‘/seconds’, an international research journal for contemporary art, and writes for various journals and publications. He edited ch-ch-ch-changes: Artsits talk about teaching, with John Reardon, published in 2010 by Ridinghouse. He currently teaches Art Writing at LCC, University of the Arts London, and is organizing and instigating the arts program, in collaboration with and for, the Swiss Church London.
The Barry Echo (extract)
This is an excerpt of The Barry Echo, a site-specific sound piece for the Pfänder Gondola in the Alpine-town of Bregenz, Austria, commissioned by the Bregenz Kunstverein, Magazine 4. The piece consists of 104 stories from the current editions of the Barry Gem and South Wales Echo, read in the café of Tesco in Barry by one of the artists to his blind mother. It was continually played through the tannoy system of the gondola as it made its passage up and down the mountain in the Summer of 2007.
The piece is loosely based on the book by the Austrian author Thomas Bernhard, entitled The Voice Imitator: 104 Short Stories. In this book the author writes 104 parable-type stories based on newspaper reports and hearsay. ‚The Barry Echo‘ both plays tribute to this work but at the same time side steps the weight of the original idea, allowing the stories to create their own parable-type status through their context of hearing – the gondola’s repetitive passage up and down the side of an Austrian mountain.