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Art + Air

Exploring Electromagnetic Art: Art, AI and Air at the Takis Foundation

Shirley Renwick, The Antenna Choir, The Three Graces of Air, (Electromagnetic Atmospheres) 2024. Takis Foundation of the Art and Sciences, Athens, Greece. 4mx2mx2m.

This choir of sculpture antennas, with air as a co-creator, performed live at the Takis Foundation Reseach Centre for the Art and Sciences, Athens, Greece. September 4-10 and 16-20,  2024. 

 “ If only with an instrument like radar I could capture the music of the beyond.” 

TAKIS

These three copper sculpture aerials respond in song to electromagnetic signals in the air around us.

Electromagnetic energy is bombarding the planet, but bounces off an invisible shield surrounding Earth. This causes vibrations in the atmospheres. Seen near the poles as Aurora Borealis or the Northern Lights. This eletromagnetic energy is around at all times, in the active void we know as air.

Animals with wider hearing range than humans can sense the vibrations, and seem to react to it, can they understand it in a way humans cannot? What if we use technology to translate that active void. And compose something like sound?

Shirley Renwick. The Three Graces of Air, 2024. Takis Foundation Reseach Centre for the Art and Sciences, Athens, Greece

The Sounds of Air: AI and Art at the Takis Foundation

The electromagnetic vibrations were picked up by the copper antenna and interpreted by AI software into human voices and music and composed by use of the shapes of the copper sculptures. Each sculpture signals its own sound resonating through wooden sound boxes. This is then played back into the atmosphere, reverberating with the Takis sculptures and natural world in the mountains around Athens. In the silence, feedback and air vibrations were picked up again from by the antenna as they listened and broadcast the surrounding song playing in the air.

Shirley Renwick. The Three Graces of Air, 2024. Takis Foundation Research Centre for the Art and Sciences, Athens, Greece.

Shirley Renwick’s Copper Sculptures: A Sonic Journey

“Air is invisible and silent most of the time to us,  I use any material and technology I can to try to increase perception of air’s events and performances. I create sensitive sculptures which explore happenings in air. In this work I focus on the electromagnetic in air.  “

“Takis was the artistic leader in this area and it was important for me to research at this vitally significant magnetic mountain site, revered for thousands of years in Athens, and where he lived and worked.

His use of electromagnetism was a vital shift in art focus from the object to the immaterial. Just as other artists focused on it in painting the negative space, in sculpture with the expanded field.

This space between, is where I am exploring in art and in air. The relationships between things, the materiality of air, the energy flow, the hidden power is endlessly intriguing to me.”

“Takis described the noise his works created as the sounds of the universe.  I wanted to respond to this part of Takis’s art. Recently the European Space Agency recorded sounds of the electromagnetic force field around Earth. This immense force field protects the planet from solar flares. Each assault causes vibrations which resonate around us in the air. We can see this at night sometimes as the Northern Lights, but electromagnetism is around us all the time. We just don’t see it or hear its vibrations with our limited human senses. But we are at a turning point with technology where we can expand our perception using sensors and satellites.

“I feel a sense of gratitude in this idea of being protected from something terrifyingly tremendous continuously. I wanted to reach out to this powerful protecting force. While in Athens it is difficult to escape the gods, goddesses. myths and legends of the west. There were many gods of air. I can only imagine the horror historical people would have for the way we treat air today. These three graces of air frolic with the active void around us and give us its messages. Not that it makes much sense to us humans! They formed an antenna choir which includes all the other sounds in the space and the air, including feedback and birds and vibrations we do not understand.”

Shirley Renwick. The Three Graces of Air, 2024. shown at Takis Foundation Research Centre for the Art and Sciences, Athens, Greece.

“Sometimes  we feel this energy in the body as it causes energy to move around, which then causes changes in emotions. Takis I think recognised this, he used magnets directly on his body, certain they helped in his healing. 

Today copper is used in healthcare, some people wear copper bracelets convinced it moves internal energy. What is the connection  with body energy and magnetism? This bodily response to the otherworldly?

I created copper antenna in response to bodily energy flows. Anger moves energy to the upper body, head and fists, or does the energy flow to the upper body and fists cause anger? Love is felt as an upper middle body increase in heat and energy. Or does the energy movement cause love?” Curiosity is felt lower in the body in the erogenous zones, and the head, a mental kind of libidinal attraction. Thinking is sexy.

Shirley Renwick. The Three Graces of Air, 2024. Takis Foundation Research Centre for the Art and Sciences, Athens, Greece.

The Sounds of Air: AI and Art at the Takis Foundation Live Performances at Takis Foundation: A Unique Art Experience

Shirley Renwick. The Three Graces of Air, 2024. Takis Foundation Research Centre for the Art and Sciences, Athens, Greece.

Recording of live soundtrack The Sounds of the Air premiered in Paris, November 2024, to celebrate the event of Takis 100 years retrospective at the White Cube, Paris. Sign up for release date here.

Shirley Renwick. The Three Graces of Air, 2024. Takis Foundation Research Centre for the Art and Sciences, Athens, Greece.

Categories
Art + Air

Air: As Yet Unknown, An Uncertain Study on the edges of perception touching upon sculpture, philosophy, AI and Physics.

Sculptural Sound Installation, Earthwise Exhibition, Beaconsfield Contemporary Gallery, London, June 21-July 1, 2023

3mx2mx1m

Air, Magnetic Force Field (European Space Agency), piano wire, Steel, glass, microphones, projector, mirror, speakers, wires, silver, diamond.

Earthwise invites a place of meetings and relations, without limit or system. A focus on the ‘and’ and not the ‘therefore … ‘ is driven by the gathering forces of ecological, social and psychological crises that pose an inescapable reality for artists today.

The term ‘Earthwise’ is inspired by Donna Haraway and her incitement to ‘earthwide’ situated and relational forms of knowledge. Haraway’s word is mutated to orient away from the vertical towards the horizontal, away from the separated stance of the eye/mind towards the uncertain discoveries of planetary processes and corporeal practices.

Earthwise implies

A reorientation from the human
Listening not imposing
Enlivenment
Questioning vertical hierarchies
Working with technology not under it
Situatedness and solidarity networks
Owing not owning
Reciprocity
Creating commons
Intergenerational thinking
“Other planes of there”

The publications and exhibition have been composed through the interactions of five PhD seminar groups (Curatorial Thinking, Material Engagements, Entanglement, Planet, Out in the OPEN) at the Royal College of Art’s School of Arts and Humanities. In the spirit of Earthwise, the publication and exhibition have been generated through processes of exchange, action, making, discussing, studying, and responding, to produce creative work that is enactive and environmentally sensitive.

Through this work we have raised questions about the connections between aesthetic practices and climate breakdown. More specifically what role the arts, expression and the imagination may play in becoming sensitive to and even finding routes out of catastrophe.

We are interested in the necessity of confronting the darkness of our times, while holding onto the hopeful forces that affirm and renew creativity and therefore life.

Josephine Berry & Catherine Ferguson

Categories
Art + Air

Great Exhibitionists: a renewed commitment to life and decay, always

close up of a renewed commitment to life and decay, always – Piano wire, piano, foamboard, sensors. Close up of sound sculpture installation


Shirley Renwick creator and Liam Dougherty creator

A collaboration between composer and sculptor.

This installation explores the hidden resonances of the air, by using strings and technology.

a renewed commitment to life and decay, always is a participatory audio-visual installation.

Among the first harpsicord and mandolin treasures, visitors are confronted with a 100 year old upright piano that has been stripped down, baring its essential components in the soundboard and strings. It is attached to a sculptural instrument searching in the air, its piano wire antenna reaching beyond its confines. Any sound in the air will cause the piano wires to resonate, and this energy is captured by microphone and diffused throughout the space through multiple layers of technologies.

This installation explores the hidden resonances of the instrument and the air, by using strings and technology to translate the potential sound vibrations into a visual and sonic force not usually experienced at the forefront of human perception.

Part of the Great Exhibitionists series. 

Dates
31 March 2022, 12:00pm

Venue
RCM Museum, Kensington Gore, London

Tickets

https://www.rcm.ac.uk/events/details/?id=2433220

a renewed commitment to life and decay, always – Audio visual clip of live sound sculpture installation.

Site specific. Live, participatory, sound sensor, code, piano, piano wire, sculpture, projection, microphone, speakers.

Click here for sound file

This sensitive sound art was accompanied by a sound activated light projection following the movement of 360 points in space as vibrations and feedback in the air, picked up by the piano wire instrument, were amplified into the room. (see below)

…always 2022

Sound activated projection. 10m x 5m

Sound and Visual file ( 1.49 m clip of 5 hour exhibition) here

Artist Interview for the exhibition

“I have been working with 3 core ingredients in 2022: air, sound and technology. 

This work researched the expanded experience in a subatomic, nonhuman, posthuman, inhumane and human air space.

My research has been investigating air, its material an immaterial qualities, how it reacts and moves. And how we take it for granted, with the current repercussions of that obvious.

This year I have been specifically exploring sound in air: (in a covid-zoom-world – digitally removed from real physical experiences – there is still real movement of air molecules between a digital speaker and the human ears).

Research involved workshops and seminars across RCA, and also required investigations into physics of sound waves, human ear biology, sub atomic and atomic vibrations, including feedback, distortion, loops, As well as  sound and air as ecological systems, digital vs acoustic materiality of air, immateriality, new materialism, phenomenology, and speculative reality.

In history air has been a focus – Democritus and Aristotle, Lucretius – the elements “ether” – air has also been seen as Gods and legends and myths. Today we have all but given up understanding it frequently saying it cannot be put into language -“Sunyata”. I enjoy the ability to embrace the uncertainty, embrace the contradictions, embrace the unknown experienced in this research of art and air.

In art history too – I can trace direct interest in the withdrawn in air to Turner, Constable and the Impressionists, also Marcel Duchamp, Futurists, Art of Noise, and later, Smithson, Irwin, Judy Chicago and the California Light and Space Movement and Takis. Including today Turrell, Eliasson, Saraceno and even more so from the new materialism and ecofeminism front – Yoko Mohri, Marina Rosenfeld who also explore sound in space.

My research collaborating with air, sound and technology, impacted with art history, theory and quantum science has exposed, for me, a paradox: Sound is vibrations. There is no stillness. So there is no silence.

Sound is atoms clashing in air caused by and causing vibrations. Our human senses translate vibrations in air to understand our environment around us. This piano wire instrument expands our vibrational senses to be more like other species who sense more widely.

Sound is traditionally broken into the categories of: music or noise – the organised chords or the discordant. Music is about timing and being, noise is more timelessness and becomingness, as Christopher Cox suggests.

I am interested in noise, as a chance insight into becomingness. Beyond our limited humanness there is so much to explore and discover.

This research is put forward as evidence that what at first might appear quiet, static, inert, with initial investigation emerges as a state of chaos, and with further experimentation becomes apparent that we are existing with air more in a state of becoming within longer rhythms, loops, reverbs, clashes and echoes.

By expanding the reach of sound beyond human perception, I can state from this research that there is no evidence of nothing, of void. Clashes, ruptures, shapes, pressures, flows, change is happening in air continuously. Mostly we are oblivious to it.  

I am not the first to say this of course, for example Heidegger “Nothing nothings”, artists Carey Young “Missing Mass”, Marcel Duchamp (found sound), Takis “Musicales”, John Cage “4.33”, Einstein, and in contemporary philosophy Jane Bennett, Karen Barad, Timothy Morton, Graham Harman, Ray Brassier to mention a few,  but I was intrigued to find it in this work, when I was not sure if I could find anything at all with piano wire and air.

This instrument is providing a tool for human experience of some of the withdrawn erratic behaviour in the non human active expanded field.  I see this technology as prosthetics for the senses to discover found sound. Ultimately letting the piano wire and air air become, as John Cage suggested in his 1957 Experimental Music writings: “not seeking to control but seeking a way of waking up to the very life we are living” in co-existence.”

Shirley Renwick

April 21 2022.

…always, 2022 (Print)

Individual prints, each separated by 10 second spacetime.

1.8m x 1m or 90cm x 50cm

100% cotton, ink

Also shown at the Royal College of Art Masters in Sculpture final Show. Read More

More info

a renewed commitment to life and decay, always (sound visualisation in code) – Live visualisation in code projected into space and responding to ecological acoustics in room from piano wire and air.

close up of a renewed commitment to life and decay, always – Piano wire, piano, foamboard, sensors. Close up of sound sculpture installation

close up of a renewed commitment to life and decay, always – Piano wire, piano, foamboard, sensors. Close up of sound sculpture installation

close up of a renewed commitment to life and decay, always – Piano wire, piano, foamboard, sensors. Close up of sound sculpture installation

Self generating string motion from air resonance and vibrations, from a renewed commitment to life and decay, always.
a renewed commitment to life and decay, always. In Museum situ.

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Art + Air

World News at Noon

Launch date: 21st June, 2021, noon (ongoing)

In this solar powered bulletin*, an update on human data is given to the Earth’s networks. Available in real time at noon (GMT time). (*Live broadcast transmission may fail on cloudy days.)

In association with the Low Carbon Design Institute residency 2021:

“The Earth cannot talk” Ross Atkin

“Systems affect you, human and non-human….visible, hidden or invisible powers” Dr O G

“The average citizen thinks government will take care of it.” Adam Hardy, carboncounts.com

“Its easy to feel overwhelmed by something as big as climate” Luke Nicholson

“Reject boundaries – reuse, repurpose, reform” Simone Ferracina

“We are rethinking everything” Debby Ray

How can we reduce internet carbon use? Michelle Thorne

Liberation not limitation.

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Art + Air

Hope (We want it back) 2021

Hope (We want it back), Shirley Renwick, Installation, confetti paper, air. First Impressions Exhibition, The Safe House, London, June 22-29 2021

25,002 tissue paper confetti pieces, dropped on the threshold of The Safe House, London.

First Impressions Exhibition,

The Safe House, London, SE15 3SN.

22-27 June, 2021

Confetti – a ritual object, for celebration, love, joy, union, togetherness; A fragile tissue of pastel circles which floats in the air at weddings in the UK.

Threshold: A doorway or entrance to a home, usually one of a newly married couple will be carried over the floor barrier. Traditionally used to keep the flooring inside the house.

Hope – strong, fragile, seductive, contagious, vulnerable, optimistic, possibilities, unlimited. Ending violence against women one man at a time.

UN figures show that 137 women across the world are killed every day by a partner or member of their own family – a total of 50,000 women a year murdered by people they know and should be able to trust, or 25002 to the date of this show.

https://www.unwomen.org/en/what-we-do/ending-violence-against-women/take-action

*https://www.weforum.org/agenda/2020/11/violence-against-women-femicide-census/

Categories
Art + Air

Art + Air: A Speculative Collaboration. Kings Road, London, 2020

May 2020, London

Live installation. Technology, air, human, street furniture, surveillance camera.

Also a series of prints. This print 2m x 10m.

Categories
Art + Air

London Air Today (after Koons)

London Air Today (after Koons) Shirley Renwick 2019
London Air Today (after Jeff Koons)
100 balloon dogs filled with London air.
Collaboration with Kings College London, Air Quality information
Banqueting Hall, Chelsea, London
May 2019
Artist: Shirley Renwick
Categories
Art + Air

One -Sculpture Painting and Light and Space Sensor Installation – Slade 2018

B0017353

One,  Slade University of London, 2018

Sculpture, Painting,  Light and Space Sensor Interactive Installation

Artist Shirley Renwick