Evelina Deicmane

"… let me tell you about SeasonSorrow, which was at the 2009 Venice Biennale. It actually had two parts. One was a video projection in a small room, which had 12 speakers built into the floor. The video showed close ups of a group of people stuck in the snow. But much of the story was told with the sound, which included like ice cracking, and all these kind of cold sounds. The main sound was that of the person’s breathing in the cold. Because the sound of breathing in the cold is very different from the sound when one breathes in the summertime. And I recorded each person, so each of the 12 speakers was very personal. And I used this breath to make the sound of wind. The sound, like, of a very cold wind…” -an excerpt from an interview with the artist, 2011. Link here to see more work and read entire interview.

Dipna Horra

"Sound artist Dipna Horra uses field and voice recordings to create aural environments that simultaneously present a sense of location and dislocation. With Avaaz, Horra recounts a narrative of migration from India to Africa and then Canada, a narrative that undergoes translation and transposition. Horra’s sound installation consists of a central table set for tea, a wheeled tea trolley in the corner, a suspended window pane on the left of the gallery space and an unobtrusive air vent at our feet. Simple furniture, understated architectural features and fine china are the conduits through which the sound artefacts, that tell the artist’s story are emitted. Horra’s kitchen installation is a theatrical space in which the continuity of ancestral memory both reassures and unsettles." Review by Jenny McMaster. Read rest of view here on Fuse Magazine.

Lorna Simpson, Artist

Easy To Remember, Video Installation, 2001. Watch the video on Simpson's website. Link here.

"Easy to Remember, which made its debut at the Whitney Biennial in 2002, takes its title from a 1930s Rodgers and Hart song of the same name. (The BMA version is an artist proof, or reference copy made for the artist.) The song is a bittersweet ditty about lost love and remembrance. In the 1960s, it was recorded again by the great jazz saxophonist John Coltrane, whose rendition of it provided the basis for Simpson's work. The artist invited a group of professional singers into a recording studio to hum along with Coltrane's version of the tune as they listened to it through headphones. She photographed the singers' faces with a 16 mm movie camera, then transferred the images to video and digitally edited them to create a grid consisting of 15 uniform rectangles enclosing just the singers' lips. Because the singers were recorded on different occasions, and because each singer took the opportunity to interpret the song personally, their renderings are in synch, yet individually varied. The result is a gentle, flowing meditation on the theme of unity within diversity that has a distinctly elegiac character." Glenn McNatt, Baltimore Sun Art Critic

Link here to see another site of Simpson's work.