Curators: Tincuta Heinzel and Hillevi Munthe.
contributions by: Zane Berzina and Jackson Tan, Maurin Donneaud and Vincent Roudaut, Tincuta Heinzel, Anna Biro, Luke Fischbeck, Hillevi Munthe and Elisabeth Schimana
Locations: Gallery ANX, Atelier Nord, Oslo and KinoKino, Stavanger, Norway.
Timeframe: 7-27th of October 2013
With “HAPTOSONICS”, term we coined from the juxtaposition of “haptic” and “sonics”, we propose an incursion in the world of physical computing that exploits the relationships which can be established between tactile and acoustic forms of experience. Focusing on the artistic potential of the alliance between digital technologies and textiles, the present project tries to present some of the most relevant approaches of the computational aesthetics in the field of textiles.
The curatorial selection considers artworks which, by making use of the digital translation of physical data, are exploiting both the physical properties of the textile material support, as well as the perceptive aspects implicated in the apprehension of the textile installations. More than the interactive aspects of the artworks, the poetic and creative research on the tactile potentialities of electronic and smart textiles are central to the present selection.
It is known that a fabric or a curtain can isolate against sound. In spite of their softness, the rich textiles textures remind us of textiles “mass”. At the same time, the latest technical innovations in electronics and computer sciences are about to exploit the invisibility of a “heavy matter”, to generate and corroborate new sensory connections. Can textiles sense? Can we touch without really touching? Can we transform touch into an instrument? Can textiles sound?
The works we intend to present in this exhibition are exploiting the “augmented” properties of textiles, playing and overlapping certain common places we have when it comes to textiles and fabrics. By proposing the present exhibition project, we would like to offer an investigation of the ways in which textiles, sound and touch associate each other. Nevertheless, it is the “poetic fiber” of material computing we are questioning, and it is the aesthetic of electronic textiles, sound instruments construction and digital touch we are pursuing.
The selection of the artworks is looking to offer a detailed perspective on the relationships that can be established between textiles and their environment, between the textile objects and their users. The works chosen to be presented i In the exhibition are either transforming the fabrics in sound instruments, either translate in sound different qualities of touch. In this way the textiles are both the site of interactive performance and interactive record.