Ingrained Words
Mots enracinés (2017)
18 posters (assembled fragments from texts
by 37 writers.
(Assistance: J. Dawson
and P. Savoie)
Photo: David Vivian
Continuous Monument
Silo Sessions at the American
We interpolate a noise/drone performance into The American and build a sonic effigy out of echoes, reverberations and loops that casts the endless ruins of monumental industrialism as a both performer and utopian spectre.
Catherine Parayre
Before “the invention of the grain elevator in 1843 by Joseph Dart of Buffalo, […] teams [of workers unloaded arriving boats,] ascending and descending a series of ladders, from ship’s hold to wharf level and from wharf level to the tops of bins, carrying the grain on their backs and discharging it into the bins.”
(From Reyner Banham, A Concrete Atlantis: U.S. Industrial Building and European Modern Architecture, 1900-1925, 1986)
In 2016, Catherine Parayre collected short French- and English-language texts by 37 individuals for her Ingrained Words. Broken into fragments and chipped into slivers, they evoke long-gone echoes of human voices in the empty silos where Post-Industrial Ephemera: Soundings, Gestures and Poetics takes place.
En 2016, Catherine Parayre a collectionné les courts textes en français et en anglais de 37 individus pour ses Voix enracinées. Une fois fragmentés et disposés en éclats, ils évoquent l’écho de voix humaines dans les silos vides où Ephémères post-industriels : sons, gestes et poétiques a lieu.
Reinhard Reitzenstein
ArbreTreeBaum is a vocal piece intoning the names of trees in 5 languages.
By intoning the names of trees I wish to lend support to them. The names intoned and caught/trapped inside of industrial concrete cylinders like the silos underline and emphasize the sense of separation that has been imposed upon the natural world.
There is an almost palpable sense of futility by intoning names within cylinders that are like fortresses; the voicing of tree names is an attempt to reclaim a space for the natural world within a post-industrial context.
Casey Ridings
Untitled Emotion
(Acrylic Paint)
Lucas Veraldi
2mp
(inkjet prints)
This work examines the concept of transforming quotidian objects into unidentifiable abstraction. When looking at objects we can tell their primary function by signifiers that exist. These signifiers inform us of what the object is and where it fits in our language. My works aims to explore what occurs when these signifiers are removed. Entering a state of flux, the meaning of each piece changes with each viewer’s interpretation of it. Different perspectives, nostalgia, and emotion begin to form understanding before the signifiers or any discernable iconography does. Through the process of using an old 2-megapixel camera I am further abstracting something that was once easily defined, objects are liberated from the dominant understanding. The images are zoomed in 13x digitally then composed again providing a new and completely abstract form of viewing and engaging.
Harmonia Chamber Singers
Harmonia was founded by artistic director, Robert Pacillo, in 2006. Noted for its innovative programming and stunning performances, Harmonia’s literature spans centuries of choral music, from medieval chant to the present. Concerts are presented throughout Western New York in some of the area’s most beautiful acoustical spaces. In March 2015, Harmonia was proud to perform at Carnegie Hall with the Elora Festival Singers and Le Choeur de Chambre du Quebec. The choir made its Canadian debut in 2015 and participated in a cross-border choral exchange with the Avanti Singers of Brock University in February 2017.
