“Notes on Planetary Residing” transforms fluent’s glass pavilion right into a resonance field. The sound piece giving the exhibition its title, expands by an immersive set up that takes John Bergers’ Twelve Theses on the Financial system of the Useless, as a departure level exploring how life and dying share a typical sonic area, in addition to the poetic dimension that usually blurs the interplay between the 2.
The brutality we’re witnessing in the present day, within the final months of 2023 is insufferable. But it surely’s not a brand new type of brutality, it’s simply the stress of an ongoing type of violence releasing to a extra perceptible layer of the world. The type of brutality predating and consuming Western civilization because the invention on time. And so, does music predate humanity. As Kim Stanley teaches us, “since 160 million years, music was the primary human language, and nonetheless is the language of animals and birds.”1
The chicken track on the core of “Notes on Planetary Residing” was recorded on Monday, June 14, 2020 at 4:41 AM in Ernst-Thälmann Park behind Berlin’s Zeiss-Großplanetarium in Prenzlauer Berg. The atmospheric prejudice as an African within the West serves as a relentless reminder of the ability buildings and inherent institutional risks that make accessing spheres of whiteness in “regular” instances—not solely on this tragic and merciless time of civilizatory decay—an act of resonance. The easy act of residing, of “occupying an area that’s each sonically uncontainable and heard.”2
at fluent, Santander
till February 9, 2024