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Invisibility: Society must accept some things as real; but [the artist] must always know that visible reality hides a deeper one, and that all our action and achievement rest on things unseen.—James Baldwin
Fulcrum Arts’ Curator, Patrick J. Reed, went to Ars Electronica, where he met the Miami-based, Colombian composer and sound artist Alba Triana, and learned about the essence of everything. This installment marks the first in a series of profiles on artists working with vibration and the ways in which it shapes our world.
The following story unfolds with a cadence all its own. It rewards the curious yet meets the overeager with a measured wait and see.
The tide line is a soft transition. Where capital meets the sea, it creates brittle structures, likely to shatter. The ocean’s edges may not be as fluid as they seem.
04/19/2018 i move back to Seoul during the season of Yellow Dust. my infrared camera begins glitching like the shaman herself
discomforting circularity turns in my stomach, thinking about Santa Monica’s full-circle from place of work to ‘workplace.’
I talk to my cousin Corey Stover on the phone and he teaches me hokšíkilowaŋpi (to sing a lullaby); we are both cruelly out of tune. He is in Oglala Nation, I am in LA, and we perform our distance. He sings to me and I to him, a short melody. I watch LAPD helicopters out the window of 242 East Avenue 41 and compose a short drone.
Despite the conclusion, the museum continues to exhibit the sculpture, claiming that it has acquired a modern cultural identity that transcends “issues of origin and genuineness” and stands as an “icon of the ever-changing perceptions and connoisseurship in the field of pre-Columbian studies.”
I kept considering what happens when liminal space becomes static—how we are all stuck in this transition with the expectation of a return of normalcy, but in actuality there is no neutral, there is no normal. Normal is a veneer in which a few have the privilege of living under.