Blog Masters of Modern Sound exhibit

Masters of Modern Sound exhibit

Posted Jan. 13, 2019, 10:42 a.m. by T

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Masters of Modern Sound

Art Gallery of New South Wales

Sydney, Australia

January 10, 2019

 

The Art Gallery of New South Wales has a history of continually challenging the things are traditionally done via reinvention as well as the expansion of existing and new mediums.

The after-dark experience in art, space and sound extravaganza under the umbrella of Masters of Modern Sound is no exception in that regard as it is an extension of AGNSW’s pursuit to redefine and disrupt the way art is meant to be traditionally encountered by its recipients.

In essence, the enables visitors to gallivant through Sydney’s first and foremost gallery to encounter an eclectic melange of accomplished locals but also renowned talent from other necks of the global woods, not limited to any style but sourced from the realms of composing, music in all its variations, sound design, and performances from the multi-disciplinary boundary pushing local dance theatre company Force Majeure.

Sonic soundscapes were specifically created by luminaries of the calibre of David Lynch’s partner in crime and Asymmetrical Studio owner Dean Hurley, flanked by the ambience endeavours of William Basinski and Lawrence English, who in tandem created an exclusive live performance of what simmers down to “lives lived in transit”, i.e. Selva Oscura.

Freely roaming original movement and interventions were serenaded by experimental electronic music of Caterina Barbieri, who channelled her minimalism, counterpointed by maximalist Del Lumanta, which helped in creating a seamless transition to the meditation aiding sounds of Chris Abrahams.

An added bonus of MoMS is that it includes access to the formidable current exhibition “Masters of Modern Art from the Hermitage”, which was further enhanced by an exclusive live performance set in scene against the backdrop of paintings by Matisse, Kandinsky and other grandmasters of impressionism.

What AGNSW produced and contributed to this year’s incarnation of Sydney Festival is an example par excellence for a carefully calibrated and curated event, the total of which results in something much bigger than what the already fantastic individual components would have you think, i.e. the artworks at display that make the DNA of the AGNSW.

One can only hope that this will become an annual occurrence.

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