The First Art Newspaper on the Net   Established in 1996 United States Friday, August 23, 2019

European Premier of Cerith Wyn-Evans and Throbbing Gristle's A=P=P=A=R=I=T=I=O=N
Cerith Wyn Evans and Throbbing Gristle, A=P=P=A=R=I=T=I=O=N, 2008. A mixed media collaboration. Dimensions variable © the artists. Installation View, Yokahama Triennale, 2008. Photo: Ueno Norihiro, Yokhama Triennale. Courtesy White Cube Gallery.

GLASGOW. Tramway presents the European premier of the sound installation entitled A=P=P=A=R=I=T=I=O=N (2008), a collaboration between Welsh artist Cerith Wyn Evans and the experimental music collective Throbbing Gristle.

Cerith Wyn Evans (born 1958 Wales) began his career as a video and filmmaker, initially assisting Derek Jarman, and then making short, experimental films during the 1980s. Throughout this period he collaborated with British experimental and industrial music group Throbbing Gristle (who formed in London in 1975).

Renowned for their early confrontational live performances, for which the House of Commons famously labelled the group ‘Wreckers of Civilisation’, Throbbing Gristle pioneered the use of pre-recorded samples and made extensive use of special effects. The band’s founding members were Chris Carter, Genesis P-Orridge, Cosey Fanni Tutti and Peter Christopherson.

Cerith Wyn Evans creates work via a process of renewal and invention, displaying a magpie like approach to a broad range of source material including literature, philosophy, cinema, music, the sciences and art history. The artist works freely across these realms to create sculptures and installations whose outward decadence and elegance often disguises multi-layered and radical content. Key to Wyn Evans practice are the literary influences of the works of great writers, in particular 20th century avant-garde movements and situational theories of the sixties and seventies such as Guy Debord, William Burroughs and Brion Gysin. The artist renegotiates remnants of these ideas, appropriating texts through modes of encryption, citation and translation to a point at which language no longer functions and meaning falls away, creating new, polyphonic readings.

Wyn Evans experiments with language often manifest themselves in romantic and elegiac sculptural forms which ultimately function as ciphers, vehicles or conduits an association which incites the notion of a séance or a medium through which language is processed. This is perhaps most evident in his series of sparkling chandeliers, which intermittently pulse in the now officially ‘dead’ language of Morse code. Often the artists’ poetic texts are orchestrated into new, magical and incandescent forms, as seen in his ongoing light experiments with mirrors, neon’s, fireworks, glitterballs and searchlights. A new neon ‘..rinsed with mercury..’ features at Tramway, an amalgam of invented and appropriated texts based on the apocalyptic epic by James Merrill The Changing Light at Sandover which documents two decades of Ouija séances hosted by Merrill.

The collaborative work A=P=P=A=R=I=T=I=O=N, was first exhibited at the 3rd Yokahama Triennale in Japan and takes it’s title from the poem by French author Stéphane Mallarmé whose work explored the relationship between content and form. Throbbing Gristle’s desire to incorporate the ‘audio-spotlight’ into their performances led them to meet the American inventor of holosonics Dr. F Joseph Pompei, eventually culminating in the collaboration with Cerith Wyn Evans. The mobile structure is influenced by the artist’s ongoing experiments with mirror mobiles, characterised in earlier works such as Before the Flowers of Friendship Faded, Friendship Faded, 2001 (fig 3) which draw on a very simple, formal element in early film – the revolving mirror. This technique saw the emergence of moving image as something magical and miraculous, and there is a similar awe when experiencing A=P=P=A=R=I=T=I=O=N, the circular ‘audio spotlight’ panels emit directional beams of sound almost in the form of a spotlight or column, an innovative new technology which uses ultrasonic signals to generate sound within the air itself.

The vocals of Genesis P-Orridge were subjected to a process of manipulation which involved extending the voice through various methods of extrapolation and time-stretching. The resulting sound was edited together with various samples and engineered to seamlessly continue and repeat over multiple channels, moving ‘through’ each of the sculpture’s ‘audio-spotlights’ in an ongoing sequential process. The polished circular mirrors present the viewer with a moving reflection of figure and ground that disconcertingly alternates with the shifting sound, evoking superimposition, polophony, layers and interstitial spaces. The soundtrack constantly evolves as the audio spotlights reflect off each other and the gallery walls, creating a unique, sculptural experience that is never the same twice.

Tramway | Welsh | Cerith Wyn Evans | Throbbing Gristle | Chris Carter | Genesis P-Orridge | Cosey Fanni Tutti | Peter Christopherson |

Today's News

August 4, 2009

Zaha Hadid's Much Anticipated Burnham Pavilion in Chicago's Millenium Park Opens

Pictures Belonging to Lord and Lady Attenborough to be Offered for Sale at Sotheby's

Getty Exhibition Looks Closely at the Fanciful Images in the Margins of Medieval Manuscripts

The Manuel March Collection from Mallorca to be Offered at Christie's in October

First Major Exhibition About Parking's Role in Our Society to be Explored

Mike Tansey, Brian Tyler and Nick Korniloff Acquire Art Miami Contemporary Art Fair

Museum of Contemporary Art Chicago Announces Departure of Elizabeth Smith

European Premier of Cerith Wyn-Evans and Throbbing Gristle's A=P=P=A=R=I=T=I=O=N

'Styled for the Road: The Art of Automobile Design, 1908-1948' Exhibition to Open at the Wolfsonian

The Queensland Art Gallery Announces 6th Asia Pacific Triennial of Contemporary Art

Loss and Liberty at Museum of London Docklands

A Creative Director is Sought to Put the City of Leicester on the Digital Media, Film and Arts Map

Special Display of Portraits at the National Portrait Gallery Celebrates Dr. Samuel Johnson's 300th Anniversary

Pakal's Tomb, from Underworld to the Internet

High Museum of Art to Host 24th Annual Latin American Film Festival

Call For Artists: Artwork Needed For Raleigh's City Plaza Exhibition

Smithsonian's Lemelson Center Celebrates National Inventors' Month by Building World's Largest LEGO Light Bulb

The J. Paul Getty Trust Names Dr. David Lee to Board of Trustees

Amon Carter Museum Announces Davidson Family, Innovative Teaching Fellows

Smithsonian American Art Museum Announces Four Artists Selected for Its Renwick Craft Invitational 2011

Most Popular Last Seven Days

1.- Conservation reveals Wellington Collection work was painted by Titian's Workshop

2.- New dinosaur discovered after lying misidentified in university's vaults for over 30 years

3.- Unseen Texas Chainsaw Massacre outtakes and stills sold for a combined $26,880

4.- National gallery reveals conserved Italian altarpiece by Giovanni Martini da Udine

5.- London's Tate Modern evacuated after child falls, teen arrested

6.- Bavarian State Minister of the Arts restitutes nine works of art

7.- Boy thrown from London's Tate Modern is French tourist visiting UK

8.- Child thrown from London gallery has broken spine, legs and arm

9.- £10 million Turner masterpiece may leave British shores

10.- Tourists banned from sitting on Rome's Spanish Steps

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful