10 YEARS OF JUNK MAIL by Susana Oliver A kinetic installation made of post accumulated over the 10 years the building has been empty. The artist creates an illusion of continuity in the architecture pushing the outer meaning of perception. Inspired by the isolation of once a transited space this sculpture evokes thoughts of a time collapsed in order to re-inhabit a forgotten place.
CONCERTO FOR BRUTALIST BUILDINGS by The NeoFuturist Collective Inspired by the Milan Futurists, and in particular by Luigi Russolo’s Art of Noises manifesto (1913), Joseph Young founded The NeoFuturist Collective in 2007 to celebrate and explore URBAN NOISE in all its’ visual and aural forms. This latest work for World Listening Day 2011 draws inspiration from the much-maligned Brutalist architecture movement of the 1950-60’s, in a concerto for voices, recorded soundscapes and silence.
DIPLOMATIC WELCOME by The London Contemporary Orchestra A string quartet play Three Fugues from The Art Of Fugue (Bach/Birtwistle) as glasses are filled. Violin: Charlotte Bonneton, Galya Bisengalieva Viola: Robert Ames Cello: Colin Alexander
PEOPLE IN TRANSIT by Mari Frogner and Exquisite Corpse "We took inspiration from public transport stations and used them as a metaphor for life in Modern London, with people coming and going, and some staying longer than others. Although you hear many languages, the voices say little of importance. To create the movement language we have used Makaton - a language programme using signs and symbols to help people communicate, so we invite you to listen to the dancers bodies."
QUEEN'S HEAD OF COMMONWEALTH PLATES by J Kay Aplin A community involvement project run by ceramic artist J Kay Aplin with adults from Kensington, Chelsea and Westminster. As the Queen is head of the Commonwealth, images of her head are represented here in her absence in the form of commemorative plates. There are 53 plates to represent the 53 member states of the Commonwealth displayed in the gallery.
BREATHING LIGHT by Kira Zhigalina The building had a life of its own for the last 10 years, left in peace by the institutional order, it has evolved in its own organic way, breathing in mold, rust, crystallites and mud. It is a living organism in itself, full of sounds and textures. Now it is having `life breathed into it` by the artists, the viewers and the art. The installation creates the experience of non-separation, letting the viewer become one with the building’s breath, through hearing and experiencing it, externally and internally.
SOMETHING GREEN by Hannah Jerrom Deep in this concrete building is something growing; slowly feeding off its environment. A beginning, an Organic life form. It will gradually multiply and spread, infecting the interior of this ominous structure.
BATTLE by Dane Jeremy Hurst and The Haxan Cloak with installation by Tea Mulabdic When an unfamiliar authority inhabits a foreign space, there is an immediate clash with the elements of that space. The structure imposes itself with little regard for anything apart from asserting its power and presence on the landscape. It is utterly foreign yet it dominates. There is disagreement between the beautiful brutalism and the natural atmosphere. Conflict exists in the dwelling place of disharmony.
WASTELAND by Dane Jeremy Hurst and The Haxan Cloak with installation by Tea Mulabdic The inanimate desolation of a barren land obscures the tremors of those lost through quickened departure. Ravaged, they lie in wait confined to lingering ritualistic dances.
ORPHEUS AND THE UNDERWORLD by The London Contemporary Orchestra with Dane Hurst. Projection design by Zira Zhigalina Deliverance comes in the form of a descent into the darkness with the pursuit of coming out into the light. You walk into the void to retrieve the unknown. The lost have come to greet you as you descend but love exists not in the dark and the memory of light stirs the heart and so begins the end.