Susan Philipsz: The Shortest Shadow
Wexner Center for the Arts The Ohio State University, New Mexico, Columbus, 09/17/2009 - 01/03/2010
ABOUT
The Shortest Shadow features two pieces by Susan Philipsz, whose work examines the sensory and environmental effects of sound, and of song. Philipsz (b. 1965), who is originally from Glasgow but now lives in Berlin, often uses her own unaccompanied voice as the instrument for her stripped down, deeply atmospheric installations.
Her selections of music range from Irish and American folk tunes to songs by the Beatles and PJ Harvey, radically reinterpreted to fill, or haunt, the carefully chosen spaces they occupy. Your experience of those spaces is likely to be modified just as radically, as you'll discover while visiting the center this autumn.
The sounds of Philipsz's Sunset Song (2003) fill the space along a walkway connecting the Wexner Center and the Oval. For this work Philipsz recorded two a cappella renditions of The Banks of the Ohio, a 19th-century American folk ballad that spins tales of romantic tragedy. The volume of the song changes with light conditions, responding to transitions from day to night and back again.
The Dead (2000) relates to both James Joyce's short story and to John Huston's film adaptation of it, with sound based on an anonymous Irish ballad called The Lass of Aughrim used in the film. The 22-minute version of this piece will be shown continuously in the Film/Video Theater during the exhibition preview on September 16. A much shorter version will be presented before selected 35mm film screenings this fall, including those on October 3 (Word Is Out) and October 29–30 (35 Shots of Rum).
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The Shortest Shadow features two pieces by Susan Philipsz, whose work examines the sensory and environmental effects of sound, and of song. Philipsz (b. 1965), who is originally from Glasgow but now lives in Berlin, often uses her own unaccompanied voice as the instrument for her stripped down, deeply atmospheric installations.
Her selections of music range from Irish and American folk tunes to songs by the Beatles and PJ Harvey, radically reinterpreted to fill, or haunt, the carefully chosen spaces they occupy. Your experience of those spaces is likely to be modified just as radically, as you'll discover while visiting the center this autumn.
The sounds of Philipsz's Sunset Song (2003) fill the space along a walkway connecting the Wexner Center and the Oval. For this work Philipsz recorded two a cappella renditions of The Banks of the Ohio, a 19th-century American folk ballad that spins tales of romantic tragedy. The volume of the song changes with light conditions, responding to transitions from day to night and back again.
The Dead (2000) relates to both James Joyce's short story and to John Huston's film adaptation of it, with sound based on an anonymous Irish ballad called The Lass of Aughrim used in the film. The 22-minute version of this piece will be shown continuously in the Film/Video Theater during the exhibition preview on September 16. A much shorter version will be presented before selected 35mm film screenings this fall, including those on October 3 (Word Is Out) and October 29–30 (35 Shots of Rum).