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Spill presents an object-oriented performance and installation in the form of instrumental sculptures created site-specifically for Dystopia Biennial, 2024. A spillage of form, light and sound, takes root in the shower room of the HAUNT // Front-views building: while pipe systems often exist unseen in our urban environment, here they leak out, enacting a transgression by forcing the viewer to see, hear and experience them. Ultimately a staging that exceeds its bounds, Spill hints at an impossibility of control and confinement, opening up to tuning in to the innate resonances and frequencies of pipes through their materiality and sonic potential. By allowing for the objects to have a voice, and letting the voice speak for itself, it spells out its own language. 

As the philosopher Jane Bennett describes, 'the extent to which human being and thinghood overlap, the extent to which the us and the it slip-slide into each other,' the installation represents a momentary intersection between the artists and the site, blurring the line between the role of performer and instrument. We are both interested in ideas around what constitutes a performance, how to make a place ready for ‘some things to happen’ between the audience and all the elements of the work. Here the ‘performance’ is only temporary, while the recording and the ‘instruments’ act in a recurring loop, making the spill permanent. 

From drone sounds to echoing resonances, we draw from soundscape creation within filmic practices to present a sonic landscape and installation. We aim to create a space for another world to emerge, where a range of otherworldly narratives could be imagined and coexist. A desire, as Bennett proposes, to 'try to give voice to a thing-power.’

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Still of the live activation performance.

 

Artists performing. Above (Heyse), below (regiment).