[the place we inhabit and create by making use of the thousands of kilometres that separate us]
dalpofzs is our chance-generated project name born out of instinct and pleasure and the interplay of the two. a name that doesn't designate or represent, but is to the extent that our platform works, so far as it becomes. Franz, our canine-hero chose to eat his way into giving us a name. and so he did.
exhibition in three parts:
north train station, bucharest. we chose five platforms, where trains were arriving or departing in that moment. we marked the position of people reading newspapers, the appearance of red colour and the parting moments. five platforms, interpreted on our map as five lines. a stave. the parting moments, the red and the people reading the newspaper became musical notes. approximately 20 different audio versions resulted from playing with these staves. during the exhibition we used them to build a sound space (we had 16 speakers, each of them playing in loop one of these versions) and we let the spectators to inhabit it. we invited them to mark their favourite places, realizing thus a kind of map of our audio landscape.
superimposed sounds. a music as static as possible, offered as exploring space for a dynamic ear. or, in other cases, forgetting the aesthetic values, we superimposed the sounds in a search for meanings.
we invited two musicians, olga (violin) and alex (guitar), to send us copies of their favourite scores or of the scores they were rehearsing at that time. we cut them to small pieces (4-5 notes each) and we mixed them. during the exhibition, each spectator was invited to choose a fragment and to paste it on a wall. in the last evening, olga and alex offered a few different, possible interpretations for the new(?) musical piece formed on the wall. meanwhile, darie tried a live-composing exercise, the small pieces he wrote on the spot were played immediately afterwards by the two musicians.
the exhibition also included two texts in romanian
[accidentals was first exhibited in piatra neamț (2013), and then in bucharest (during the night of art galleries 2014)]
is a performance we do on the 10th of december each year. the minstrel wanders the streets and leaves behind small gifts (or, more precisely, several instances of the same gift) that anyone can discover. at first, the gifts were musical packages, selections from the minstrel's rather strange and diverse collection, later on they also included non-musical objects (books, images, lists, links etc) and original contributions specifically made for this project. the material support included mp3 players, audio cds, audio tapes, memory sticks. every year, items recommended by close friends were included too.
afterwards, the urban minstrel returns to the unknown, somewhere / anywhere / everywhere.
[2013 - ongoing]
“the cathedral of national redemption” is currently being built in the centre of bucharest. its towers are supposed to rise victorious above the level of the nearby, colossal, communist era building: “people’s house” (a symbol not only for the absurd ambitions of a dictatorial political regime, but also for the amnesia of the post-communist romanian society, that allows institutions such as the parliament and the national museum for contemporary art to function here). it’s hard to miss the vulgarity of this moment when the erect phallus of the power (in this case the romanian orthodox church) is meeting the black hole of the traumatising past (the negation and oblivion that are enveloping the memory of the communist era).
and is this type of pornography that constitutes the base of the whole contemporary romanian society. simply inverting the old values produces an equally unintelligible, incoherent discourse, that is far from being an acceptable solution. the “cathedral of national redemption” is nothing more than a mirror image of “people’s house”.
it is this embarrassing state of things that we want to criticise by reading backwards the “july theses” (a famous speech delivered by romanian dictator nicolae ceaușescu that marked the beginning of an offensive against cultural autonomy), in the proximity of the new formed couple: “the people’s house” / “the cathedral of national redemption”.
two approximately one hour videos resulted from the project: 1. the complete text of the "july theses" read backwards near the site where the cathedral is being built; 2. the first video reversed (for a romanian speaking audience the text of the "july theses" becomes comprehensible)
the following text (available only in romanian) is part of the project
[cucurigu was exhibited in bucharest at question mark in 2014]
we transformed two sets of images into sounds, and we introduced the later in an improvised system of pvc pipes. a simple soundscape resulted and we invited the spectators to explore it.
as for the two sets of images: the first one consists of 25 stills from the same second of a movie (a second that in its specific context is a border between silence and sound), the second set is formed from images of well known classical music scores (another way of “playing” a music score).
we used free software available on the internet to interpret pictures as spectrograms, and then we recorded them in an audio editing program.)
[postcardzs was exhibited in 2014 in bucharest as part of the I-SON event, a collaboration between trio zvuv and dalpofzs)]
glas (romanian for "voice") is a project initiated by dalpofzs in august 2014, as part of the I-SON event/performance (a collaboration between trio zvuv and dalpofzs).
it was inspired by "ison" , a continuous, low, slow-moving or fixed pitch drone sound, present as a form of accompaniment to the main melody in religious byzantine chants.
we speak more than 6000 languages around the globe, in over 7.000.000.000 voices, each one of them recognizable, each one of them unique. the intensity, the timbre, the frequency of the sounds that form our words and sentences, but also the emotions that inform them, define the voice that we wear, and in the last instance who we are.
in glas we are interested in bare voices devoid of linguistic meaning, the different shapes they can have, the acoustic landscapes and improbable distances they create when encountering each other.
we invite the spectators to record their own voice keeping a long, fixed pitch sound, and we add it to our small archive that is randomly played back into the exhibition space.
[part of the event "I-SON" - palatul universul (2014), and "glas/distance(s)" - mignon theatre (night of art galleries 2015)]
the biggest distance that can occur between two people on earth it’s approximately 20.000 km.in a somewhat medieval gesture we offer a symbolic miniature of it: 20.000 milliseconds of audio and visual experience resulted from the exercise of exploring the distance(s) between us.
drawing a line. czech republic, romania, china. combining the frames.
1.took all frames from the video and placed them in succession, creating a mixed image.
2.print screen, crop, etc.
3.convert images (bmp) into sounds (wav/mp3).
[exhibited in bucharest during the night of art galleries 2015 as a part of the dalpofzs event "glas/distance(s)", at mignon theatre]
three people, living in different parts of the world, are recording their own voices while reading the same text over and over again. the main focus of the work is the background sound recorded along with their voice. maybe it's about being aware of the sound world we inhabit. maybe it's about exploring the relationship(s) we have with the space around us and its sounds. maybe it's about being able to say something essential about yourself while hiding behind the same simple text. maybe it's about questioning the meaning of the here, since we're here, together, while at the same time being all over the globe. maybe it's about offering each other small (audio) fragments of the different worlds we live in, a celebration of sharing. or maybe it's just a simple game, no meaning, just the joy of playing.
text by: cornelia, maya, clara, silvie, alexandra, luca, darie, juan, mihai
recordings by: silvie, darie, mihai
when?: 2014 - 2015;
where?: bucureşti, 北京 (beijing), olomouc, pardubice, hradec králové, 昆明 (kunming), 丽江 (lijiang)
[audio cds containing all the recordings were offered to the spectators during the dalpofzs event "glas/distance(s)" at the night of art galleries 2015]
audio-video installation inspired by the story and images of PGC 54559 or hoag’s object, a non-typical ring galaxy discovered in 1950 by the astronomer arthur allen hoag. situated at about 600 million light-years away, this strange object is presented to us like an almost perfectly-shaped ring, formed from millions of young stars, with an older yellow nucleus at the center shining brightly. this galaxy is even today considered a mystery for most of the scientific community because of the difficulty in determining it’s origin and matter arrangement.(wikipedia)
audio: 7-8 sounds (effects made using a recorder’s mouthpiece and some eolian/wind sounds) which appear and disappear randomly in a soundscape created by 6-8 speakers.
video: a few seconds long video with the image of the galaxy, played in loop.
the installation is best shown at night and, if possible, with a live ensemble playing long drone-like sounds combined with spontaneous, short interventions.
a version exhibited at the gallery in march 2016 included live performance by darie nemeș bota and francisco ramonda
[muzexpo, 2015; the gallery, 2016]
“Having lost one of his quarry, Ivan focused his attention on the cat and saw this strange cat go up to the footboard of an ‘A’ tram waiting at a stop, brazenly elbow aside a woman, who screamed, grab hold of the handrail, and even make an attempt to shove a ten-kopeck piece into the conductress’s hand through the window, open on account of the stuffiness.” (Mikhail Bulgakov, The Master and Margarita)
cha(n)t is an unusual sound event, beyond the limits of daily life. almost chat and almost chant, almost noise and almost music, it brings to life a series of acoustic experiences born at the intersection point between personal and social, planned and random, huge and small. an almost imperceptible impression, an almost invisible finger-print in the deafening soundscape of the contemporary metropolis.
the event has three parts: the sound installation CHATtering, the experimental musical project scriu cu albastru and the performance song prints.
CHATtering: on a small plastic table a structure of pvc pipes and empty juice cans. micro-soudscapes can be heard in the pipe system and inside the aluminum cans. the spectator is encouraged to explore the barely audible sound universe of the installation. in the noise of the contemporary city, on the verge of deafening loudness, we are trying to explore the other limit of sound, the one towards silence. the distortion of the sound inside the aluminum cans is a sign that stands for the deformation that each one of us faces in the society of consumption and mass production. we do not intend to critique this deformation, on the contrary we are trying to explore the new possibilities that it offers.
scriu cu albastru: it’s an experimental interactive sound game. the spectator will create his own musical piece starting from an unconventional musical score. the score can be performed by anyone, anywhere, at any time. the results can be sent to our email address firstname.lastname@example.org, and we'll further play with them
song prints: everyone is invited to leave a finger-print on the empty musical stave we prepared
how does it sound? – 23 august 2015, 18.30 Mihai Pintenaru (clarinet) will decode it.
[the project was exhibited at kulturama contmeporary art space in bucharest, and then as part of the event muzexpo, both in 2015]
the aesthetics of property(i)
- in progress -
[exhibited in bucharest during the night of art galleries 2016 at nod makerspace]