Ernst Karel Sound artist, Member & Staff of Harvard Sensory Ethnography Lab
May 5, 4:00 p.m., Center for the Arts (CFA) Room 112
Sound artist and sound designer Ernst Karel will screen recent works including excerpts from collaborations “Single Stream” (with Pawel Pajtasik and Toby Lee) and “Leviathan” (directed by Lucien Castaing-Taylor and Véréna Paravel). Work will be presented in the context of the greater project of the Harvard Sensory Ethnography Lab which was included in this year’s Whitney Bienniale.
Ernst Karel’s audio work includes electroacoustic improvisation and composition, location recording, and sound for non-fiction films. Together with Pawel Wojtasik and Toby Kim Lee, he made Single Stream, a large-scale video and four-channel audio installation commissioned by the Museum of the Moving Image in Queens, New York in 2013. Since 1999 Karel has performed and recorded together with Kyle Bruckmann in the electroacoustic duo EKG. Films for which Karel has edited and mixed sound include Sweetgrass, Foreign Parts, Leviathan, and Yumen. His most recent albums composed with location recordings are Materials Recovery Facility, Swiss Mountain Transport Systems, and Heard Laboratories.
Beynan Ransom UB PhD Candidate in Civil, Structural and Environmental Engineering (UB ERIE-IGERT Fellow)
April 21, 1:00 – 3:00 p.m. UB Gender Institute, The Commons, Room 207
Epistemological Pluralism of Degraded Landscapes: Using Native American Toponyms in Ecosystem Restoration
Neil Patterson Founder and Director of the Tuscarora Nation Environment Program and member of the Haudenosaunee Environmental Task Force
April 14, 3:00 – 5:00 p.m. UB Gender Institute, The Commons, Room 207
Talk Topic: Hydropower relicensing work on the Niagara River, including the recent development of a 4th grade school curriculum called “Life on the River”, using a recently excavated archeological site to explore perceptions about local indigenous culture.
SPECIAL LANDSCAPE RELATED EVENTS
Candida Girling UB Department of Visual Studies
A City Slice of Green: An Urban Intervention (2014)
(funded by the UB Techne Institute)
On view through May 25, 2014
Where are the Commons of today?
This sculptural installation is an attempt to reclaim public space and to facilitate green incursions into the concrete and steel of the city. It suggests that we have an inherent need for nature but instead find ourselves in a contemporary urban environment characterized by the triumph of consumer culture with its attendant pollution, alienation and diminished green space. The installation juxtaposes elements from the natural and urban worlds with the aim of providing a momentary respite from the mania of city life. A curved array of steel towers support four rings made to contain a variety of possible objects, such as baking tins to hold plants, solar panels to power water pumps, or objets d’art. Each ring can be positioned at various angles to the sun. The green wall is intended to be installed at a range of places in the city and will vary in size accordingly. The plants address contrasting ways that the city may be greened: there are cloned elm trees that pay homage to the trees that once lined the streets of Buffalo, vegetables to grow and eat, and weeds that find their own way to green the city, whether or not humans have had a hand in it.
Millie Chen UB Department of Visual Studies
Two Exhibitions @ the Albright Knox Gallery
On view Thursday January 30 – Sunday May 18, 2014
Tour, 2014, an audio-video installation that contemplates arguably “healed” genocide sites, provokes the question: How can we sustain the memory of that which has become invisible? How can we possibly represent such horrific history and maintain the critical specificity of the local within a narrative about the global? Events that occurred over the last century retain heat as some victims and perpetrators are still alive, and justice, truth, and reconciliation processes are still underway. Yet, with the passage of this amount of time, these genocidal events are already archived as history—we have gained some distance from them, and have even started forgetting: Murambi, Rwanda (April 16–22, 1994); Choeung Ek, Cambodia (April 17, 1975–January 7, 1979); Treblinka, Poland (July 23, 1942–October 19, 1943); Wounded Knee, U.S.A. (December 29, 1890).
The Miseries and Vengeance Wallpapers (2011)
On view through April 12, 2015
In The Miseries & Vengeance Wallpapers, what initially appear to be decorative walls are ultimately revealed to be a provocative dialogue between two sets of images. The exquisitely horrific imagery was culled from a set of historic prints from the Albright-Knox Art Gallery’s Collection. In the seventeenth century, Jacques Callot (French, 1592–1635) produced the epic suite of etchings “The Miseries and Misfortunes of War” that documented the Thirty Years’ War. An early recorder of the atrocities of war and social injustice, Callot influenced the likes of Francisco de Goya (Spanish, 1746–1828), a fellow observer of human folly and cruelty.
The Miseries & Vengeance Wallpapers improvises on the thematic rubrics established by Callot for his suite of etchings. On the Miseries wallpaper, agonized bodies have been extracted from Callot’s prints and assembled to form a disturbingly decorative pattern. On the Vengeance wallpaper, the landscapes from Callot’s etchings have been entirely emptied of bodies and presented as vacated/evacuated terrain, leaving only land and built structures like buildings and torture devices.
Joan Linder UB Department of Visual Studies
April 11, 4:00 p.m. Scholars@Hallwalls (Hallwalls: 341 Delaware Avenue, Buffalo, NY)
(sponsored by the Humanities Institute)
Love Canal: A Drawing Project
“Love Canal: A Drawing Project – is a large, room-sized, landscape drawing of Love Canal, one of twenty-two toxic sites listed on the EPA’s website in Niagara and Erie counties. The history of our regional terrain, its use and misuse are an integral part of the economic development and collapse of the area. This project takes a slow look at the man-made environmental atrocity that prompted the creation of “Superfund” and now exists like an unmarked grave, a mundane field grown over with wild flowers and a chain link fence. Close observation, fundamental to the drawing process, will reveal subtle and not so subtle clues to the history of the site. The studio, a cube truck, allows the artwork to be created on location. In a culture hyper-saturated by electronic imagery, using traditional materials, quill pens and bottles of ink—I situate myself in specific places and create large-scale images, exploring the sub-technological processes of embodied observation and mark making. Working with drawing on heroic scale this work situates itself between the tradition of American plein air and heroic landscape painters such as Albert Bierstadt, Asian scroll painting, and contemporary artists such as Rackstraw Downes and Dawn Clements. The work will culminate in an exhibition and the mobile studio will be open to the public while I am working.”