Трудно различить, где начинается и заканчивается комната.
Исландский художник из Лос-Анджелеса, известный своим ангельским вокалом и пением на изобретенном языке под названием Hopelandic, добавил к своему творчеству создание интимных, захватывающих впечатлений от искусства— через звук и запах.
Все работы Йонси посвящены окружающей среде: будь то изображение действующего вулкана, бликов солнечных вспышек или затмения. Идея состоит в том, чтобы показать огромную силу природы, давая людям ощущение сравнительной малости, а также представление о возвышенном.
В работе FLØÐ показана экологическая параллель - повышение уровня моря, или, как автор говорит с улыбкой: “большая волна, которая собирается утопить нас всех”.
На протяжении 25-минутного цикла звуков, изображений и запахов посадочная полоса потолочного освещения меняется от затемненной до мерцающей, от пятен лавовой лампы до сплошного белого цвета.
Так может пахнуть, когда не остается ничего, кроме морских водорослей и, возможно, немного горелого дерева, делится автор о выборе аромата, добавив: Очень поднимает настроение.
Хотя инсталляция апокалиптична, он сохраняет чувство юмора, что также заметно по представленным ароматам проекта в сувенирном магазине музея.
Некоторые ароматы проекта имеют щедрое описание. Например, аромат № 23: "Дым в воздухе и просмоленные телефонные столбы".
Работа FLØÐ в Национальном Нордическом музее переполнена предвкушением неизведанного, усиленным примерно 40 тщательно откалиброванными динамиками и сабвуферами, которые воспроизводят звук волны, разбивающейся о длинную комнату. Автор объединил записи океанических полей с щелкающими, хлопающими и свистящими звуками, чтобы усилить эффект. И когда вступает в игру его неземной вокал, появляются восторг и удивление, ощущение того, что ты нигде и везде одновременно, переходишь из затопленного состояния в парящее. Конгруэнтные ароматы в центре идеи автора.
Подбери лучший аромат для ароматизации выставки с аромадизайнером!
The Icelandic L.A.-based artist — known for his angelic vocals and for singing in an invented language called “Hopelandic” — has in recent years expanded from packing concert halls with ambient music to creating intimate, immersive art-sound-and-scent experiences.
All of Jónsi’s artworks have an environmental focus, whether subjecting viewers to an active volcano or the glare of sun flares or whiteout conditions. The idea is to represent the immense forces of nature, giving people a sense of comparative smallness and also a glimpse of the sublime.
In FLØÐ, the environmental parallel is rising sea levels, or, as he told me with a smile in an interview at the museum, “the big wave that is going to drown us all.”
Throughout the 25-minute cycle of sound, sights and scent, the landing strip of ceiling light shifted from darkened to flickering, from lava-lamp blobs to solid white.
“It’s supposed to be a void,” an installer on a scissor lift had shouted down to me the day before. At that point, the gallery was well-lit and looked like nothing more than a black-walled conference room with an excess of speakers mounted at eye level. But the next day it was transformed; the void emerged.
“This is what it might smell like when there’s nothing left but seaweed and maybe some burnt wood,” Jónsi told me about his choice of scent, adding, “Very uplifting.” Though his installation is apocalyptic, he maintains a sense of humor — evident too in the exhibit-affiliated candles and incense available in the gift shop.
Several of the scents have lavish descriptive text written by Jónsi, such as for No. 23: “Smoke in the air and tarred telephone poles … Dead flowers bow to the ground … A beached whale is about to explode.” (Surprisingly appealing to the nose.)
FLØÐ is awash in anticipation of the unknown, heightened by some 40 carefully calibrated speakers and subwoofers that project the sound of a wave crashing down the long room. Jónsi combined oceanic field recordings with clicking, popping and whooshing sounds to expand the effect. And when his ethereal vocals kick in, so do delight and wonder, a feeling of being nowhere and everywhere at once, of moving from flooded to floating.
A rectangular room so black the darkness felt like an atmosphere. The sensation was augmented by a manufactured fog, visible during periodic flashes of light from a narrow LED strip running the length of the ceiling and toward a vanishing point. A mysterious scent filled the air: something organic and soft, slightly herbal with a whiff of the coast. It was hard to discern where the room began and ended.
Throughout the 25-minute cycle of sound, sights and scent, the landing strip of ceiling light shifted from darkened to flickering, from lava-lamp blobs to solid white.
“It’s supposed to be a void,” an installer on a scissor lift had shouted down to me the day before. At that point, the gallery was well-lit and looked like nothing more than a black-walled conference room with an excess of speakers mounted at eye level. But the next day it was transformed; the void emerged.
“This is what it might smell like when there’s nothing left but seaweed and maybe some burnt wood,” Jónsi told me about his choice of scent, adding, “Very uplifting.” Though his installation is apocalyptic, he maintains a sense of humor — evident too in the exhibit-affiliated candles and incense available in the gift shop.
Several of the scents have lavish descriptive text written by Jónsi, such as for No. 23: “Smoke in the air and tarred telephone poles … Dead flowers bow to the ground … A beached whale is about to explode.” (Surprisingly appealing to the nose.)
FLØÐ is awash in anticipation of the unknown, heightened by some 40 carefully calibrated speakers and subwoofers that project the sound of a wave crashing down the long room. Jónsi combined oceanic field recordings with clicking, popping and whooshing sounds to expand the effect. And when his ethereal vocals kick in, so do delight and wonder, a feeling of being nowhere and everywhere at once, of moving from flooded to floating.
Chose the right scent for your exhibition with scent designer!
crosscut.com
This post first appeared on ITNose - Magazine About Smell, Scents And Olfactory, please read the originial post: here
