kontort project space
Night Paddler

On View: February 27 to March 26
Opening Reception: Saturday, February 27 from 2 to 5 p

Night Paddler is created from field-recordings of nocturnal paddles made in Ontario’s north during the summer of 2013. As evening would fade into night, the anthropophony (man-made sounds) and biophony (sounds produced by fauna and flora) tended to become muted; this resulted in a significantly increased signal to noise ratio, or what acoustic ecologist R. Murray Schafer describes as a transformation into a ‘hi-fi environment’. This expanded sonic horizon – coupled with a reduced amount of visual information – encouraged a heightened focus on the act of listening: the manner in which landscape filters and reflects sound became significantly more perceptible and I often found myself in an acousmatic space in which most of what was heard could not actually be seen. In this intensified state of acoustic awareness, one can perhaps detect a more primal way of responding to our environment, an echo of a past that predates the primacy of the visual.

For more information on the opening reception, please visit our Facebook event page.

Artist Statement:

The core of my recent practice has been centred on a sculptural approach to sound that seeks to reappraise and re-situate the role of the sonic within the sensory continuum. In particular, I have been exploring how both substantive and cinematic space can be articulated within an acoustemological framework. Re-situating experience within a sonic, rather than a visual, ontology affords a capacity for privileging sensory (and sensual) forms of mediation that have been for the most part subsumed by the dominance of the image. Such an approach encompasses an expanded notion of sound as a medium that is not only vibratory but also anamnetic/phonomnetic, encompassing the tactile as well as the immaterial, and manifesting itself as topological, temporal and subjective. It also approaches the idea of space as a site that embraces the cognitive and cultural, and that can thus be similarly apprehended as both imaginary and inhabited. Tactile and directional sound dissemination, 3D animation, spectral processing, expanded video techniques, as well as locational media are specific tools that offer the potential to create immersive sensory environments that engender an awareness of space that is vibratory, textural, and evolving, rather than merely perspectival or fixed.” – Michael Trommer (2016)

Artist Biography:

Michael Trommer is a Toronto-based producer and sound artist; his experimental work has been focused primarily on psychogeographical and acoustemological explorations via the use of field recordings, infra- and ultrasound, as well as multi-channel installation and expanded video techniques. He has released material on an unusually diverse roster of labels, including: Transmat, Wave, Ultra-red, and/OAR, Audiobulb, Audio Gourmet, Gruenrekorder, Impulsive Habitat, Stasisfield, Serein, Flaming Pines, Unfathomless, 3leaves, and con-v.

His installation and performance work has been presented at Australia’s Liquid Architecture, Kunsthalle Schirn in Frankfurt, Cordoba’s art:tech soundLAB in Köln, FILE Sao Paolo, and the 2008 and 2013 editions of Mutek's a/visions series. He also regularly improvises with the Toronto-based AI collective 'i/o media.'

For additional information, or to inquire about this exhibition, preview opportunities, and/or general gallery questions, please contact us at: info@katzmancontemporary.com.