Katherine Liberovskaya, most often active in experimental video and live video improvisation with experimental music composers and musicians, presents two sculptural closed-circuit object-video-audio installation works from her on-going series she calls “Strange Loops (between Real and Audiovisual)”. Combining certain material elements with simple movement mechanisms, their real-time electronic image and sound capture and playback, as well as video and audio feedback, these hybrid works obscure the limits between physical and media reality.
Meet the Artist: Friday March 11 @ 7 pm
Open to the public Saturday March 12 and Sunday March 13, 2016, between 4 – 7 pm
Harvestworks 596 Broadway #602, New York , NY 10012
Subway: F/M/D/B Broadway/Lafayette, R to Prince, #6 to Bleecker
Katherine Liberovskaya – Mise-en-Abyme: Blurring Boundaries between Real and Audiovisual, a solo exhibition
The Harvestworks exhibition will include two sculptural closed-circuit object-video-audio installation pieces from Liberovskaya’s “Strange Loops (between Real and Audiovisual)” series: “Shines” and “Amplifontana”. Both “Shines” and “Amplifontana” have been developed at residencies in Europe and have never been shown in North America.
The “Strange Loops” pieces are based on “real” elements (objects, materials, etc.), usually chosen for both their visual/plastic and acoustic properties or qualities, and revolve around systems that set-up events creating interaction and fusion between these elements and their closed-circuit live image and sound capture, amplification, and diffusion by various video, audio and projection technologies. They seek to blur the boundaries between physical and media reality, between the real and the digital-electronic reproduction of the real, through a combination of technological and physical effects such as image/sound feedback, movement, reflection, the play of shadows, to form self-contained and self-referential audiovisual hybrid environments. They result in “strange loops” of worlds within worlds that deceive the senses and create for the visitor/listener a disorienting sensual experience.
In “Shines” suspended shiny metal objects from the hardware store that strike each other because of the air movement of electric fans – captured live by a closed-circuit video camera and piezo mics – form the basis of the image and sound of this constantly fluctuating “video-audio installation-sculpture-painting” involving no pre-recorded video or audio components. The interaction of objects, camera, projection, microphones and fans results in a completely self-generating environment of continuously varying color video feedback patterns and ever changing percussive soundscape. This installation was created and presented at O’, Milano, Italy, within in the context of their O’A.I.R. – Artisti in Residenza – Program. “Shines” has also been shown at Skoska28, Prague, Czech Republic, and Stazione di Topolo, Friuli, Italy.
“Amplifontana”, a fountain-sculpture-video-audio installation, was developed during a residency at Archiaro, Italy (near Catanzaro, Calabria). A closed circuit consisting of a surveillance camera and a hydrophone create a video feedback loop and soundscape that enlarge and augment visually and sonically the small dancing water jet produced by a basic electric fountain pump.
The development of both “Shines” and “Amplifontana” was made possible in part by grants from the Canada Council for the Arts.
Special thanks: Guy de Bievre, Sara Serighelli, Tommaso Cosco, Nao Nishihara, Phill Niblock and Carol Parkinson.
Katherine Liberovskaya is an intermedia artist based in New York City and Montreal, Canada. Involved in experimental video since the 80s, she has produced many single-channel videos, video installation works and video and music performances which have been presented at a wide variety of events and venues around the world. Among these: MOMA PS1 PrintShop NYC; The Duolun Museum and The Aurora Museum, Shanghai, China; The Museum of Arts and Design, NYC; The Bitola Museum, Macedonia (FYROM); The Tito Museum, Belgrade, Serbia; The Kyoto University Museum, Japan; The Serralves Contemporary Art Museum, Porto, Portugal; The Roskilde Museum of Contemporary Art, Denmark; The National Center for Contemporary Art, Moscow, Russia; The Beirut Art Center, Lebanon; The Contemporary Art Center Bunkier Sztuki, Krakow, Poland… Since 2001 her work predominantly focuses on collaborations with composers and sound artists. Frequent collaborators include Phill Niblock, Al Margolis/If,Bwana, Zanana, Kristin Norderval, Hitoshi Kojo, David Watson, David First and o.blaat (Keiko Uenishi). Since 2003 she has been exploring improvised video in live video+sound performance situations where her live visuals seek to create improvisatory “music” for the eyes. Over the years she has performed in concert with numerous artists including: Monique Buzzarte, Anne Wellmer, Tom Hamilton, Margarida Garcia, Manuel Mota, Anthony Coleman, Barry Weisblat, Mazen Kerbaj, murmer, Andre Gonçalves, Giuseppe Ielasi, Alessandro Bossetti, Andre Eric Letourneau, Jason Khan, Jim Bell, David Grollman, Doug Van Nort, among many others. Recent projects have involved: Anna Homler, Leslie Ross, Shelley Hirsch, Chantal Dumas, Richard Garet, Dorit Chrysler, Emilie Mouchous, Erin Sexton, Corinne Rene and Philippe Lauzier. Recent solo projects include: the intermedia installation “Muidebrugge Wave (Matisse/Haacke Blues)” (2015), and audiovisual installations “sonimaginations tissulaires” (2014), “NoizeBreeze” (2014), “Air-Play” (2013), “Amplifontana” (2012) and “Shines” (2008-09). Since the late 1980s she has received over 30 grants and arts awards in Canada, U.S.A. and France. Concurrently she curates and organizes the Screen Compositions evenings at Experimental Intermedia, NYC, since 2005 and, since 2006, the OptoSonic Tea salons with Ursula Scherrer at Diapason, NYC, and in various nomadic locations, in New York, North America and Europe, with OptoSonic Tea On the Road. In 2014 she completed a PhD in art practice entitled “Improvisatory Live Visuals: Playing Images Like a Musical Instrument”.
More information about Katherine and her work: