Transmutate: Michelle Doyle (Syncopathy)

Transmutate: Michelle Doyle (Syncopathy)

06th Jul 2013 - 11th Jul 2013

Sunday 2-6
Monday- Thursday 12-6
Closing event 7pm Thurs 11th

Transmutate

Transmutate is the fourth and final part of the Syncopathy series. Exploring both past aural sounds from Stoneybatter and present soundscapes, this broadcast will weave a changing history in the ownership of space.

A set of tapes from an early-90s Stoneybatter radio station, which utilised the public space of radio for non-commercial use, will play on a loop for a number of days. During this continuous loop the tape will warp and change, eventually becoming a mass of noise. This process will be broadcast to a number of receiving radios throughout the gallery, becoming an aural monument to both the station and to the potential; some would argue now lost, of this parasited medium.

The act of revisiting spaces that were important to the station will become a transmutating audio tour, experienced individually by each participant in the gallery.

Michelle Doyle’s role in her art practice is that of an editor. She finds pre-existing texts, films and sounds and reconfigures them. This comes from the belief that enough things have been made in the world and we need to reconfigure what already exists. The ‘edits’ investigate our relationship with technology and whether technology has helped us progress. Humans replicate the parameters imposed on them by mass consumption; they themselves can be bought and sold. The Trial (2012) questions the commoditisation of humans who become scientific experiments for monetary gain, becoming objects who are reduced to demographics, facts and figures. Go Home (2012) considers how the fast-paced speed of the Internet has democratised the ownership of a particular songs freeing it from all tangible meaning and history to become a tool in reinforcing colonial attitudes. Email Scams (2013) silences a caller on a radio show to highlight the empty promise of distributed power through radio. Finally, her degree show work, a radio installation surrounding a film, Radio Is My Bomb (2013), looks at the peculiar world of domestic pirate-radio broadcasts. Using a binaural interview in which pirate radio veteran Margaretta D’arcy reviews her mileage of taped broadcasts from her home, the film investigates the democracy of space in the home and on the airwaves.

Contained within Michelle’s work is an interest in progress, humanity, history and technology. Materials are manipulated and art objects are re-arranged or muted.

_____________________________________________

‘Syncopathy’ is a month long curatorial residency by Ruth Clinton and Niamh Moriarty, as part of the Invited Curators Series. Ruth and Niamh have been working collaboratively, both as artists and curators, since graduating from NCAD in 2010. Their practice encompasses performance, video, sound installation and storytelling, along with a detailed research process to convey visions of temporality and eternity.

http://thejoinery.org/events/syncopathy

Transmutate Transmutate is the fourth and final part of the Syncopathy series. Exploring both past aural sounds from Stoneybatter and present soundscapes, this broadcast will weave a changing history in the ownership of space. A set of tapes from an early-90s Stoneybatter radio station, which utilised the public space of radio for non-commercial use, will play on a loop for a number of days. During this continuous loop the tape will warp and change, eventually becoming a mass of noise. This process will be broadcast to a number of receiving radios throughout the gallery, becoming an aural monument to both the station and to the potential; some would argue now lost, of this parasited medium. The act of revisiting spaces that were important to the station will become a transmutating audio tour, experienced individually by each participant in the gallery. Michelle Doyle’s role in her art practice is that of an editor. She finds pre-existing texts, films and sounds and reconfigures them. This comes from the belief that enough things have been made in the world and we need to reconfigure what already exists. The ‘edits’ investigate our relationship with technology and whether technology has helped us progress. Humans replicate the parameters imposed on them by mass consumption; they themselves can be bought and sold. The Trial (2012) questions the commoditisation of humans who become scientific experiments for monetary gain, becoming objects who are reduced to demographics, facts and figures. Go Home (2012) considers how the fast-paced speed of the Internet has democratised the ownership of a particular songs freeing it from all tangible meaning and history to become a tool in reinforcing colonial attitudes. Email Scams (2013) silences a caller on a radio show to highlight the empty promise of distributed power through radio. Finally, her degree show work, a radio installation surrounding a film, Radio Is My Bomb (2013), looks at the peculiar world of domestic pirate-radio broadcasts. Using a binaural interview in which pirate radio veteran Margaretta D’arcy reviews her mileage of taped broadcasts from her home, the film investigates the democracy of space in the home and on the airwaves. Contained within Michelle’s work is an interest in progress, humanity, history and technology. Materials are manipulated and art objects are re-arranged or muted. _____________________________________________ ‘Syncopathy’ is a month long curatorial residency by Ruth Clinton and Niamh Moriarty, as part of the Invited Curators Series. Ruth and Niamh have been working collaboratively, both as artists and curators, since graduating from NCAD in 2010. Their practice encompasses performance, video, sound installation and storytelling, along with a detailed research process to convey visions of temporality and eternity. "http://thejoinery.org/events/syncopathy":http://thejoinery.org/events/syncopathy Transmutate Transmutate is the fourth and final part of the Syncopathy series. Exploring both past aural sounds from Stoneybatter and present soundscapes, this broadcast will weave a changing history in the ownership of space. A set of tapes from an early-90s Stoneybatter radio station, which utilised the public space of radio for non-commercial use, will play on a loop for a number of days. During this continuous loop the tape will warp and change, eventually becoming a mass of noise. This process will be broadcast to a number of receiving radios throughout the gallery, becoming an aural monument to both the station and to the potential; some would argue now lost, of this parasited medium. The act of revisiting spaces that were important to the station will become a transmutating audio tour, experienced individually by each participant in the gallery. Michelle Doyle’s role in her art practice is that of an editor. She finds pre-existing texts, films and sounds and reconfigures them. This comes from the belief that enough things have been made in the world and we need to reconfigure what already exists. The ‘edits’ investigate our relationship with technology and whether technology has helped us progress. Humans replicate the parameters imposed on them by mass consumption; they themselves can be bought and sold. The Trial (2012) questions the commoditisation of humans who become scientific experiments for monetary gain, becoming objects who are reduced to demographics, facts and figures. Go Home (2012) considers how the fast-paced speed of the Internet has democratised the ownership of a particular songs freeing it from all tangible meaning and history to become a tool in reinforcing colonial attitudes. Email Scams (2013) silences a caller on a radio show to highlight the empty promise of distributed power through radio. Finally, her degree show work, a radio installation surrounding a film, Radio Is My Bomb (2013), looks at the peculiar world of domestic pirate-radio broadcasts. Using a binaural interview in which pirate radio veteran Margaretta D’arcy reviews her mileage of taped broadcasts from her home, the film investigates the democracy of space in the home and on the airwaves. Contained within Michelle’s work is an interest in progress, humanity, history and technology. Materials are manipulated and art objects are re-arranged or muted. _____________________________________________ ‘Syncopathy’ is a month long curatorial residency by Ruth Clinton and Niamh Moriarty, as part of the Invited Curators Series. Ruth and Niamh have been working collaboratively, both as artists and curators, since graduating from NCAD in 2010. Their practice encompasses performance, video, sound installation and storytelling, along with a detailed research process to convey visions of temporality and eternity. "http://thejoinery.org/events/syncopathy":http://thejoinery.org/events/syncopathy
Transmutate Transmutate is the fourth and final part of the Syncopathy series. Exploring both past aural sounds from Stoneybatter and present soundscapes, this broadcast will weave a changing history in the ownership of space. A set of tapes from an early-90s Stoneybatter radio station, which utilised the public space of radio for non-commercial use, will play on a loop for a number of days. During this continuous loop the tape will warp and change, eventually becoming a mass of noise. This process will be broadcast to a number of receiving radios throughout the gallery, becoming an aural monument to both the station and to the potential; some would argue now lost, of this parasited medium. The act of revisiting spaces that were important to the station will become a transmutating audio tour, experienced individually by each participant in the gallery. Michelle Doyle’s role in her art practice is that of an editor. She finds pre-existing texts, films and sounds and reconfigures them. This comes from the belief that enough things have been made in the world and we need to reconfigure what already exists. The ‘edits’ investigate our relationship with technology and whether technology has helped us progress. Humans replicate the parameters imposed on them by mass consumption; they themselves can be bought and sold. The Trial (2012) questions the commoditisation of humans who become scientific experiments for monetary gain, becoming objects who are reduced to demographics, facts and figures. Go Home (2012) considers how the fast-paced speed of the Internet has democratised the ownership of a particular songs freeing it from all tangible meaning and history to become a tool in reinforcing colonial attitudes. Email Scams (2013) silences a caller on a radio show to highlight the empty promise of distributed power through radio. Finally, her degree show work, a radio installation surrounding a film, Radio Is My Bomb (2013), looks at the peculiar world of domestic pirate-radio broadcasts. Using a binaural interview in which pirate radio veteran Margaretta D’arcy reviews her mileage of taped broadcasts from her home, the film investigates the democracy of space in the home and on the airwaves. Contained within Michelle’s work is an interest in progress, humanity, history and technology. Materials are manipulated and art objects are re-arranged or muted. _____________________________________________ ‘Syncopathy’ is a month long curatorial residency by Ruth Clinton and Niamh Moriarty, as part of the Invited Curators Series. Ruth and Niamh have been working collaboratively, both as artists and curators, since graduating from NCAD in 2010. Their practice encompasses performance, video, sound installation and storytelling, along with a detailed research process to convey visions of temporality and eternity. "http://thejoinery.org/events/syncopathy":http://thejoinery.org/events/syncopathy Transmutate Transmutate is the fourth and final part of the Syncopathy series. Exploring both past aural sounds from Stoneybatter and present soundscapes, this broadcast will weave a changing history in the ownership of space. A set of tapes from an early-90s Stoneybatter radio station, which utilised the public space of radio for non-commercial use, will play on a loop for a number of days. During this continuous loop the tape will warp and change, eventually becoming a mass of noise. This process will be broadcast to a number of receiving radios throughout the gallery, becoming an aural monument to both the station and to the potential; some would argue now lost, of this parasited medium. The act of revisiting spaces that were important to the station will become a transmutating audio tour, experienced individually by each participant in the gallery. Michelle Doyle’s role in her art practice is that of an editor. She finds pre-existing texts, films and sounds and reconfigures them. This comes from the belief that enough things have been made in the world and we need to reconfigure what already exists. The ‘edits’ investigate our relationship with technology and whether technology has helped us progress. Humans replicate the parameters imposed on them by mass consumption; they themselves can be bought and sold. The Trial (2012) questions the commoditisation of humans who become scientific experiments for monetary gain, becoming objects who are reduced to demographics, facts and figures. Go Home (2012) considers how the fast-paced speed of the Internet has democratised the ownership of a particular songs freeing it from all tangible meaning and history to become a tool in reinforcing colonial attitudes. Email Scams (2013) silences a caller on a radio show to highlight the empty promise of distributed power through radio. Finally, her degree show work, a radio installation surrounding a film, Radio Is My Bomb (2013), looks at the peculiar world of domestic pirate-radio broadcasts. Using a binaural interview in which pirate radio veteran Margaretta D’arcy reviews her mileage of taped broadcasts from her home, the film investigates the democracy of space in the home and on the airwaves. Contained within Michelle’s work is an interest in progress, humanity, history and technology. Materials are manipulated and art objects are re-arranged or muted. _____________________________________________ ‘Syncopathy’ is a month long curatorial residency by Ruth Clinton and Niamh Moriarty, as part of the Invited Curators Series. Ruth and Niamh have been working collaboratively, both as artists and curators, since graduating from NCAD in 2010. Their practice encompasses performance, video, sound installation and storytelling, along with a detailed research process to convey visions of temporality and eternity. "http://thejoinery.org/events/syncopathy":http://thejoinery.org/events/syncopathy Transmutate Transmutate is the fourth and final part of the Syncopathy series. Exploring both past aural sounds from Stoneybatter and present soundscapes, this broadcast will weave a changing history in the ownership of space. A set of tapes from an early-90s Stoneybatter radio station, which utilised the public space of radio for non-commercial use, will play on a loop for a number of days. During this continuous loop the tape will warp and change, eventually becoming a mass of noise. This process will be broadcast to a number of receiving radios throughout the gallery, becoming an aural monument to both the station and to the potential; some would argue now lost, of this parasited medium. The act of revisiting spaces that were important to the station will become a transmutating audio tour, experienced individually by each participant in the gallery. Michelle Doyle’s role in her art practice is that of an editor. She finds pre-existing texts, films and sounds and reconfigures them. This comes from the belief that enough things have been made in the world and we need to reconfigure what already exists. The ‘edits’ investigate our relationship with technology and whether technology has helped us progress. Humans replicate the parameters imposed on them by mass consumption; they themselves can be bought and sold. The Trial (2012) questions the commoditisation of humans who become scientific experiments for monetary gain, becoming objects who are reduced to demographics, facts and figures. Go Home (2012) considers how the fast-paced speed of the Internet has democratised the ownership of a particular songs freeing it from all tangible meaning and history to become a tool in reinforcing colonial attitudes. Email Scams (2013) silences a caller on a radio show to highlight the empty promise of distributed power through radio. Finally, her degree show work, a radio installation surrounding a film, Radio Is My Bomb (2013), looks at the peculiar world of domestic pirate-radio broadcasts. Using a binaural interview in which pirate radio veteran Margaretta D’arcy reviews her mileage of taped broadcasts from her home, the film investigates the democracy of space in the home and on the airwaves. Contained within Michelle’s work is an interest in progress, humanity, history and technology. Materials are manipulated and art objects are re-arranged or muted. _____________________________________________ ‘Syncopathy’ is a month long curatorial residency by Ruth Clinton and Niamh Moriarty, as part of the Invited Curators Series. Ruth and Niamh have been working collaboratively, both as artists and curators, since graduating from NCAD in 2010. Their practice encompasses performance, video, sound installation and storytelling, along with a detailed research process to convey visions of temporality and eternity. "http://thejoinery.org/events/syncopathy":http://thejoinery.org/events/syncopathy