Anni Albers, Josef Albers, Rose Kallal, Victoria Morton
24 March – 14 April 2012
The Hidden Noise is pleased to present the first exhibition in Scotland of New York based artist and musician Rose Kallal. A regular collaborator with artist/curator Mark Beasley she has presented her work including at Gavin Brown’s Enterprise, Lisa Cooley Gallery and MoMa PS1 Her work will be shown alongside paintings by Glasgow artist Victoria Morton and iconic works by Josef Albers and Anni Albers .
Kallal will be presenting a new 16mm film installation Implicate, Explicate, created especially for The Hidden Noise, with a soundtrack produced on modular synthesizers in collaboration with Mark Pilkington. The overlapping projections appropriate footage from sources as diverse as Brian De Palma’s documentary Dionysus to contemporary 3D simulations of fractals, as well as her own original footage.
Making reference the pioneering works of John Whitney, geometric forms appear in the work as having the potential to communicate universal symbolic meanings, whilst also alluding to the science of Cymatics and the visualization of sound. The ever- shifting cyclical nature of the film loops, along with the primordial, cosmic imagery and score imply the eternal process of transformation.
Victoria Morton’s ongoing concern with the relations of the body to time, movement and consciousness are explored in her paintings, performances and sculptural installations. The painting After Madam Butts (2010) is composed in sections influenced by Rajput miniatures, and uses drumheads as templates for some of the circular forms, whilst Useless Man (2005) takes its geometry from a clock face found in the artist’s home in Italy.
Anni Albers is one of the most celebrated textile artists of the 20th Century, however her exquisite screen prints, produced much later in her life, have often been overlooked. The dynamic prints elegantly explore the connections to colour and surface, creating illusory forms of geometric brilliance.
Both Anni and Josef Albers were pioneers of visual art, design and education, developing rigorous approaches to the exploration of form and colour, including their transcendental qualities. Joself Albers’ Exploration of the Square works, which he pursued until his death in 1976 have continued to profoundly influence art from the Op and Conceptual art movements of the sixties to the present day.
For the opening night on 23rd March, Rose Kallal and Mark Pilkington performed live at the gallery.
Rose Kallal is a NYC based 16mm film and sound performance and installation artist. Her live performances include multiple 16mm film loop installations with live sound using a variety of instruments that include analog synthesizers, guitar, drums, tape delay and occasional guest musicians – curator, writer Mark Beasley has done spoken word on multiple occasions, and Joe Denardo (Growing) on guitar recently for her Lady of the Lake performance at Ramiken Crucible Gallery, NYC. She has performed alongside Mick Harris (Napalm Death, Scorn) at both E:vent Gallery in London and Spike Island Art Center in Bristol UK as part of the Narcissus Trance exhibition which included a split 7” record (Rose Kallal Mobius Coil and Mick Harris/Karl O’Connor Untitled). Other performances include MoMA pop Rally event Blood Transfusion for a Ghost at PS1, and Barefoot in the Head for Performa.
Victoria Morton is based in Glasgow and Fossembrone, Italy. She has exhibited widely, most recently at the Isabella Stewart Gardner Museum, Boston and has a forthcoming exhibition at Il Capricorno, Venice She is also a musician and member of the band Muscles of Joy.
Anni Albers (1899 – 1994) attended the Bauhaus as a student in 1922 where she later met and married Josef Albers. After its closure in 1933, they moved to Black Mountain College where she taught until 1949. Her groundbreaking exhibition of textiles at the Museum of Modern Art, New York in 1949 was the first of its kind and toured from 1951 until 1953, establishing Albers as the most famous weaver of the day. Aside from her work in textiles she was an accomplished printmaker and made first prints in 1963 at the Tamarind Institute. From this point most of her time was devoted to the practices of lithography and screen printing.