András Blazsek: Set my mind in motion
July 1., 8., 15., 2015

audiovisual performances by András Blazsek

The performance series entitled Set my mind in motion presents a cross-section of the artistic practice of András Blazsek. Blazsek graduated as a sculptor from the Hungarian University of Fine Arts (HUFA) though, recently he had been experimenting with the possibilities of creating sound-based environments and working on the blurring boundaries of art and science. As a postgraduate student at the Academy of Media Arts Cologne his focus firmly shifted towards multimedia and installation art.

Besides his solo practice, he is an active member of the group Unrated. The group was founded by the students of HUFA with the aim of working in collaboration on audio­visual and
sound based projects. Since 2007 the group presented numerous performances in Hungary and
in other European countries (Germany, Slovakia, the Czech Republic) and also organized the +3dB Contemporary Sound Art Festival twice promoting the intersection of visual art and mainly classical, electronic, electro-acoustic, conceptual, concrete and experimental genres of music in the form of lectures, workshops, performances and sound installations.

1 July (wed) 8 pm
AMIGZAJ-FIVE / VERSION (A History of Rife's Instruments and Frequencies)
live performance and short lecture

András Blazsek is obsessed with the life and scientific oeuvre of Royal Raymond Rife, an American inventor and early exponent of high-magnification time-lapse cine-micrography since several years. In the 1930s, Rife claimed that by using a specially designed optical microscope, he could observe microbes which were too small to visualize with previously existing technology. The performance that had already been presented once in Los Angeles in 2012 is based on the research works of scientist Royal R. Rife and his legacy. Starting from 1934, he experimented with audio frequency instruments in the La Jolla. He used them to tune to the vibration frequencies of certain viruses and bacterial diseases, and to kill them by applying corresponding electronic vibration to the living tissue.
For this performance Adrás Blazsek designed a home-made sound transmitter, which allows the sound coming from a digital oscillator to spread in space before it is modulated. This instrument may produce output interference (feedback). Hence, he had built a lead cage (a sort of Faraday cage), which can shield the audio frequencies existing in the exhibition space. By changing the sensitivity of the microphone built into the cage, the feedback can appear in the final output. The sound structure can also be modified with a frequency filter forming the last link in the chain. The choreography is based on systematic connections that are modified by any change in one of these parts, and thus determines the texture of the sound.

8 July (wed) 8 pm
live performance in collaboration with Márton Kristóf

The antecedent of the remix-installation entitled Pav sounds is Blazsek’s site-specific diploma work (Pavilion), that had in the past years been on display in the Kunsthalle Budapest and in Backstage Gallery. Pavilion reflected on the inextricable relation between sound and space by the aligned dynamics of a recording and a pick-up device: the sound of the space and the space of the sound merged and mingled while inevitably presupposing each other. Pavilion can be regarded as an experiment to transform three dimensional space into the world of vocal qualities: the architectural structure is therefore translated but instead of the visual or tactile scanning of it, a different way of perception comes in the forefront. Still, the installation does not primarily concentrate on the mapping of the walls and limits of the space - it rather encapsulates the movements, the sounds created by the movements and the drifts of frequencies occuring in the physical space.

The sonic elements featured in the installation are derived from microphones planted within two analog tape recorders. These devices, invented for the documentation, preservation and conservation of sound, are used to provide the ‘voices1 that play protagonist to the piece: streamed through a computer, the sounds are subtly manipulated and played back onto surrounding speakers, thus accentuating specific defining characteristics of the devices themselves. The resulting composition circles around the machines, situated at the center of a sculptural formation that consists of four speakers, two tape recorders and a small neon strip lamp on supporting structure.
In the frame of Pav sounds a new sound quality will come into being from the sounds, thrills and clamours recorded in former exhibition situations of the installation and we may witness the rearrangement of the relationships of closer and more distant exhibition spaces in Horizont Gallery

15 July (wed) 8 pm
co-author: Emily Verla Bovino
audiovisual performance

András Blazsek (1984) lives and works between Northwest Germany and Northwest Hungary; Emily Verla Bovino (1980) lives and works between Southern California and Southern Italy. Bovino and Blazsek collaborate virtually and have also shared physical studio space in a number of urban environments including Mexico City, Milan, Prague and San Diego.


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