Curator
DETALLES DEL PROYECTO
Ambient sound is all around us, from buzzing insects to airplanes overhead. Our days are filled with noises, yet there is so much more we cannot hear. Animals, for instance, can pick up lower and higher frequencies than humans, and each animal has its own hearing range. In the exhibition “For the Animals,” artist Tania Candiani collaborated with electronic musicians to create experimental musical scores intended as lullabies for the bobcat, Mexican grey wolf, coyote, red fox, javelina, jaguar, kit fox and coati at frequencies audible to each animal. The lullabies were played at the Southwest Wildlife Center in Scottsdale and in the wild at Buenos Aires National Wildlife Refuge and Picacho Peak State Park in Arizona. These animals are indigenous to our local Sonoran Desert region, which covers 100,000 square miles spanning California, Arizona and most of the states of Sonora and Baja California, Mexico. With this artistic and sonic gesture, Candiani brings awareness to the plight of these animals should a border wall be built to prevent their ancient migration patterns in their native
region.
“For the Animals” tests the physical, environmental and social boundaries between nature and culture by creating artworks that approaches land, animals, technology and sound. The origin of this exhibition began as a conversation in 2015 between ASU Art Museum curator Julio César Morales and Tania Candiani. ASU Art Museum invited her to our International Artist Residency Program where artists are given space and time to create artworks inspired by our region and take advantage of the breadth of resources ASU, the largest public research university in the country has to offer. A trip to Papago Park and its natural rock formation, the Hole in the Rock (just three miles northwest of the museum), served as the initial inspiration for the exhibition. Candiani’s first impression of this geological formation was that it looked like a speaker. She decided to use the Hole in the Rock as a means to communicate with the indigenous animals of the desert. The exhibition includes videos, drawings, ephemera and sculptural sound pieces that will translate the lullabies for the animals into a visual language for our audience.
Julio César Morales. ASU Art Museum Curator.
“For the Animals” was Produced by ASU Art Museum, and Supported by The Andy Warhol Foundation for the Visual Arts, the Diane and Bruce Halle Foundation, Baltu Technologies Inc., Kristin Bauer and Emmett Potter, Urban Plough LLC and the Southwest Wildlife Conservation Center. Community partners include Desert Botanical Gardens, Kim Carr, Lesile Garcia, Cristóbal Martínez, Mike Nolan and Garth Paine.
Data sheet
Credits
DETALLES DEL PROYECTO
This audiovisual montage is the result of a collaborative effort between Candiani and sound artists, researchers and scientists in which they configure an acoustic landscape and a visual poem with fragments of texts by R. Murray Schafer, Bernie Krause and Brandon LaBelle. The mixture of videos, stills, voices, animal sounds and echos produced by rock formations creates a synesthetic experience that invites us to reflect on the sensory spaces we share with other species. The piece is framed by Candiani’s research into acoustic ecology, our auditory limits and the way we relate to our environment. The artist created experimental musical scores designed to be lullabies for lynxes, Mexican gray wolves, coyotes, red foxes, wild boars, kit foxes and coatis, all native to Sonoran Desert, which covers 100,000 square miles in California, Arizona and most of the Mexican states of Sonora and Baja California. Each of these animals has its own hearing range, understanding frequencies both lower and higher than human hearing. The video immerses us in the imbricated relationship between natural phenomena and forms of sentient communication, from bird and whale songs to more abstracted forms of human representation, such as the descriptive systems implicated in texts and diagrams, leading us to ask an urgent question: As animals inhabit a world that we also occupy, change, and oftentimes destroy, can we alter our senses and our cognitive dominance to give space to their ways of making meaning?
Data sheet
Credits
DETALLES DEL PROYECTO
Tania Candiani was inspired by her visit to Hole in the Rock, a natural geological formation in Phoenix’s Papago Park. She wondered how she might create sound- based experiences from the site. Specifically, she desired to produce a concert for the animals of the Sonoran Desert. To compose the concert, she went to Hole in the Rock with a portable weather station and measured the temperature, wind speed, humidity and atmospheric pressure of the geological formation and then converted the data (zeros and ones) into musical tones. Candiani partnered with Baltu Studios, a Phoenix-based virtual reality and immersive technology company and Leslie Garcia, a Mexico City-based electronic musician. The musical tones comprise an 8-minute electronic composition you can listen to here.
The artist later returned to Hole in the Rock with the musical composition and performed this live for the animals. During her performance, Candiani used custom technology (called Pecutor) allowing her to use the rocks as input sources that created a pulsating tapping on the rock’s surface. The tapping from the different inputs created rhythms that the artist used to remix the 8-minute musical composition.
Data Sheet
Credits
DETALLES DEL PROYECTO
Candiani worked with Mexico-based sound and technology collective Interspecifics to develop a sculptural video, sound and data gathering recording system called Scout Station that was made with custom software and hardware.
Scouting Station seeks to attract mammals by emitting an audible call (sounds) in a frequency range they can hear. The calls were generated using data collected from the Hole in the Rock formation. This information was translated into four musical electronic compositions by Microhm (Leslie Garcia).
Scout Station also collects data on its surroundings through four thermal detectors oriented towards north, east, south and west locations.
When motion detectors perceive movement, the software is able to scan and identify any animals. If an endangered species is found, a video recording is made along with data of the immediate surroundings. All data is stored in log files that along with the video and sounds are saved onto USB drives. This information helps track the movement and migration patterns of endangered species.
Data sheet
Credits
DETALLES DEL PROYECTO
The Hohokam tribe used the Hole in the Rock as a sun watch station. They tracked the position of the sun’s rays on the chamber floor throughout the year and marked the summer solstice and equinoxes by grinding a mark where the light fell with a denser stone. What makes Hole in the Rock special is its prominence in the desert landscape — its deep color, its stubborn resistance to weathering and erosion, and the physical phenomenon called tafoni, that has carved all of those holes and windows into the rock.* Candiani’s research methodology can be regarded as an artist-anthropologist questioning conventional notions of sight and sound through experimentation in sculpture, sound, language and science. Candiani was interested in the historical aspects of Hole in the Rock as well as its physical form. She also realized the Phoenix Zoo was next door and that the Sonoran animal habitat was clearly seen from inside the Hole in the Rock.
data sheet
Credits
DETALLES DEL PROYECTO
How do we hear them?” –Tania Candiani
Candiani was interested in scientific illustrations that traditionally depict the anatomy of animals. Influenced by the early aesthetics of various illustrators of different time periods, the drawings were meticulously rendered using the same techniques. They illustrate how each animal hears and feature details of each animal’s eardrum, as well as the wavelength of the animals’ hearing frequencies.
The coatí, javelina, wolf and ocelot are influenced by the work and in the style of Flemish naturalist, humanist and mineralogist Anselmus Boëtius de Boodt (1550–1632).
The fox is influenced by the work and in the style of English sculptor and natural history artist Benjamin Waterhouse Hawkins (1807–1894).
The coyote is influenced by the work and in the style of American ornithologist, naturalist and painter John James Audubon (1785–1851).
Data sheet
credits
DETALLES DEL PROYECTO
“Hole in the Rock Etchings” are four portraits of the geological formation. Candiani took images of the Hole in the Rock and worked with master printer and ASU professor Mary Hood in Herberger Institute’s School of Art, with printmaking students Daniella Napolitano and Karen Nazario to produce the prints and the copper plates. The copper plates double as records when played with Candiani’s “Engraving Sound” system.