Open Interval

Sound Installation


Ciprian Ciuclea is an artist concerned with the relationship between image, object, art and sensibility. I love Bach (Calina Gallery, Timisoara, 2009) and Descriptio (Brukenthal National Museum, 2009) are two important exhibitions that offered, even then, coordinates of his visual universe, repeated at different scale, in another context and with seemingly other theoretical interests in more recent exhibitions, as The consequences of the object's interpretation process on an objective look (Recycle Nest Gallery, Bucharest, 2010) and Erosion|after continental drift theory (Spatiul Platforma, National Museum of Contemporary Art, Bucharest). They fall under a broader research interest that the artist devoted for years, through exhibitions like these, to the relationship between art and science. Art sensory is presented with consistent incursions in science. Therefore, all his projects are technological, based on apparatus (as main character of the exhibit) and on mathematics, physics, optics or chemistry. The Open Interval project is in this line, retrieving an old concern of the artist for sensorial sound recording. This is why Open Interval is a large, elaborate sound system. Relying on the well-known algebraic notion, the sound played in the exhibition space will physically create the reality of a formula that otherwise remains abstract. What does it mean to produce and perceive an open interval through sound waves? The particularity of the exhibition is that the sound will be spread and physically recorded first through image (the first part of the exhibit: audio-video installation), and then it will become the protagonist (the second part: sound installation). Ciprian Ciuclea’s project proposes an immersive, ambiental, diffuse environment, a conceptual sound atmosphere that is completely reshaping the physical aspects of the space and creates the context of a special perceptual experience. Open interval develops as a mathematical proof visually translated on two levels. The entrance into the space coincides with the entrance in the first part of the exhibition. The representation of the well-known algebraic concept, the interval, takes here the form of an environment constructed in such a way that, at first sight, the installation doubles the space of the building. As a spectator, you see how such a box-structure placed in the axis of the two symmetrical rooms of the space gives you the perspec- tive of a distance/spatial absences that needs to be measured. This is one of the pos- sible definitions, in visual terms, of the interval. Two paired video monitors audibly translate the interval. The actors in the video images, the artist and curator, become bearers of a sound that describes, through their movement, a circular path of interaction with the viewer: alternately, the sound approaches him becoming from a simple, random wave, an intelligible articulation and then leaves him, becoming again a sound wave without a receptor. Through the sound in the image, the installation space pulsates, expands and compresses as a closed interval, bounded, which opens rhythmically. Descending in the basement of the space, the second part of the exhibition will be completely overtaken by the sound, which becomes the protagonist of the installa- tion. The image disappears and leaves room to an environment created just by the impact of sound waves on the hearing of those entering. Having the source placed along the walls, the sound traverses the space of the interval and defines it. However, propagated to its limits, to the wall, it really breaks outside the interval and bounces back inside, from the wall, to provide auditory evidence of the opening. (Adriana Oprea)

TThe project was presented at Aiurart Contemporary Ar Space, Bucharest (26.06 – 22.08.2014), Curator: Adriana Oprea