HAMMER | ANVIL | STIRRUP

Wexford Arts Centre

Curated by Richard Carr in association with opengorey

Including works by: David Beattie, Richard Carr, Edgardo Rudnitzky and John Wynne

 

Kindly supported by:

 
 

Describing listening as a motile bond of entanglement, Salome Voegelin in her recent book ‘Listening to Noise & Silence: Towards a Philosophy of Sound Art’ puts forward that sound art must remain a strategy of listening rather than an instruction to hear. Referring to Maurice Merleau Ponty’s notion of being honeyed, a phenomenological approach to the world of perception, Voegelin proposes a criticality in listening, one of generative discovery through a fluid, fleeting sound-listener relationship. 

HAMMER ANVIL | STIRRUP presents the work of a key group of Irish and International artists whose current practices evoke a vitality and freshness in their engagement with concerns surrounding sound related artwork; from composition, physics and sculpture to noise, acousmatics and listening. Occupying both gallery spaces at Wexford Arts Centre, HAMMER | ANVIL | STIRRUP showcases the work of David Beattie [Ireland], Richard Carr [Ireland], Edgardo Rudnitzky [Argentina] and John Wynne [UK/Canada]. While each artist's work remains specific to their own motivations and impulses, they come together in this exhibition to enquire into notions of listening as a critical practice while embracing the curatorial implications of exhibiting a number of ‘sound works’ within a gallery context; noise, interference and conflicting autonomies.  

HAMMER | ANVIL | STIRRUP takes its name from the three smallest bones in the human body. Found in the middle ear; these bones perform as an interface between the inner and outer sonorous worlds. In a constant state of simultaneous reception and production, the Hammer, Anvil and Stirrup exist as both independent entities as well as an interconnected sonic system. Working on this premise, the exhibition aims to bring to the fore, enquiries into the practice of listening within the development of sound related art work and when exhibited, who, what or where does the sound belong. Through the combination of these works, the exhibition itself aims to act as a similar interface, generating its own internal logic and inviting you to enter its space and become entangled in the world around you.

HAMMER | ANVIL | STIRRUP includes a number of existing, but diverse sound works to form the basis of future conversation, investigation and discovery rather than commissioning new work to fit a tightly knit curatorial thread. The works bring divergent approaches to the notion of listening as a critical practice, investigate the role of listening outside of the term 'sound art' and invite prospective perspectives to its relevance going into the future.