Liquid Architecture and the IMA present special Brisbane performances by French artist Félicia Atkinson and Taiwanese artist Fujui Wang in the space of the first-ever survey exhibition by brilliant Brisbane-based artist and musician, Ross Manning.
Parisian-born Félicia Atkinson is a visual artist, an experimental musician and the co-publisher of the independent imprint Shelter Press/curatorial platform Argument with Bartolomé Sanson. Her work deals with the topics of improvisation, fiction, instant composition, noise, abstraction and poetry. Her music is composed of concrete music, asmr voices, electronics, field recordings, improvisation with guitar and piano, abstract distortions and infra bass.
At the IMA, Félicia will present a new work for voice, electronics and found sounds called Vermillion which responds to the exhibition Future Eaters by drawing on J. G Ballard’s collection of essays Vermillion Sands (1971). Rooted in her experiences of deserts this live set will be escapist, textual and at times concrete.
Félicia’s recent album Hand in Hand has generated a great deal of curiosity, excitement and intrigue, with Fact Magazine writing “the dying bleat of obsolete technology, the crack and stutter of her own voice, the atonal clatter of intuitively-played instruments – and sculpts them into flawless vignettes that lodge themselves deep in the psyche. Like the dystopian science fiction it references, Hand in Hand is bewitching, intense, meditative and at times, deeply unsettling.”
Fujui Wang is a pioneering Taiwanese artist working with sound who has presented internationally for over 20 years including at the Taiwanese Pavilion, Venice Biennale 2011. In 1993 he founded the country’s first experimental record label and publication, Noise, and today he is an Assistant Professor of New Media Art at the Taipei National University of the Arts. In 2011, with Yi Lu, he established Soundwatch Studio, a Taipei-based space for the exhibition, performance and renovation of experimental audio art.
At the IMA, Fujui will present, Hyper Transmission, a synthesis of immersive soundscapes and visual noise that seeks to ‘expand the invisible void with a silent glow’. Hyper Transmission employs kinetic hypersonic speakers, ultra-directional and tightly-controlled audio beams that travel to the audience’s ears like lasers refracting between mirrors. These amorphous noise sound waves are simultaneously captured in real time and magnified as static images.