Technique: speakers, amplifiers, CD player
Centre d'Art Neuchâtel
March 9–8, 2012
Before reaching the stairs which lead to CAN's main exhibition spaces, one walks through a long corridor of white walls and a continuous and deep droning tone pulsing from the building's ventilation system. As in Michael Asher's subtle environmental interventions, so to does Corridor deal with the idea of adding to and subtracting from this steady sound stream by inserting recordings of itself, at times louder than the room's drone, at times barely rising above. On each side of the corridor three speakers play back recordings I've made in the entrance corridor, creating a gradual ebb and flow with the building's sounds. Corridor works with the entrance corridor's sound environment, treating it like a sculptural object in a space: not only does the perspective of the space change with the slight variation on the sound being played over and along with the ventilation system drone but the sound itself becomes a sculptural element, like clay or stone being constantly and subtly molded and shaped in response to the complex and varying juxtaposition of the building's sounds and recordings of these sounds.