Taxi Argument by Sean Dower: track 71 on Open The Window
OPEN THE WINDOW
Linear Obsessional's third annual "open access" release is built around a simple premise:
Open your window and record two minutes of what you can hear, interacting with it live,
or editing and processing the recordings later. From this concept has emerged this 85 track,
2 hour 50 minute compilation of extraordinary recordings from all over the world.
Released December 24, 2015
Compiled and Edited by Richard Sanderson for Linear Obsessional recordings.
Download includes a 62 page PDF booklet of contributor notes, photographs and an essay.
Break it Down - Timothy Taylor Gallery, London. 2006
Sean Dower 'Live from the Studio' - broadcast to The Centre for Remote Possibilities, Matt's Gallery London on 20.11.14
Live 2 hour transmission of video and sound from the artist's studio in Deptford to a Futuro house situated on the roof of Matt's Gallery in Bow, East London.
The artist played emulated modular synths, mixed with live percussion and Electronic and Musique Concret records from the 60's and 70's.
The project was facilitated by artist Craig Barnes, whose renovated Futuro house was included in the exhibition 'Revolver II'.
Noise transmissions permeated with subterranean foreboding - recorded in
an arid landscape
on the edge of the Libyan Sea.
Sonofapup is the name given to electronic music projects by Sean Dower since 1995.
'Minotaur' is the third release by Sonofapup, following on from 'sɜrbərəs' (2001-2003)
and '1st Geneeration (1995-2000).
In contrast to the more physical percussion performances Dower makes, Sonofapup
produces sound in a more cerebral way, using hardware and software synthesis.
The music often involves the exploration of idiosyncratic and paranoid systems of logic.
The video is a walk around the exhibition The Voyeur, which combined sculpture,
photography and seemingly familiar objects with the technology of sound.
The audience had to move around the space to experience both the sculpture and
soundtrack. Much of the work drew parallels between modernity (and modern
technology) and more ancient philosophies.
The works included: photographs emitting sound from their surface, sound
diffusing sculptural reliefs, vibrating cabinets, a satellite dish projecting a beam
of sound, a floor drum resonating with noises, a long plastic curtain with white
noise cascading down it and a muffled voice, emanating from a tiny speaker
inside a glass, which was attached to a wall
During the exhibition, the artist performed on top of the 4.5m tall St Simeon's Drum
Riser (made of stacked pallets), whilst CCTV relayed a bird's eye view of the
performances down to ground level.
WHOOSH - Screenprints on aluminium for the lift at El Ganzo hotel Mexico.
Video documentation (43 seconds - silent)
WHOOSH - Onomatopoeic sound work for lift shaft - 2013
Fluorescent green screen prints on aluminium 1100 x 1100mm (5 panels)
One of several works commissioned during a residency at Hotel El Ganzo in
Puerto Los Cabos, Baja California Sur - Mexico.
Video interview for Mexican magazine Limulus "The paradox of sound" by Santiago Maza
THE LATE SHOWS AT BALTIC 39 (PROJECT SPACE)
SATURDAY 18 MAY 2013
DISCONNECTED (The left hand doesn’t know…)
Curated by Matt Calderwood and designed to be staged within his exhibition
Paper Over the Cracks at BALTIC 39, this event brings together a collection of film,
video and sound works by artists including Calderwood, Declan Clarke,
Sean Dower, Matt Crawley, Melanie Manchot, Tim Knowles and Paul
McDevitt. The works explored collapsing systems, relationships, devices and
machines, and broken communications.
Videos exhibited by Sean Dower (click on titles for links):
New digital realease of The Curfew Recordings (1984)
The Curfew Recordings 2013
The Curfew Recordings were made at a disused industrial site on the river Tyne in
1984. The on-site, improvised performances featured John Smith (then publisher of
Interchange magazine), Sean Dower (ex Death Magazine 52 & later of Bow Gamelan
Ensemble) and John Mylotte (of the band Metgumnebone).
The recordings were made inside a cylindrical, steel-plated silo (approximately 10m
tall and 26m in diameter). The structure was originally used for bitumen storage and
still had soft tar underfoot at the time of the recordings. The instrumentation is
acoustic and the tracks have not been processed, the reverb is entirely due to the
structure in which the performances were made. The performers worked by
candlelight (there was no electricity on site) and the material was captured using a
battery operated, portable cassette deck.
Instrumentation included: bull roarers, spirit whistles, human thy-bone trumpet,
chimes, pipes, gongs, flutes, drums, projectiles, scraped and bowed objects and other
materials (glass, metal, bones and wood).
This is the first digital transfer of the original tapes to become available.
CD on Harbinger Sound (Harbinger 110)
Bag of Blood: sound recording of '20 pieces of Silver' now online
Performance took place at Ikon East, Birmingham UK. 2007
The Voyeur: Sat 30th June 2012 - Sun 16th September 2012
De La Warr Pavilion. Marina, Bexhill, East Sussex. UK. TN40 1DP
For The Voyeur, Dower constructed a space where objects, images and live
performance interacted in the production and modification of sound.
Drawing inspiration from thinkers who radically question our understanding of
the physical world, such as Elizabethan alchemist and mathematician, John
Dee, French novelist Alan Robbe Grillet and the 5th Century mystic, Saint
Simeon of Stylites, the artist reconfigures the gallery space into a complex sound
system. Links between modernism, Dada and more ancient systems of thought
are explored, as is the perception of space through sound.
During the exhibition, Dower made 3 unique performances on top of the
towering St Simeon's drum riser, relayed back down to ground level via CCTV.
Click here to read an excerpt from an interview with Sean Dower by curator
Live performance on St Simeon's drum riser
cctv recording of performance #3 on 01.09.12 (full performance 11 mins) Installation images and information about The Voyeur
3 x performances during The Voyeur exhibition: #1 = 30.06.12 - #2 = 14.07.12 - #3 = 01.09.12
17.07.12 - Gallery Vela (festivela)
Videos 1988-1993 and performance of the Ultimate Brown Sound
Release of double vinyl disc of Death Magazine 52 on Harbinger Sound
1980's Black Country based 'underground/noise/Industrial' group Death Magazine 52
"Between 1982 and 1984 Death Magazine 52 played around 20 shows mostly within the
Black Country region of the U.K. Sometimes they played under the name Spontaneous
Human Combustion, which was the moniker they originally started out with. These
recordings capture the core group and its floating membership at various stages of their
existence. Recordings from the studio sessions and live sets, including playing to a
school hall full of teenage girls at 3pm one afternoon, and as the final band to play at the
legendary Equinox Event before the plugs got pulled and the police arrived. The
recordings are of a raw nature and should be considered as historical documentation."
The full DM52 story will appear in the magazine As Loud As Possible #2.
Ten photographs and digital audio recordings made at specific sites across London in 1997.
The recordings reflect localised sound culture and how this interacts with architecture,
technology and the natural world.
POWER AND LIGHT (снага и светлост) 1990
Black and white Super 8 film, transferred to video 2010 - 4 mins
Power and Light is a top to bottom, interior study of a derelict power station in Belgrade,
which was the site for live performance. Film and soundtrack by Sean Dower.
Exhibited in: TAPS - Improvisations with Paul Burwell - presented by Matt's Gallery.
02.06.10 - 20.11.10: KEEP ME POSTED
Group exhibition at POSTED - 67 Wilton Way, London E8 1BG
Thursday to Sunday, 11am – 5pm
Also by appointment: +44 (0)20 7923 2258 www.postedprojects.co.uk
12th June 2010 - Performance - A Blizzard of Noise (Donder op Dender) Netwerk Centre for Contemporary Art. Aalst, Belgium.
Sean Dower, Steve Noble and Richard Wilson
From simulacra to synaesthesia, from mirrorballs to memorials, from the golden age of sound proofing to the dark age of knitting patterns, from a range of toys for infantile adults to the kind of photographs you wouldn’t take to Boots to develop, from Cartman’s poop-inducing musical antics in South Park to the military use of acoustics for similar ends, from three artists mixing up their primary colours to the collective experience that is…Brown Noise.
Brown Noise is everywhere. It is the lowest random denominator. It is the background hum of ‘shit happening’. It is the iPod playlist you take to the bathroom. It is the tepid waft of the artists’ manifesto. It is a snapshot of our interests, profane and impure, pitched at the lower frequencies to disrupt the bowels of art & culture.
If Van Gogh hadn’t cut off his own ear, he might have heard the faint murmur of Brown Noise, telling him his gesture was in vain. If ‘Stendhal’s syndrome’ is the dizziness, panic, paranoia or madness caused by an overdose of ‘beautiful’ art, then its counterpart might well be the ‘out-there’ experience of Brown Noise, an inverted and shallow aesthetic of bowel emptying humour.
Emanating from the front space of an east-end recording studio, Brown Noise provides fast-acting, effective relief from the muted anality of Cultural institutions and the constipating effects of over-consumption. As the inaugural exhibition at the Maurice Einhardt Neu Gallery, Brown Noise adds a rumbling back-beat to the sounds otherwise associated with these premises.