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Catalog view is the alternative 2D representation of our 3D virtual art space. This page is friendly to assistive technologies and does not include decorative elements used in the 3D gallery.

Catalog:

/ˈtʊə.rɪst/ in your own home

ASTRO Opened June 22nd, 2022 View 3D Gallery
Poster image for /ˈtʊə.rɪst/ in your own home

Statement:

In this group exhibition, seven artists and one collective are reimagining their own personal, local or urban environments. Each of those navigate the complex interrelations between touring and dwelling of the familiar and the unfamiliar space, exploring home and not-home at the same time.

With what constitutes home, for the individual, becoming more and more complex; this exhibition is attempting to discover the common elements between touring mobilities and home practices.

This is above all a place for sauntering around and experiencing habitual spaces with new eyes. Either by questioning tourist practices of others, or becoming tourists ourselves, this is a place for all.

ˈ𝐭ʊə.𝐫ɪ𝐬𝐭/ 𝐢𝐧 𝐲𝐨𝐮𝐫 𝐨𝐰𝐧 𝐡𝐨𝐦𝐞 is a hybrid exhibition that comprises of two acts.

The first act takes place in a virtual setting and the second, will take place later in the year, in a physical space. This way different takes on the subject from separate artists can be accommodated, so a diverse archive of various experiences can be created.

The aim is for the works to be in conversation with each other and create a dialogue between the artists, their works and the audience, in which they are contemplating the multiple aspects of this complex theme.

We welcome you to tour this virtual world.

3D Environment Description:

Space has eight artworks from seven artists and one collective.Artists explore being tourists or other tourists. They reinvent home.

Artworks in this space:

The Roads Of Home The first thing that hit me hard Was the fresh, clean air The smells of home long forgotten Except those layered in my hair The roads were all so sparkling Akin to hotel floors I very suddenly longed for Those grubby roads from home The trees and plants so Beautifully pruned The flowers so radiant aglow So unlike our unruly wild flowers Just surviving on their own I’m so grateful ,I really am This new place is truly a blessing Then why does my heart pine away? Oh why this longing? This missing?

Me and my entertainment center 'mountainized' I

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center 'mountainized' I

Me and my entertainment center 'mountainized'II

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center 'mountainized'II

Me and my entertainment center ‘mountainized’III

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center ‘mountainized’III

Me and my entertainment center 'mountainized' IV

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center 'mountainized' IV

Me and my entertainment center 'mountainized' V

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center 'mountainized' V

Me and my entertainment center 'mountainized' VI

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center 'mountainized' VI

Me and my entertainment center 'mountainized' VII

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center 'mountainized' VII

Me and my entertainment center 'mountainized' VIII

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center 'mountainized' VIII

Me and my entertainment center 'mountainized' IX

César Cortés Vega
Me and my entertainment center 'mountainized' IX

Me and my entertainment center 'mountainized' X

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center 'mountainized' X

Me and my entertainment center 'mountainized' XI

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center 'mountainized' XI

Me and my entertainment center 'mountainized' XII

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center 'mountainized' XII

Me and my entertainment center 'mountainized' XIII

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center 'mountainized' XIII

Me and my entertainment center 'mountainized' XIV

César Cortés Vega

Life in confinement has forced us to rethink our inhabited spaces. What was once a common object has become the object of a certain friendly (and fetishistic) affiliation, as one of the things that accompanies us day to day. This is what happened to me with many elements of my everyday life: they began to be ritualised in an obsessive concentration of intimacy. The work that I present is based on one of those objects: a small “entertainment centre”, whose image I manipulated digitally. At the foot of my bed there was always an old radio and CD player, to which you can also add a device that plays mp3's. Every morning I listened to the news and some music on it before starting my daily routine... One day I got fed up with the confinement and went to the mountains to a place called “Amatlán de Quetzacóatl”, a small town about 90 kilometers from Mexico City. It is a site surrounded by hills of volcanic stone—wild and capricious compositions. There I began to make these “mountainous” digital interpretations of objects, captured in rendered photographs, as if they were hills on the horizon from which stars and strange animals peek out; rock formations, out of which colourful vegetation emerges from dreams, along with the possibility of life in motion after life at a standstill.

Me and my entertainment center 'mountainized' XIV

Blend I don’t want you staring at me, That awkwardness when you don’t understand, The tongue is yours but the accent’s mine It’s frustrating so I pretend to smile… Slowly now I roll my Rs Or silence them as you please, I’m learning how you emphasise the alphabet, I think I get it now, that gentle release.. For once I want to be understood Without having to repeat myself, To save myself some embarrassment, I teach myself how to blend… Blend in with your falsettos, The grammar, the letters, the sounds The phonetics of your language, My language, nowhere to be found

Transversal Dérive

Território de Rupturas

In search of new territorialities, poetically disobeying spatial logic, three artists, although separated physically, found themselves in a digital space and travelled through a path from Fortaleza/Brazil (from the Centro Cultural Dragão do Mar to the statue of Iracema Guardiã) to their own cities (Porto Alegre/BR, Farroupilha/BR and London/UK) without knowing exactly which street they will turn down, how long they will walk for or what will be the point of arrival equivalent to the “Iracema Guardiã” statue, offering themselves to the unpredictable.

Days at Mango Road 011

Ennuh Tiu

How much power does a place have over a person? What are its contributions in shaping someone’s identity? After almost 2 decades of my existence, circumstances of life led my Father, Mother and I away from my childhood home. A place that—while I may not have been particularly fond of it—was mine, ours. I’ve always been fond of our second home. The structure was a witness to my deepest secrets, intense desires, and darkest moments. Albeit coupled with two extremely profound losses, I’ve come to cherish the life, the growth I’ve experienced in its four corners. However, in recent years, there’s a darkness that’s been brewing slowly within—an invisible force in the walls. A gathering of dark clouds looming in the distance, an indication of a storm brewing. And now we once again find ourselves in the same situation—although this time, with only two of us left, it’s left a more bitter taste than the first time. We’re forced to confront the reality that the house we once called a home turned out to not be our home, after all. How could I have ignored the signs? Why do we have a fascination for things that are just a bit out of reach, things that can never be ours? Is it possible to grieve over something temporary, something you knew from the start would never be yours? This series is in remembrance of the decade spent at Mango Road. Photos taken from the early years up to the last. An ode to the place that witnessed happiness, grief, and everything in between. Saying goodbye and grieving for a place once called home.

Days at Mango Road 011

Days at Mango Road 010

Ennuh Tiu
Days at Mango Road 010

Days at Mango Road 08

Ennuh Tie
Days at Mango Road 08

Days at Mango Road 07

Ennuh Tiu
Days at Mango Road 07

Days at Mango Road 05

Ennuh Tiu
Days at Mango Road 05

Days at Mango Road 06

Ennuh Tiu
Days at Mango Road 06

Days at Mango Road 00

Ennuh Tiu

How much power does a place have over a person? What are its contributions in shaping someone’s identity? After almost 2 decades of my existence, circumstances of life led my Father, Mother and I away from my childhood home. A place that—while I may not have been particularly fond of it—was mine, ours. I’ve always been fond of our second home. The structure was a witness to my deepest secrets, intense desires, and darkest moments. Albeit coupled with two extremely profound losses, I’ve come to cherish the life, the growth I’ve experienced in its four corners. However, in recent years, there’s a darkness that’s been brewing slowly within—an invisible force in the walls. A gathering of dark clouds looming in the distance, an indication of a storm brewing. And now we once again find ourselves in the same situation—although this time, with only two of us left, it’s left a more bitter taste than the first time. We’re forced to confront the reality that the house we once called a home turned out to not be our home, after all. How could I have ignored the signs?

Days at Mango Road 00

Days at Mango Road 09

Ennuh Tiu
Days at Mango Road 09

Days at Mango Road 012

Ennuh Tiu
Days at Mango Road 012

Days at Mango Road 01

Ennuh Tiu
Days at Mango Road 01

Days at Mango Road 03

Ennuh Tiu
Days at Mango Road 03

Days at Mango Road 04

Ennuh Tiu
Days at Mango Road 04

Days at Mango Road 02

Ennuh Tiu
Days at Mango Road 02

Days at Mango Road 013

Ennuh Tiu
Days at Mango Road 013

Heading to Visual Paradise Park

Chia Ying Chou

Negative Scan / Giclee print 35cm × 32.5cm 2019 World Park

Heading to Visual Paradise Park

Speaking Snacks

Hannah Kim

Deferred Action for Childhood Arrivals (DACA) is a United States immigration policy that allows some individuals in the United States after being brought to the country as children to receive a renewable two-year period of deferred action from deportation and become eligible for an employment authorization document (work permit) in the U.S. The policy, an executive branch memorandum, was announced by President Barack Obama on June 15, 2012. In 2016, Donald Trump was elected President. With progressive immigration policies being redacted, the DACA program was cancelled leaving almost 800,000 people in immigration limbo. Immigrating to the US as a child, most of my South Korean culture was washed away. The little connection I have to my home country is now only through food. Living in the US as a DACA recipient, I can no longer return to South Korea without jeopardizing my status here in the US. Stuck between two very different cultures, all these snacks comforted me through uncertain times of cultural displacement and the ever-changing US immigration policies. Speaking Snacks is a representation of my favorite childhood snacks that got me through those hard times that every immigrant can relate to. Embellished using 3D printing methods and embroidery, these crocheted soft speakers will play aloud the old commercial advertisement jingles of each snack. The old packaging as well as the audio of the commercial jingles from the past aim to bring back playful memories of enjoying these snacks. As the years have gone by, most of these snacks have changed in one way or another. However, Speaking Snacks merge past and present using new technology and traditional textile techniques.

Oh! My Prince

Chia Ying Chou

Negative Scan / Giclee print 50cm × 35cm 2019 World Park - left Village - right

Oh! My Prince

Watering the Green Fabric in front of New Swan Stone Castle

Chia Ying Chou

Negative Scan/ Giclee print 45cm × 45cm 2019 World Park - Right Village - left

Watering the Green Fabric in front of New Swan Stone Castle

Umbrella Tree

Chia Ying Chou

Negative Scan / Giclee print 45cm × 40cm 2019 World Park - left Village - right

Umbrella Tree

Artistic Trash

Chia Ying Chou

Giclee print 50cm × 65cm 2019 World Park - left Village - right

Artistic Trash

Welcome to the Stonehenge in China / Welcome to the World Park

Chia Ying Chou

Welcome to the Stonehenge in China - Top Negative scan / Giclee print 50cm × 65cm 2019 World Park Welcome to the World Park - Bottom Negative scan / Giclee print 50cm × 65cm 2019 World Park

Welcome to the Stonehenge in China / Welcome to the World Park

Exposed Living Space / Market Hall

Chia Ying Chou

Exposed Living Space - Top Giclee print 50cm × 65cm 2019 Village Market Hall - Bottom Giclee print 50cm × 65cm 2019 Village

Exposed Living Space / Market Hall

Hey! Lincoln Freedom / Oh! I am Stuck

Chia Ying Chou

Hey! Lincoln Freedom - Top Giclee print 37.5cm × 25cm 2019 World Park Oh! I am Stuck - Bottom Giclee print 37.5cm × 25cm 2019 Village A signboard written on the slogan “ Civilized World for Happiness”

Hey! Lincoln Freedom / Oh! I am Stuck

Arc de triomphe de La Tour Eiffel

Chia Ying Chou

Giclee print 37.5cm × 25cm 2019 World Park

Arc de triomphe de La Tour Eiffel

Landmarks

Chia Ying Chou

Giclee print 20cm × 55cm 2019 World Park - right VIllage - left

Landmarks

The Ruin

Chia Ying Chou

Giclee print 50cm × 65cm 2019 World Park - top VIllage - bottom

The Ruin

Home

Yiwei Zhao

The video comprises footage and sound clips from the artist’s life in Berlin over the past 2 years (she arrived several months after the lockdown). This is interspersed with images of Beijing neighbours, and juxtaposed with a recording of Beijing opera and the thundering noise of cicadas. The endeavour to trace the previous home was recorded from the very beginning, but it soon unfolded into something else. This is the journey of me orienting myself in the landscape of the new home, marked by memories and dreams of the previous home.

Fabula - Between First and Second Houses, Parallel Mind

Mane Hovhannisyan

In the "Fabula" cycle, home is a movable category. The cycle consists of two parts: the first part was shot in 2017, while the artist was a guest at the couple’s own home. The second part was shot in 2019, in a rented apartment, which was only their home for a short period. The artist believes that different psychodynamic layers emerge depending on whether a subject is photographed in their own or in another home.

Fabula - Between First and Second Houses, Parallel Mind

Fabula

Mane Hovhannisyan

First House 1. Time Distortion 2. Cinematography 3. Multiple consciousness 4. Mode of Life. Just playing the game 5. Home walk by invisible traces 6. Dada Dinner

Fabula

Mane Hovhannisyan

Second House 1. Dissolution 2. Polyphony 3. The Rope of Realities 4. Opening mind-doors to the new reality 5. Hide and Seek 6. Analogue Kitchen 7. Hidden faces, hidden corners, hidden rooms…. 8. Magic reverence

Fabula - Sound Installation

Theatrum phonosophicum (Leopoldo SIano & Shushan Hyusnunts)

This sound installation is conceived especially for Mane Hovhannisyan's photo cycle called "Fabula" (2017-2018). The sound material that was used comes from field recordings from two houses where they worked together with Mane. The installation takes place during the exhibition of the photo cycle as a soft acoustic ground. Theatrum phonosophicum (Leopoldo SIano & Shushan Hyusnunts)

Fabula - Sound Installation