ChertLüdde

Token Took

Token took from Love lyric long
Pause, a moment to hear new song

To take a print, to project an image and to sing - is plausible when the story is begun with difference.

Authorship, order, composition and collection, estimated, shaken and concluded.

From a book to a walk: a walk along a promenade, documentary photography superimposed becomes fictive.
The book: Vanity Fair by Thackeray.

The Immortal by Borges – a short story heard, in the oral tradition; a film of the same name. A film, documenting a former military secret service school in Germany. Heroism/terrorism - being locked up by yourself - no way to escape yourself. Sound of marbles resonate, delineating an Escheresque scape.

Where perspectives are fractured there is sound. Sounding ends when the space turns into surface - the limits of pictorial space delineate the limits of real space.

Sound of a Cello - Beatrice Harrison and nightingales, a map,
a champagne flute, Richard Foreman reads Island poem, waves landing on a shore – records. Records with two sided stories. With two hands the flute is played on photographic paper - percussion instrument makes “Champagne pop” on record its final moment ends as the sound of chrome paint sprayed.

The distance is the time it takes to the centre, like painting the surface of an island.

Cuts in canvas on an end wall, time and space marked by waves -
shadows/prints.
Where perspectives are fractured colour can resound. To fill a place with sound and form, loud enough to echo.

Narration overlaid - Lai is played. Marie de France heard, not seen. Legs lead to the final scene - once again a print is taken;
Token Took.



///

Susanne Bürner, b. 1970, Germany, lives and works Berlin and London.
Currently participating in the residency of the Berlin Senate in collaboration with Studio Voltaire. Artist’s publication LEAVES will be released at South London Gallery in February 2011.
Recent exhibitions include: The Miller and the Sweep, Permanent Gallery Brighton and Fan Club, Grundy Art Gallery Blackpool.

Morten Norbye Halvorsen, b. 1980, Norway, lives and works Paris.
Currently participating in Le Pavillon, Residency program at Palais de Tokyo.
Recent exhibitions include: Repetition Island, Centre Pompidou, Paris and the Clifford Irving Show, Objectif Exhibitions, Antwerp, both curated by Raimundas Malasauskas.

Jessica Warboys, b. 1977, UK lives and works London and Paris.
Recent exhibitions include: Ballad of the Green Hoop, South London Gallery and Les Vagues, Frac, Pays de la Loire.
Upcoming solo exhibitions include: A l’étage, Satellite 4, Jeu de Paume,curated by Raimundas Malasauskas and Crédac, Ivry, Paris. Next Group Exhibition: Dublin Contemporary 2011, Dublin, directed by Rachael Thomas.



///

Record list:

The records on the table are available for listening on headphones.
All the records are 33rpm.

Record 1, Beatrice Harrison 2008
Collaboration between Morten Norbye Halvorsen and Jessica Warboys
Side A: Beatrice Harrison & Nightingale.
Track 1: 1923: Beatrice Harrison was joined by a nightingale, enchanted by the sound she persuaded Lord Reith, the director of the BBC at the time, to broadcast the cello-nightingale duet on live radio. As a result on 19/5/1924 the first live out-door broad-cast was made. Several years later Beatrice re-enacted this moment and a record was made of the event.
3:14 min
Track 2: “To make a map we traced the birds” 03:13 min
Tracing the frequencies of the nightingales we where able to score the nightingales for a variety of instruments (including whistling).
Track 3: “To make a map we traced the birds” alternate version. 02:02 min

Side B: Bomber Planes & Nightingale.
Track 1: 19/5/1942: the BBC returned to the same garden planning to broadcast the nightingales. On the day 197 Bombers, Wellingtons and Lancasters, could be heard flying to raids on Mannheim. An engineer realised a live broadcast of this would break security, however, since the lines to the BBC were open, the broadcast and recording went ahead, consequently a two sided record was made, the first side with the departing planes, the second with their return, eleven fewer. 06:39 min
Track 2: “20-120” the isolated frequency range of the RAF Bomber Planes & Nightingale. 0:38 min
Track 3: “1k-20k” the isolated frequency range of the RAF Bomber Planes & Nightingale 0:35 min (note track 2 & 3 are together separated by a tone)

Record 2, 2010
side A: Track 1: Inner Pocket Suit Jacket 02.48 min
Part of a project by Morten Norbye Halvorsen, a text by Jessica Warboys read by Richard Foreman.*
side B: Track 2: Arriving on the Island 08:40 min
Waves synchronize and wash on the shore.

Record 3, 2010
Side A: Track 1:Champagne Flute 07:52 min
The champagne flute played in a dampened studio to a click track. The finale is the sound of a botle being opened, spray can champagne.
Side B: Track 1: Richard Foreman reading fragments of his texts 10:07 min
Fragments read and written by Richard Forman* ending with a fragment from City Archives and its tune being whistled.

* Richard Foreman b.1937 is an American playwright and avant garde theater pioneer. He is the founder of the Ontological-Hysteric Theater.