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Yannis Kyriakides
Exhibition at Rum46, all days
External link: kyriakides.com
Yannis Kyriakides
Composer and sound artist (GR), 1969
 
"As a composer and sound artist, I look for ways of creating new forms and hybrids of media that problematize the act of listening."

The question, as to what music is actually communicating, is a recurring theme in Yannis Kyriakides' work, and he is often drawn to the relation between perception, emotion and language and how that defines our experience of sound.

Lately, he has been exploring different words and music forms, both in concert compositions and installations through the use of systems of encoding information into sound, synthesizing voices and projecting text to music. The latter work has led to about 15 music text films that play on the idea of imagined or inner voice, and presenting a surrogate of it through music.

Yannis Kyriakides was born in Limassol, Cyprus and in 1975, he emigrated with his family to Britain. After travelling for a year with his violin in the near east, learning traditional music, he returned to England to study musicology at York University, later being drawn by the music of Louis Andriessen to move to The Netherlands, with whom he studied under at the Hague Conservatory. At that time, he also had the inspiring opportunity to collaborate as composer on three projects with the maverick conceptual sound artist Dick Raaijmaakers.

3 questions for Kyriakides


What opportunities, qualities or restrictions do you think sound has as an artistic material?

"Just as sound gives us feedback and other useful information on our environment as we move around in it, it can also be used to communicate something much more useful; revealing the illusory nature of that environment and pointing towards the unmanifest."

What does silence represent to you – in generel and in regards to your artistic practice?


"Silence is where the attention of the listener turns in on him/herself. A window is created, the attention shifts from the music or sound act to the process of listening itself. There is room for reflection and for being brought back into the present."

How do you work with the relation between sound and context in your artistic practice?

"In general, I try to present the specific context of a work within itself, so that the music can be mediated by the context or concept presented through the text, video or other medium in the work itself. For me, it’s important that the music itself comes under question, and conversely that there is a frame whereby the music can also ask a question of us."




 
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> no voice audible but that of the sea on the far side