Sound-based art has increased in popularity and influence in recent years thanks to innovators and pioneers such as the Brooklyn-based American artist Cory Arcangel, whose current solo exhibition at Galerie Thaddaeus Ropac Paris Pantin, titled “AUDMCRS - PSK – SUBG,” cements his position at the forefront of the international sound art scene.Best known for his innovative performances, videos, and computer-generated projects, Arcangel is considered a pioneer of a generation of artists who have devoted themselves to the archaeology of (computer) technologies. The breadth, depth, and uniqueness of Arcangel’s practice situates him amongst the most innovative and exciting artists working today.“AUDMCRS - PSK - SUBG” comprises three main works: a Roland TR-909 drum machine playing a popular rhythm from Philadelphia rapper Schooly D’s song “P.S.K. What Does it Mean?” (1985) an installation of 839 trance LPs that were purchased by 1990s trance disk jockey Joshua Ryan, and a series of screen prints based on CDs related to Kelly Clarkson’s hit “Since U Been Gone” (2004).According to Galerie Thaddaeus Ropac, the works in “AUDMCRS - PSK – SUBG” reflect Arcangel’s ongoing engagement with the genealogy of iconic pop music hits, the awareness of the historic character of (electronic) musical instruments, the archiving of music, and the mutual permeation of the “pop” and “classical” spheres, which have been central to Arcangel’s work in recent years.To find out more about “AUDMCRS – PSK – SUBG,” which is at Galerie Thaddaeus Ropac Paris Pantin until September 26, BLOUIN ARTINFO got in touch with Arcangel and asked him a few questions.The title of your exhibition at Galerie Thaddaeus Ropac, “AUDMCRS – PSK – SUBG,” references the three works on show in your exhibition. Why these three works? What are the links and relationships that connect these three works?The show is built around a new work, “PSK” (2014) which is – simply – a Roland 909 drum machine programmed to play the famous PSK beat (FYI: my favorite beat of all time). It's a piece which requires a large empty warehouse space, so Ropac Pantin is perfect. The other works in the show are included cause I thought they went well with “PSK: The AUDMCRS Underground Dance Music Collection of Recorded Sound” (2011-2012), a collection of 839 trance 12 inches which have been cataloged, and “Since U Been Gone” (2010), a tromp-l’oeil silkscreen work based off of a collection CDs related to Kelly Clarkson’s 2004 hit “Since U Been Gone.”So all the work has to do with music which has been important in my life – both popular and underground. Also, and this is just nuts and bolts, but I wanted the sound of PSK to “fill” the gallery, so it was important that the other works have very little visual impact, ... so, even though there are three works in the show, the huge gallery almost looks empty.On your website you reveal that you will be presenting the WORLD PREMIERE of a historically informed DJ set of the AUDMCRS record collection at the opening of the exhibition. Could you explain the inspiration and motivation for the performance and what it comprises?For the opening of the show, I collaborated with the Ensemble Intercontemporain on a concert program. Members of the ensemble played works by myself, Claude Debussy, Anton Webern, and Wolfgang Amadeus Mozart/Daniel Glatzel/Johannes Schleiermacher. Yah, the last piece that was performed was a historically informed performance of “The AUDMCRS Underground Dance Music Collection of Recorded Sound” (ps - you can see that work here: http://audmcrs.coryarcangel.com). In other words, it was a half-hour long trance DJ set performed as it would have been in the late 90's - on two 1200 turntables. Seeing 200+ people sit down in a concert setting only to be blasted with 90's trance DJ’d by Gregorie Simon from the ensemble (we rehearsed all week!) was really quite amazing~~~~! Collaborating on the concert program with the Ensemble Intercontemporain was def a highlight of my creative life so far – I studied music after all.You are described as “a pioneer of a generation of artists who have devoted themselves to the archaeology of (computer) technologies.” Could you explain what this means to you and how it is manifested in the works in the Galerie Thaddaeus Ropac exhibition?I’ve been on computers since I was a kid. And since technological time moves so fast, I guess, in a way, I have developed a hyper sensitivity to the passage of time. “The AUDMCRS Underground Dance Music Collection of Recorded Sound” is a good example. It’s a collection of vinyl which has been removed from the normal passage of time (aka the dust bin) and inserted into library, museum, and – with the recent performance – music history timelines. Time is experienced relatively between different segments of culture, and for me archeology is playing around with those timelines.AUDMCRS – PSK – SUBG includes the sculpture PSK (2014), the installation The AUDMCRS Underground Dance Music Collection of Recorded Sound (2011-12), and Since U Been Gone (2011). Could you explain the influence and motivation behind these works?Schoolly D- PSK, What Does It Mean?DJ Misjah & DJ Tim - AccessKelly Clarkson - Since U Been GoneHow has your practice evolved over the years and what direction is your practice heading at the moment?I just try to throw as many darts as possible – my theory is a few are bound to hit the bulls eye ... as 4 evolution, ... I’m prolly the worse person 2 ask, as I am too involved (obvz) 2 c my work properly! The only thing I can think of, is the work is spreading horizontal, ... merchandise, preservation, books, compositions. And, I guess, I have no idea where I’m headed ... that’s not to say I’m not excited. I am. Feeling good about the future RN.
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