The three-part exhibition at WattisArts brings together contemporary artists and performers from around the world to explore how visual art can embody characteristics we often associate with music.
There’s cacophony and chorus, dissonance and harmony, clatter and rhythm. These are just some of the words we use to understand music, but they can be applied to other art forms, too. “Drum Listens to Heart,” a three-part exhibition at the California College of the Arts Wattis Institute, brings together contemporary artists and performers from around the world to explore how visual art can embody characteristics we often associate with music.
In many of the works, sound is simply implied. Michael E. Smith’s untitled installation features a red laser rising and falling like a metronome across a black sweatshirt pinned to the facing wall. Occupying a room all its own, this piece sets the tempo for the rest of the show, quietly keeping time, while bringing to mind the stringent use of sound in the military, here a much freer expression.
If Smith’s piece sets the tempo, the two larger rooms operate like movements, while the other single-room installation, Em’kal Eyongakpa’s dark, immersive environment, batu kɛnɔŋ XII-rh/ babhi-bɛrat XII-r [babhi-manyɛp/babhi-bawɛt, ], 2022, is the exhibition’s gentle crescendo. The life-size, tree-like structure made of string features several hidden audio devices, playing a mix of prerecorded and filtered ambient sounds, fully embodying the concept of a rest.
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