Philippe Vranjes
September 16th, 2016 – October 8th, 2016

Noise Platter is a solo exhibition by Philippe Vranjes including collaborative works with other artists and musicians. Vranjes is a visual artist who uses a multi-form approach to sculpture, painting and photography.

Noise Platter presents a new body of works: new portraits, new crises which further an ongoing exploration of experimental and noise music in local contexts. Based on an accumulation of live sonic and visual engagements and personal experiences with these diverse music scenes, each work references particular musicians/ensembles, music curators or music performances: Carolyn Connors, Hammers Lake, Lloyd Honeybrook, Annalee Koernig, and The Swamp by Spasmoslop aka Nik Kennedy.

Inspired by the programming style of many local gigs and concerts which bring together very distinctive, and in some case irreconcilable, families, traditions and genres of music, the presentation of Noise Platter favours the spatial composition of long and unresolved narratives and incomprehensible visual sentences. This enables the artist to affirm, in the context of the exhibition, the possibility of a body that is plural, open and generative; a body in forward motion, anchored in traditions and histories that cannot be reduced nor subjugated by a given hierarchy; a body in movement and expansion and which lives in intensity.

Embracing fans’ aggravated and superlative codes of conduct, abusing of scissor tactics and amplification, looking for whispers, winter, corridors and corners, musing upon symptoms, infection and modes of transmission whilst contemplating the horizons of alliteration, Noise Platter pays homage to these music scenes and artists and to the world of potentialities they exemplify.

The catalogue essay for Noise Platter is available to download here.

  • Nik Kennedy for 'Noise Platter'

  • 'The Last Bad Sunset of the Flesh before The Swamp by Spasmoslop' 2016. Digital print on cotton, 142 x 142 cm. 'Noise Platter (after Carolyn Connors and Annalee Koernig)', 2016, painted (8 pieces). Digital print on heavy cotton, machine stitched. With technical support from Kate Clarke (fabric). 102 x 235 x 100 cm.

  • 'Study for a Portrait of Hammers Lake' 2016. Digital prints on heavy cotton, type-c prints, electrical insulation tape, painted pins. Dimensions variable.

  • 'Wintercore (after Annalee Koernig)', 2016. Patinated bronze, digital prints on heavy cotton, machine stitched. With technical support from Kate Clarke (fabric). 113 x 235 x 100 cm.

  • 'Study for a Portrait of Lloyd Honeybrook', 2016. Digital prints on heavy cotton, hand-stitched, steel pins, chipped black nail lacquer. With technical support from Kate Clarke (fabric). 220 x 567 cm.