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Mirrors poster web text

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Tim Bruniges

Tim Bruniges' MIRRORS is composed of two large concrete structures that reference historical sound mirrors used to detect incoming threats. The mirrors reflect on how the past persists in the present through objects and echoes that still linger. Though the mirrors can no longer amplify sound as originally intended, they create an immersive soundscape by accumulating all sounds produced in the gallery over the course of the exhibition. The work examines how the rigid surveillance of the past continues to shape contemporary issues and complicates notions of history and time.

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Mirrors poster web text
Temporal Architectures: On Tim Bruniges’ MIRRORS Dana Kopel The past is present. Something has happened and the echoes are still Conversations emerge from the dense frequencies of sound. The 4 escape. The past lingers on, yesterday reverberates in today. 1 mirrors – as well as the sonic evidence they hoped to amplify – was A grey monolith emerging unexpectedly along the sight lines of an isolated coast: the past is present; the past is alive in objects. No longer These simultaneous processes – decontextualization and regeneration imagined myself amidst the remains of our own civilization after its 5 to do many years ago.2 except metaphorically).6 This circularity recalls Nietzsche’s theory one of the most formally spare examples – Bruniges’ large concrete structures allude directly to the historical sound mirrors dotting the Tim Bruniges’ MIRRORS (2014) is composed of two large concrete historical time as it is generally conceived. that happens in the universe has happened before and is destined to Yet Bruniges’ MIRRORS are concerned not just with the history of one another at extreme ends of the gallery space at Signal Gallery. 3 In the 8 and time – the very compressed period of time in which they were interplay between the visual or physical elements and the invisible length: all the sound produced over the course of the show remains and rigidity of military plans and operations. Rendered useless by the form we imagine it – passes around them. Though this sonic information is produced by people and things in the gallery – including a program of performances and happenings at Chronology Chronology accumulating sounds. Bruniges treats this aspect of MIRRORS almost In its engagement with the strange detritus of war and its relationship into an encompassing soundscape. overreaching surveillance of US citizens and others. Contemporary autobiographical narrator of Sebald’s SIGNAL Chronology Chronology wanders Picture: Abbot’s Cliff sound mirror. Photo by Andrew Grantham.

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Mirrors poster web text

  • 2. Temporal Architectures: On Tim Bruniges’ MIRRORS Dana Kopel The past is present. Something has happened and the echoes are still Conversations emerge from the dense frequencies of sound. The 4 escape. The past lingers on, yesterday reverberates in today. 1 mirrors – as well as the sonic evidence they hoped to amplify – was A grey monolith emerging unexpectedly along the sight lines of an isolated coast: the past is present; the past is alive in objects. No longer These simultaneous processes – decontextualization and regeneration imagined myself amidst the remains of our own civilization after its 5 to do many years ago.2 except metaphorically).6 This circularity recalls Nietzsche’s theory one of the most formally spare examples – Bruniges’ large concrete structures allude directly to the historical sound mirrors dotting the Tim Bruniges’ MIRRORS (2014) is composed of two large concrete historical time as it is generally conceived. that happens in the universe has happened before and is destined to Yet Bruniges’ MIRRORS are concerned not just with the history of one another at extreme ends of the gallery space at Signal Gallery. 3 In the 8 and time – the very compressed period of time in which they were interplay between the visual or physical elements and the invisible length: all the sound produced over the course of the show remains and rigidity of military plans and operations. Rendered useless by the form we imagine it – passes around them. Though this sonic information is produced by people and things in the gallery – including a program of performances and happenings at Chronology Chronology accumulating sounds. Bruniges treats this aspect of MIRRORS almost In its engagement with the strange detritus of war and its relationship into an encompassing soundscape. overreaching surveillance of US citizens and others. Contemporary autobiographical narrator of Sebald’s SIGNAL Chronology Chronology wanders Picture: Abbot’s Cliff sound mirror. Photo by Andrew Grantham.