LOUD silence: Film Screening and Artist Talk
This special event in connection with the gallery@calit2 exhibition, LOUD silence, will include a film screening and subsequent talk with the filmmaker, artist Alison O'Daniel.
LOUD silence (Exhibition)
Film Screening & Artist Talk (Special Event)
The gallery@calit2 in the University of California, San Diego's Qualcomm Institute is pleased to present the second special event of the current LOUD silence exhibition, curated by Amanda Cachia. Los Angeles-based artist Alison O’Daniel will present a series of scenes from her new film, The Tuba Thieves, still in production. One of the scenes, entitled Hearing, 4’33” (which is also on display in the exhibition itself) is part re-creation of the premiere of experimental composer John Cage’s seminal “silent” music composition 4 minutes and 33 seconds (4’33”), which altered the history of music. The scene is also very much about time - how time is slipping out of sync, or being contained. The narrative of time through O’Daniel’s construction of it comes with slippages and breaks. One of the most important elements is that the process of writing the film mirrors hearing impairment. Information is interpreted, misinterpreted, gleaned, confused, all ultimately in an attempt to prioritize the act of listening - both in story and in process. The original 4’33” was composed for any instrument and the score instructs the performer(s) not to play any of the instruments for the entire 4 minutes and 33 seconds duration of the piece. The piece consists of the sounds of the ambient environment that the listeners hear while it is performed, although the work is commonly known as 4’33” of silence, even though Cage rejected such a reading, saying that there is no such thing as silence. Sounds like the wind stirring outside, raindrops pattering on the roof and noises that accompanied talking, rustling and adjusting of audience members during the performance all became more important. Hearing 4’33” is a scene in which O’Daniel chose not only to leave out captions (with the exception of a brief description of the sounds in the credits above), but also to record very little sound.
Following the film screening, the curator will invite the artist to give a 30-minute talk about her work, and the public will have the opportunity to ask questions. The artist talk will be accompanied by American Sign Language interpreters. These events are free and open to the public. The exhibition runs through March 13 in the gallery@calit2.
LOUD silence is an exhibition that offers the opportunity for viewers to consider definitions of sound, voice, and notions of silence at the intersection of both deaf and hearing cultures. The exhibition displays prints, drawings, sculptures, videos, and a film installation, and features work by four artists who have different relationships to deafness and hearing, including Shary Boyle, Christine Sun Kim, Darrin Martin and Alison O’Daniel. These four artists explore how the binary of loudness and silence might be transformed in politicized ways through their own specificities, similarities and differences in relationship to communication and language. The stereotypical view of the deaf experience is that they live a life of total silence, where they retain little to no concept of sound. But on the contrary, deaf people actually know a lot about sound, and sound informs and inhabits their world just as much as the next person. Through these artworks, the artists aim to loudly explode the myth of a silent deaf world, and they seek to trouble just how “inaudible” sound really is through their own visceral experiences of it. The distinction between the deaf person and the hearing person in their relationship to sound is the extent to which deaf people use senses other than the auditory to understand what they are hearing. Sound is felt and sound is seen. Indeed, some of the artists’ “deaf hearing” in this exhibition often involves sensory input from a variety of sources, and is not simply confined to the ears. Ultimately, the work in LOUD silence offers an avenue for eradicating deaf oppression, where new ways of listening and thinking about sound and silence might be developed.
A full-color catalog will accompany this exhibition produced in partnership with the Grand Central Art Center at California State University Fullerton, with essays written by the exhibition curator, Amanda Cachia, alongside Dr. Zeynep Bulut, Lecturer in Music, Kings College, London, and Michael Davidson, Professor of American Literature in the Literature Department, UCSD.
The gallery@calit2 gratefully acknowledges additional support from the Vice Chancellor’s Office of Equity, Diversity and Inclusion, the Linguistics Department, the Communication Department, the Critical Gender Studies Program, the Literature Department, and the Visual Arts Department.
All gallery@calit2 events are free and open to the public.
Media contact: Doug Ramsey, firstname.lastname@example.org
RSVP requested to email@example.com. Accessible parking available by request.
 Carol Padden and Tom Humphries, “The Meaning of Sound” in Deaf in America: Voices from a Culture (Cambridge, MA and London, England: Harvard University Press, 1988), 91.
Alison O’Daniel lives and works in Los Angeles, CA (b. 1979, Miami). Her works weave narrative between films, object-making and performance. Utilizing sound and its synesthetic displacement onto materials, O’Daniel builds a visual, aural and haptic vocabulary through varying levels of access to sound, color and material. O’Daniel’s previous feature-length film Night Sky premiered at the Anthology Film Archive in conjunction with Performa 11 and the exhibitionWalking Forward-Running Past at Art In General, New York. Night Sky has been presented with live musical accompaniment by various musicians or with live Sign Language accompaniment at The Nightingale (Chicago), MOCAD (Detroit), NYU, the Aspen Museum of Art, the Cleveland Museum of Art, the Museum of Jurassic Technology, High Desert Test Sites and other venues. She is the recipient of grants from the Rema Hort Mann Foundation, Art Matters, the Franklin Furnace Fund and the California Community Foundation and recently completed the Film/Video studio residency at The Wexner Center. Recent solo exhibitions include Samuel Freeman Gallery in Los Angeles. Recent group exhibitions include Untitled Art Fair, L.A. Louver Gallery in Venice, CA, and Zic Zerp Gallery in Rotterdam. Writing about O’Daniel’s work has appeared in ArtForum, the L.A. Times, L.A. Weekly, and ArtReview. She is currently working on her second feature length film, The Tuba Thieves.
Amanda Cachia is an independent curator from Sydney, Australia and is currently completing her PhD in Art History, Theory & Criticism at the University of California, San Diego. Her dissertation will focus on the intersection of disability and contemporary art. She is the 2014 recipient of the Irving K. Zola Award for Emerging Scholars in Disability Studies, issued by the Society for Disability Studies (SDS). Cachia completed her second Masters degree in Visual & Critical Studies at the California College of the Arts (CCA) in San Francisco in 2012, and received her first Masters in Creative Curating from Goldsmiths College, University of London in 2001. She held the position Director/Curator of the Dunlop Art Gallery in Regina, Saskatchewan, Canada from 2007-2010, and has curated approximately 30 exhibitions over the last ten years in various cities across the USA, England, Australia and Canada. Her critical writing has been published in numerous exhibition catalogues and online art journals including OnCurating, Canadian Art and Art Monthly Australia, and peer-reviewed academic journals such as Canadian Journal of Disability Studies, Disability Studies Quarterly, Journal of Visual Art Practice, Museums and Social Issues: A Journal of Reflective Discourse and forthcoming issues of The Review of Disability Studies: An International Journal and The Journal of Literary and Cultural Disability Studies. She has lectured and participated in numerous international and national conferences and related events within the USA, Canada, Australia and Europe, and has served as a panelist for the National Endowment for the Arts (NEA) Art Works grant and Canada Council for the Arts. Cachia is a dwarf activist and has been the Chair of the Dwarf Artists Coalition for the Little People of America (LPA) since 2007. She also serves on the College Art Association’s (CAA) Committee on Diversity Practices (2014-2017). For more information, visit www.amandacachia.com