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14 THE LIST 21 Sap-5 Oct 2006
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eading the arts press. you'd be forgiven for thinking it all started recently. in Glasgow's (‘hateau art
factory. with ‘art-rockers‘ Ham Ferdinand's highly-publicised happenings. And so it goes — the histories written by those who weren't even there. From the legendary noise/perl'ormance of Test Department in the 80s to Ruby Worth dancing with Dominic Waxing Lyrical in
the 90s. Scotland already has a history of
cross-artform work. A new wave of events involving club culture and technology alongside performance. music and visual art are proving that we have a future in it too. Mixing artforms is in itself anti- ‘scene‘. So how to pin down the rumoured ‘breeding ground' turning out all this polymorphous Scottish talent‘.’ There isn‘t a particular building or group
of people at the centre of things. 01'
course. if you dig deep enough. you can
only find a few tenuous degrees of
separation between those involved. However. the events listed below are really a collection of separate works marked by diversity and a jubilant rejection of rules and definitions.
Edinburgh band Found. recently picked to represent Scotland in the BBC electric proms in October. formed in 2002 during the linal year of their line art degrees at Gray's in Aberdeen. They continued to experiment artistically after graduation. combining live gigs and recordings with gallery-based sound-art. Band spokesman Tommy Perman recalls. ‘I met (bandmates) Kev and Ziggy. who were both working with sound art. trying to turn their visual art degrees into music degrees too. We decided to collaborate and have been working together ever since.‘
Found translate the devices of art- school training into musical sensibility which includes sampling and appropriation of. appropriately. found sounds. Their recent exhibition. Flight Path, asked the audience to throw paper aeroplanes into a laser beam. The resulting sound was cut up with a live air traffic control feed and improvised into beats on the fly.
Ziggy Campbell, artist and guitarist.
describes the atmosphere. 'liy cry time an aeroplane broke the beam it created this wacky sound. It was really primal and people went absolutely nuts in the gallery. really going for it. .-\1 one point there were so many people in there that the floor buckled.‘
In another performance. Homespun. at Aberdeen‘s Lemon 'l'ree. the band set up a production line. sampling the noises made as they stitched ('l) covers. turning them into beats and grooyes and mixing them into the band‘s liye set. .-\t the end of the evening. lllt‘} lltll‘lletl ('l)s of the recordings. put them in the much and handed them out to the audience. Although primarily a guitar-based band. l‘ound are far more influenced by developments in technology. sampling and dance music. ‘(iood l).ls.‘ says ('ampbell. they‘re the ones buying the good records.‘
‘DIFFERENT MEDIA ARE TOOLS RATHER THAN GENRES I HAVE TO CHOOSE TO REPRESENT
AS AN ARTIST '
Revolutionary movements historically instigated by frustration with institutions and exclusivity. Will l‘ostcr is one of seven artist-curators responsible for organising Cabin Exchange. an annual week-long art event which places ten ft by eight ft storage containers on the streets of (ilasgow and lidinburgh. The cabins are inhabited and trans- formed by local and international artists/musicians/performers in an experiment about public interaction with the conceptual function of the spaces. Foster sites the origins of the current cross artform movement in a frustration with imposed boundaries.
‘We gravitated to cross-artform work because there‘s no need to be restricted by discipline. If you can say it better with a Haiku then do it: the only thing you risk is making an unskilled job of it. Most of the people who curate Cabin
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