Audition Records Skip to main content

Release date: 26.11.11
previous | next



Conceptual basis for music and performance practice


For both live venue and gallery performance, as well as outdoors site-specific environments, I make very brief, loud, physical vocal performances or incursions using only my voice and an amplification system. I intend for these performances to occur in such a way that they disrupt the aural landscape and are received as "spikes" in the the listeners spectrum. Conceptually the work comes from a desire to promote noise as a capacious potential for shaking things up, breaking the stasis of homogenous public zones and the use of our bodies in these sites. I am also interested in what I'm calling a "redistribution of listening", a kind of break in the norm as a way to get somewhere else; to respond, to ignore, etc. Playing outside where there are no other humans around, say on a cliff somewhere, is connected to a desire to transmit these sounds in unusual places and again this promotion of using our bodies creatively in our spaces. Michel Serres comes a lot for me in the way that I conceptualise noise. I dont think of it as an aggressive thing, i think that all things are already noisy and i am just incorporated into these "all things" when performing.


The desire to displace expectations from the female body and voice - the scream as an effective and interesting tool -, any emotional approach in your vocal expressions or is it more related to the conceptual speech?


I think the female aspect is something that is unavoidable, I just happen to be a female, but I am not overtly making a feminist statement. I think "Guerilla Girls" said it best in, "The advantages of being a woman artist: 5. Being assured that whatever kind of art you make it will be labeled feminine", (1988). I also have people confusing me for a man in my videos... Make what you want of it. I'm more interested environments and noise than joining the feminist band wagon.
As far as there being an emotional need? In a way, but it is definitely not art therapy. I often don't want to go out on the street or play in this particular way, but it is about the work and the concept foremost, and this comes first. It is most certainly about pushing bodies, pushing ears and seeing what comes out the other end.


What are you looking for after the first sound works out?


Machine sounds without an effect pedal in sight. I am very anti effect pedals. Anyone can plug into a distortion pedal and sound like an engine. I'm much more interested in the direct line of energy from the voice to the speaker, and sharing this with the other bodies in the room/space. It has much more ...power... for lack of a better word.


And for your interventions and actions - which one is the difference in between your actions on the streets and your live performances?


I'm not looking for anything anymore, I don't think you can seek something or demand it or be disappointed when it doesn't come. What's comes, comes. In terms of people or reactions that is. Like anyone though I hope that people like my music and feel excited by it. My site specific performances are different though, these are for me much more interesting. There is more risk, there is no intentional audience or any of the baggage that comes with playing to your friends over and over again. Also, I'm interested in sound in space and tensions, either socially, politically, spatially etc. And I seek to draw on these tensions. Especially when I'm documenting for an installation work.


What is your inspirational background? I'm curious about the possible relationships and the power of your performances have reminded me.


I would say things like the Japanese noise scene from the 70's-90's (Haino, Masonna), Galas, and artists like Richard Serra and Max Neuhaus.



Kusum Normoyle, October 2011.










Kusum Normoyle, Voice, amplification and feedback.


13 October 2011. NK Project, Berlin. Mastered by AR. Special thanks to NK, Rumpsti Pumsti (Musik), Daniel Löwenbrück. Picture by Jaka Babnik. S.I.T.E: Screaming In The Everyday 2011. Biennial of Graphic Arts, Ljubljana. Design by Aniana Heras.