Nathalie Bruys 6 Echo Julliet 2001
The sound installation existed out of 7 cd players, each used as 'a' sound layer played on seperated speakers. Like the surround sound systeem we use today. Unfortunately the sounds are not complete. Only one layer is left; 'Sound Bertrand Burgalat & Nathalie Bruys'.
Music can 'sometimes provide a premonition' of a future world, states one of the lines of poetry in the prologue to The Elementary Particles. But, as Nathalie Bruys (b. 1975, Dordrecht) demonstrates, the experience of that world evoked by music is not always uncritical and 'quiet'. Nathalie Bruys, aka KODI, Nath6lie, Lackmoes or ANDi (she is forever thinking up new pseudonyms), makes sound installations and performances, designs her own record covers and acts as DJ. Her sound experiments occasionally recall the early electro music of Kraftwerk, but in her work the 'cold' synthesizer chords often acquire a 'warm' melody line and a more 'analogue' sound. This may have something to do with the fact that she likes to work with old, one could almost say antique, sources of sound. For example, she assembles her sounds from a Korg PE- 100 and a Roland TR-606 drum computer, but also from children's synthesizers, antique music boxes and a toy merry_go_round. To edit and arrange her 'basic sounds', Bruys then turns to a modern computer program and - her 'other great friend' - the EMU ESI 4000 sampler. On her LP KODI, but more particularly during her live performances, this fascination with the equipment itself and her delight in the specific 'texture' of the collected material is clearly audible. 'I love cables, switches, electricity, physics diagrams, formulas, spaceships and airwaves. I think it's because I'm a bargee's child.' But things that go wrong or that she doesn't understand, a text she misreads or words she mispronounces so that odd sounds emerge, can also be a source of inspiration for her. Minor flaws, scratches, static ... it's the imperfections that ensure that we stay alert. And that stop the musical experience from being a purely passive affair during which we can slip unnoticed into an ecstatic 'bliss'. Nathalie Bruys's greatest wish is to make people aware of sound and to stimulate them to listen actively.
Specially for AIR DE P-P-PARADIS Nathalie Bruys joined Bertrand Burgalat in the sound studio to compose a new work. The unique 'soundtrack' they produced for the Bureau Amsterdam space is based on improvisations and admiration for each other's work. Mascha de Vries (with Lars Eijsen) used light, colour, smell and one or two (art) objects, to create a decor that, like the soundtrack, is ambiguous and full of tension. As such, the AIR DE P-P- PARADIS exhibition is an exploration of the various ways in which sound is not only heard, but above all, experienced. It is a show that calls on the visitor's capacity to listen and powers of imagination. Even though the deliberate dist-st-stortions in the soundtrack will sometimes be a bit 'painful', these are also the moments when it is most interesting. This is the real test for the visitor: after all, we are already familiar with perfect sound, we have grown up with it. Nathalie Bruys, Bertrand Burgalat and Mascha de Vries understood that, which is why they added a new dimension. Call it 'hardcore lounge' or what you will. One thing is certain: the easy listening atmosphere of AIR DE P-P-PARADIS turns out to be not-so-easy after all.
Curated by Nina Folkersma