Sonic Responses furthers the collaborations between the Morris and Helen Belkin Art Gallery and the School of Music that will continue through Soundings: An Exhibition in Five Parts (Fall 2020). The project is led by Barbara Cole, Curator of Outdoor Art, David Metzer, Professor of Musicology and Chair of the University Art Committee, and Judith Valerie Engel, a doctoral candidate in piano performance. Sonic Responses was initiated by the Morris and Helen Belkin Art Gallery in collaboration with the School of Music and supported by the British Columbia Arts Council’s Arts and Culture Resilience Supplemental Award and UBC’s Catalyzing Research Clusters Program.
Images (above and below): Rachel Topham Photography
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Carlos Savall Guardiola on clarinet performing “Abîme des oiseaux / The Abyss of the Birds” by Olivier Messiaen as part of Sonic Responses, a collaboration between the UBC Morris and Helen Belkin Art Gallery and the School of Music. Performed on Trail 7 adjacent to the University of British Columbia, located on the traditional, ancestral and unceded territory of the Musqueam people.
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Nathania Ko on Chinese harp performing “Earth,” the first piece of the cycle “Pao Xiu Luo Lan” by Xijiin Liu as part of Sonic Responses, a collaboration between the UBC Morris and Helen Belkin Art Gallery and the School of Music. Performed between the Centre for Interactive Research on Sustainability and the Pacific Museum of Earth at the University of British Columbia located on the traditional, ancestral and unceded territory of the Musqueam people.
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Sempùlyan on drum singing a Musqueam paddle song as part of Sonic Responses, a collaboration between the UBC Morris and Helen Belkin Art Gallery and the School of Music. Performed in Library Garden (near Learner’s Walk) at the University of British Columbia, located on the traditional, ancestral and unceded territory of the Musqueam people.
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A series of performances that explore the sounds - and silence - of a now-quiet campus.
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Everything This Changes is programming initiated in response to the COVID-19 pandemic that has shut the doors of galleries and many businesses while keeping most of us working at home. Everything This Changes adds to the Belkin’s online presence as a platform for works of art, research projects, podcasts, interviews, conversations and events. One of our tasks is to explore new relationships and possibilities between embodiment, especially in social space, and the disembodied lives we lead on screen. This relationship has been the subject of critique and speculation since the invention of the telephone and radio. In what ways have artists and thinkers prepared us for thinking about the present crisis? Or to put it another way, how does the present crisis change the way we see and read?
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