Radio Level Five in Conversation With

Between soundtracks and audio descriptions, these tracks presume to reconstruct a hypothetical or infinitely typical contemporary art exhibition in its canonical exhibition space. Then presumably other audio tracks will be developed, which like laser scanning or like sound installation shots will describe the meta-artworks and their installation in a mental exhibition space.

Between soundtracks and audio descriptions, these tracks presume to reconstruct a hypothetical or infinitely typical contemporary art exhibition in its canonical exhibition space. Then presumably other audio tracks will be developed, which like laser scanning or like sound installation shots will describe the meta-artworks and their installation in a mental exhibition space.

Between soundtracks and audio descriptions, these tracks presume to reconstruct a hypothetical or infinitely typical contemporary art exhibition in its canonical exhibition space. Then presumably other audio tracks will be developed, which like laser scanning or like sound installation shots will describe the meta-artworks and their installation in a mental exhibition space.

Between soundtracks and audio descriptions, these tracks presume to reconstruct a hypothetical or infinitely typical contemporary art exhibition in its canonical exhibition space. Then presumably other audio tracks will be developed, which like laser scanning or like sound installation shots will describe the meta-artworks and their installation in a mental exhibition space.

The first episode of Before the Eyes is the last exhibition of Matt Copson @Clearing gallery Brussels titled Age of Coming. From September 8 to October 23 2021 Age Of Coming, 2021
 Laser animation with audio soundtrack Portal I, 2021
 Laser animation 
Portal II, 2021
 laser animation 
 Artworks credits:
 Music - Caroline Polachek
 Sound design - felicita
 Soprano - Kiran Christopher Subramanian, National Children’s Chorus of the United States
 Lead Animator - Sara Drake Laser programmer - Pieterjan Ruysch
 With thanks to Calvin Marcus, Geetha Subramanian and Luke McEndarfer   Podcast credits: Concept, text and sound: Marco Lampis Voice: Anneleen Lemmens
 Sound Design: Marco Lampis Translation: Marta Cadoni   Please visit www.beforetheeyes.vision for the Dutch and Italian version. Enjoy!

Currently, Rachel Bacon is working on ‘drawings‘, which might be one way to enter the discussion: what this term, or rather, the act of drawing might actually include, in specific movements, in material production, in artistic choices. Moreover, these elements add up to questioning the process itself and the meaning of what it brings to the fore. In conversation with the American-born, now Brussels-based artist, we approach these topics by exploring others. Among them: possible differences between the circumstances of art-making in the U.S., the Netherlands and London. How these differences reflect on the artistic work itself. Notions of working in public space and of leaving it behind. Aspects of the political, the non-political and the less political, of autonomy, responsibility, legibility, and about turning the pencil into something else, very slowly in time. Interviewed by Batsheva Ross and Olaf Winkler. This piece is part of a series of interviews, readings, and other sound pieces regularly published. More info on www.levelfive.brussels

What does it mean to bring street culture into the black box of a theatre hall? At what point does raving become contemporary dance? Where do the dance floor and stage merge? And how can we somehow hold on to the idea of social intimacy associated with nightclubs when social distancing sets the scene? During the summer, we talked with Ula Sickle, a Canadian choreographer and dancer based in Brussels. Her practice runs across various disciplines and often incorporates alternative movement histories, typically excluded from the canon of contemporary dance. Her new piece Echoic Choir with vocalist Stine Janvin premiered during the Wiener Festwochen in Vienna, June 3rd. On October 5th, they will perform it at STUK in Leuven. The piece is a response of sorts to the lingering effects of the pandemic, turning the reality of physical distancing measures into artistic parameters. Using acoustic voices, spatial resonance, and specific lighting, they have sought to create a collective and immersive sensorial event, blurring the divide between performer and audience. But how to do so? How can you invite the audience into a shared space, when proximity is literally not an option? (More about Ula's work in: http://www.ulasickle.com/) Interviewed by Bas Blaasse and Batsheva Ross. This piece is part of a series with interviews, readings, and other sound pieces which are regularly published on this site. More info on Level Five via www.levelfive.brussels

Radio Level Five is a podcast coming to you from Level Five, an artist run studio space in the heart of Brussels. Today we launch the new season with a special episode, the first in a series of talks about parenthood, child care taking, nurture trauma, and their entanglement with artistic practices. Today we sit together: Kianoosh Motallebi, Helen Dowling, Florence Cheval, Sirah Foighel Brutmann and Eitan Efrat. I hope you enjoy.

This track by Italian artist Marco Lampis started out as a text, became an almost hypnotizing sound piece – and remains an ongoing project. As Lampis says, the work started from the problem of using language to describe a musical experience: “Especially in Italian, we tend to use metaphors that refer to other metaphors, adjectives that describe other adjectives in a continuous and infinite circle without ever getting to the point. Maybe because it's impossible. Therefore I created a text starting from music reviews that tries to describe the experience of listening, but in the end it doesn't make any sense.” Not sure if we share this very last view, Radio Level Five is happy to present The Shaded Zone. This piece is part of a series with interviews, readings, and other sound pieces which are regularly published on this site. More info on Level Five via www.levelfive.brussels

In the broad range of Christiane Blattmann’s artistic work we encounter objects and pieces between two and three dimensions, carefully crafted materials as silicone, metal or jute, but most of all recurring references to human and other creatures’ physicality, architecture, clothing and images in a literal as well as metaphorical sense. In a talk with her we explore these underlying notions and how her works refer to both: intrinsic topics of sculpture, of building, erecting and composing, as well as questions such as: Which spaces do we inhabit or get access to inhabit? How does a body relate to space relate to scale? How do fragments of narration enter a piece of art? And last not least, why is an almost abstract sculpture invaded by an almost naturalistic snail? Interviewed by Batsheva Ross and Olaf Winkler. This piece is part of a series with interviews, readings, and other sound pieces which are regularly published on this site. More info on Level Five via www.levelfive.brussels