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Tony Oursler. Inï¬uence Machine, 2000. Who Will Give Answer to the Call of My Voice? Sound in the Work of Tony Oursler TONY CONRAD I am not a talking head. âTony Ourslerâs image as devil, projected on a horned-head maquette; Machine, 2000. Pictures are more civil than noise. Only exceptionally is the clangor of clashing audio tracks less than hellish in museum efforts to exhibit multiple works with sound. Whether the pieces are films,1 recorded performances, sound works, or video installations, their simultaneous audio emanations compete and quarrel among one another in the resonant âwhite cubeâ in ways that pictures never would. The smooth clear rectilinear walls and hardwood floors of the modern museum gallery are the antithesis of a recording studio, with its soundproofing and wall-to-wall carpeting. When you step into a Tony Oursler show, though, the overlapping sound tracks somehow garble together, cohering as they weave an infernal sonic tapestry. Here sighs and cries and wails coiled and recoiled on the starless air, spilling my soul to tears. A confusion of tongues and monstrous accents toiled In pain and anger. Voices hoarse and shrill and sounds of blows, all intermingled, raised tumult and pandemonium that still
Grey Room – MIT Press
Published: Apr 1, 2003
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