Nasher exhibit showcases silent sound

The exhibit consists of room-wide, synchronized silent video which captures the visual effect of sound in motion.

The animated onomatopoeias (words that sound like what they name) are projected onto all four walls with a black screen background.

Out and About visited on opening day of the exhibit, which left us completely immersed, or bathed in sound. The effect is both calming and stimulating at the same time. Truly a unique experience.

“One reason we’re showing Surround Sounds now is because the onomatopoeia works so well in conversation with our concurrent exhibition Pop America," the exhibit's curator, Travor Schoonmaker, said.

Both works defy expectations and are out-of-the box presentations on media.

“I’ve been following Christian’s career for roughly 20 years now, and we have a history of working with him here at Nasher. We have at least five of his works here in the museum collection, two sculptures and three videos, ranging in dates from 1982-2000," Schoonmaker said.

In the spring of 2009, Nasher showcased Marclay’s Video Quartet (2002), also a well-known video installation. At Nasher, Marclay’s work was the foundational anchor for the 2010 exhibition The Record: Contemporary Art and Vinyl.

Schoonmaker said that Surround Sounds showcases Marclay’s wry sense of humor, which surfaces in much of his art.

Marclay has worked in visualizations and sound for more than 30 years. His work The Clock was a groundbreaking exhibition consisting of a 24-hour montage video or supercut - a compilation of themed action, words or phrases from pre-existing footage or multimedia. The footage was edited together by his team over a period of three years, and the exhibit was fully-synchronized with current time.

Schoonmaker said Marclay “is known as a master sampler and editor of both sound and visuals.” In Video Quartet and The Clock, he used both sound and images to draw observers in. With Surround Sounds, this effect is implied - experienced but by stimulating the imagination. He used the visuals to amplify the effect of the sound, and the space creates volume so that the work feels "noisy" even though it is silent.

In addition, fans of Marclay’s work should keep an eye out in the fall.