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STRATA: Zero_One and STRATA: Zero; both by Danielle Roney, 2020
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Danielle Roney, Whispers: Mantras 01, 2019; 3D printed nylon, acrylic, mic stand; edition of 1 plus 1 artist's proof. Vocal data: Zohreh, "a directly revolutionary effect", voiceover from Artist adaptation (2011) of Refugee Conversations, by Bertolt Brecht (1940).
Exhibition
Frequencies of Opacity
5 Mar 2020 – 18 Apr 2020
Regular hours
- Monday
- Closed
- Tuesday
- Closed
- Wednesday
- 11:00 – 18:00
- Thursday
- 11:00 – 18:00
- Friday
- 11:00 – 18:00
- Saturday
- 11:00 – 18:00
- Sunday
- Closed
Address
- 929 NW Flanders St
- Portland
Oregon - 97209
- United States
Travel Information
- one block from the NW 10th and NW Glisan streetcar stop
Roney's recent work, developed through research and community engagement with contemporary migrant experiences, are poetic visualizations expressing resilient affirmations of strength in difference.
About
In Frequencies of Opacity, artist Danielle Roney presents three bodies of work developed through research and community engagement around contemporary migrant experiences. Migration patterns, immigration policy, and migrant and refugee experiences have been the focus of Roney’s work for the last two decades, the center of a practice rooted in nomadic research and the impact of technology on society. Her recent works are poetic visualizations expressing resilient affirmations of strength in difference.
Whispers are 3D printed sculptures formed by algorithmically interpreting vocal recordings of readings by and about migrants, intended to embody the physical intimacy of a whisper. STRATA: Zero and STRATA: Zero-One are light-based sculptures, the first in an ongoing series, that translates biofeedback and voice data recorded by migrant collaborators into visual patterns. Finally, Publics is a live-streaming camera network accessible only to a migrant collaborator, turning the table on surveillance culture and the norms of art viewership.
This exhibition reprises and builds on Roney’s recent participation in knowledges at the Spencer Museum of Art at the University of Kansas. It was curated by Joey Orr, the Andrew W. Mellon Curator for Research, as part of the Integrated Arts Research Initiative and funded by The Andy Warhol Foundation for the Visual Arts.
