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Noise to Free the Spirit. Noise to Find Myself , 2024

Exhibition view of the DNSEP diploma, Bosio Pavilion, Monaco

NOISE TO FREE THE SPIRIT.
NOISE TO FIND MYSELF.

 

Screenprint on aluminum, 70x50 cm, 2024

Series of 10 panels

 

The viewer is invited to read a series of statements that reflect my personal interpretation of the world. I use these silent slogans as a direct means of expressing my ideas while challenging and questioning the viewer. Moving through the circular installation, visitors encounter a sequence of mental propositions, each illuminated from behind by LED light.

 

Unlike a demonstration, these slogans are not meant to be chanted but rather internalised. In my opinion, human strength lies not in power but in self-transcendence.

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Unnited 5
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It’s a note posted on the door that sets the tone.
Noise to Free the Spirit. Noise to Find Myself; This preamble immediately clarifies the focus of Tetyana Nahaychuk’s research: sound is a matter of emancipation, of connection to oneself and to the world. In search of  ‘deep listening’, the installation conceived by the artist unfolds as a gradual immersion. The first space is a sound bath - a toneless, purely technical sound, like a hookup waiting for its signal. Its source
comes from the ceiling, and it could even be leaking from a smoke detector. This ‘neutral’ sound bath acts as a kind of airlock, awakening the ears, sharpening our receptivity. It continues as you enter the second space, marked by a blurred image projected on the wall, reminiscent of the ‘ snow ’ of old cathode-ray tube screens. You must then pass through a curtain of chains-which chime as you walk through-before reaching the final room. At the center, suspended metal panels display imperative or questioning messages, forming a circle to orbit around. The space then fills with a sound recording made by the artist at the Frankfurt train station, reworked and played through four loudspeakers. This creates a soundscape in which the rhythm of the rail
network, the murmur of travelers, and the diluted voice of public announcements blend together. A train station, as a public space filled with constant sonic distraction, is also a place of transport 
- in the deepest sense. By allowing ourselves to become porous to the sounds animating it, we may gain access to other mental spaces. In this way, the experience of constraint - evoked in Tetyana Nahaychuk’s practice through chains, the panopticon, or assertive phrases - can be transcended by the active practice of listening. As with musician and artist Pauline Oliveros, paying attention to the vibrations around us, to the sounds between the sounds, becomes a form of commitment - a search for inner and collective resonance.

 

                                                                             

Elsa Vattier, text for the DNESP edition of the Pavillon Bosio, Monaco, 2024

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