Watch live video stream of theater auteur Richard Foreman creating his newest piece, "Wake Up Mr. Sleepy! Your Unconscious Mind is Dead." Rehearsals every Wednesday until preview week starting October 11 through January 10. Richard Foreman’s new show is like any of his others, it won’t be dead for long. The Ontological-Hysteric production features airplanes “breaking through the language barrier” and who knows what else. It’s the author’s second mixed-media project, following on the 2006 “Zomboid!” Sophie Havilland and the Bridge Project collaborate with Mr. Foreman on the accompanying video presentation, shot in Lisbon. Previews begin Jan. 18. Opens Jan. 25.

Watch live video stream of theater auteur Richard Foreman creating his newest piece, "Wake Up Mr. Sleepy! Your Unconscious Mind is Dead." Rehearsals every Wednesday until preview week starting October 11 through January 10. Richard Foreman’s new show is like any of his others, it won’t be dead for long. The Ontological-Hysteric production features airplanes “breaking through the language barrier” and who knows what else. It’s the author’s second mixed-media project, following on the 2006 “Zomboid!” Sophie Havilland and the Bridge Project collaborate with Mr. Foreman on the accompanying video presentation, shot in Lisbon. Previews begin Jan. 18. Opens Jan. 25.

Watch live video stream of theater auteur Richard Foreman creating his newest piece, "Wake Up Mr. Sleepy! Your Unconscious Mind is Dead." Rehearsals every Wednesday until preview week starting October 11 through January 10. Richard Foreman’s new show is like any of his others, it won’t be dead for long. The Ontological-Hysteric production features airplanes “breaking through the language barrier” and who knows what else. It’s the author’s second mixed-media project, following on the 2006 “Zomboid!” Sophie Havilland and the Bridge Project collaborate with Mr. Foreman on the accompanying video presentation, shot in Lisbon. Previews begin Jan. 18. Opens Jan. 25.

Watch live video stream of theater auteur Richard Foreman creating his newest piece, "Wake Up Mr. Sleepy! Your Unconscious Mind is Dead." Rehearsals every Wednesday until preview week starting October 11 through January 10. Richard Foreman’s new show is like any of his others, it won’t be dead for long. The Ontological-Hysteric production features airplanes “breaking through the language barrier” and who knows what else. It’s the author’s second mixed-media project, following on the 2006 “Zomboid!” Sophie Havilland and the Bridge Project collaborate with Mr. Foreman on the accompanying video presentation, shot in Lisbon. Previews begin Jan. 18. Opens Jan. 25.

Watch live video stream of theater auteur Richard Foreman creating his newest piece, "Wake Up Mr. Sleepy! Your Unconscious Mind is Dead." Rehearsals every Wednesday until preview week starting October 11 through January 10. Richard Foreman’s new show is like any of his others, it won’t be dead for long. The Ontological-Hysteric production features airplanes “breaking through the language barrier” and who knows what else. It’s the author’s second mixed-media project, following on the 2006 “Zomboid!” Sophie Havilland and the Bridge Project collaborate with Mr. Foreman on the accompanying video presentation, shot in Lisbon. Previews begin Jan. 18. Opens Jan. 25.

Watch live video stream of theater auteur Richard Foreman creating his newest piece, "Wake Up Mr. Sleepy! Your Unconscious Mind is Dead." Rehearsals every Wednesday until preview week starting October 11 through January 10. Richard Foreman’s new show is like any of his others, it won’t be dead for long. The Ontological-Hysteric production features airplanes “breaking through the language barrier” and who knows what else. It’s the author’s second mixed-media project, following on the 2006 “Zomboid!” Sophie Havilland and the Bridge Project collaborate with Mr. Foreman on the accompanying video presentation, shot in Lisbon. Previews begin Jan. 18. Opens Jan. 25.

Watch live video stream of theater auteur Richard Foreman creating his newest piece, "Wake Up Mr. Sleepy! Your Unconscious Mind is Dead." Rehearsals every Wednesday until preview week starting October 11 through January 10. Richard Foreman’s new show is like any of his others, it won’t be dead for long. The Ontological-Hysteric production features airplanes “breaking through the language barrier” and who knows what else. It’s the author’s second mixed-media project, following on the 2006 “Zomboid!” Sophie Havilland and the Bridge Project collaborate with Mr. Foreman on the accompanying video presentation, shot in Lisbon. Previews begin Jan. 18. Opens Jan. 25.

Featuring The Bird's Nest's DJs.

Watch live video stream of theater auteur Richard Foreman creating his newest piece, "Wake Up Mr. Sleepy! Your Unconscious Mind is Dead." Rehearsals every Wednesday until preview week starting October 11 through January 10. Richard Foreman’s new show is like any of his others, it won’t be dead for long. The Ontological-Hysteric production features airplanes “breaking through the language barrier” and who knows what else. It’s the author’s second mixed-media project, following on the 2006 “Zomboid!” Sophie Havilland and the Bridge Project collaborate with Mr. Foreman on the accompanying video presentation, shot in Lisbon. Previews begin Jan. 18. Opens Jan. 25.

Watch live video stream of theater auteur Richard Foreman creating his newest piece, "Wake Up Mr. Sleepy! Your Unconscious Mind is Dead." Rehearsals every Wednesday until preview week starting October 11 through January 10. Richard Foreman’s new show is like any of his others, it won’t be dead for long. The Ontological-Hysteric production features airplanes “breaking through the language barrier” and who knows what else. It’s the author’s second mixed-media project, following on the 2006 “Zomboid!” Sophie Havilland and the Bridge Project collaborate with Mr. Foreman on the accompanying video presentation, shot in Lisbon. Previews begin Jan. 18. Opens Jan. 25.

Watch live video stream of theater auteur Richard Foreman creating his newest piece, "Wake Up Mr. Sleepy! Your Unconscious Mind is Dead." Rehearsals every Wednesday until preview week starting October 11 through January 10. Richard Foreman’s new show is like any of his others, it won’t be dead for long. The Ontological-Hysteric production features airplanes “breaking through the language barrier” and who knows what else. It’s the author’s second mixed-media project, following on the 2006 “Zomboid!” Sophie Havilland and the Bridge Project collaborate with Mr. Foreman on the accompanying video presentation, shot in Lisbon. Previews begin Jan. 18. Opens Jan. 25.

Watch live video stream of theater auteur Richard Foreman creating his newest piece, "Wake Up Mr. Sleepy! Your Unconscious Mind is Dead." Rehearsals every Wednesday until preview week starting October 11 through January 10. Richard Foreman’s new show is like any of his others, it won’t be dead for long. The Ontological-Hysteric production features airplanes “breaking through the language barrier” and who knows what else. It’s the author’s second mixed-media project, following on the 2006 “Zomboid!” Sophie Havilland and the Bridge Project collaborate with Mr. Foreman on the accompanying video presentation, shot in Lisbon. Previews begin Jan. 18. Opens Jan. 25.

Watch live video stream of theater auteur Richard Foreman creating his newest piece, "Wake Up Mr. Sleepy! Your Unconscious Mind is Dead." Rehearsals every Wednesday until preview week starting October 11 through January 10. Richard Foreman’s new show is like any of his others, it won’t be dead for long. The Ontological-Hysteric production features airplanes “breaking through the language barrier” and who knows what else. It’s the author’s second mixed-media project, following on the 2006 “Zomboid!” Sophie Havilland and the Bridge Project collaborate with Mr. Foreman on the accompanying video presentation, shot in Lisbon. Previews begin Jan. 18. Opens Jan. 25.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.

Gigantic ArtSpace [GAS] and free103point9 are pleased to present [silence], a exhibition focused on artists' uses of and responses to silence - as manifested in sculpture, in installation, in composition, in works on paper, and in time-based practices. The works on view address the futility of the chase, the beauty of absence, and the rich potential of an empty signal. Works from: Matthew Burtner, Jeroen Diepenmaat, Michael Graeve & Christoph Dahlhausen, Pablo Helguera, Douglas Henderson, Pierre Huyghe, Tarikh Korula & Tianna Kennedy, David La Spina, LoVid, Juan Matos Capote, Lee Ranaldo, Douglas Repetto, Michelle Rosenberg, Stephen Vitiello, and James Woodfill. Curated by Dylan J. Gauthier and Galen Joseph-Hunter.

Opening reception: Wednesday, January 31, 6-9 pm at Gigantic Art Space, 59 Franklin Street, New York, NY 10013.
Opening night performances from Mathew Burtner 7 & 8 pm. With Ian Epps, Aaron Halley, Tom Mulligan, and Jeremy Slater.
Sound program: A Call for Silence, curated by Nicolas Collins. Courtesy Sonic Arts Network.
Saturday performance series: 4:33 pm featuring Michelle Nagai (2/10), Michael Graeve with Tianna Kennedy (2/17), and 31 Down (2/24).

ABOUT THE WORKS

By compounding the energy of the FM signal, Matthew Burtner's performance Study 1.0 (feedback) for radio transceiver revisits the artist's childhood in Alaska and his ensuing focus on open communication in unoccupied places. David La Spina will present photographs of Burtner's performance at the opening reception - a sort of residual, feedback hum of the opening night.

Juan Matos Capote combines painting, sculpture, and field recordings in Series H, a study of accumulation, absence, and the nature of that which is imagined but unpronounced.

In Jeroen Diepenmaat's pour des dents d'un blanc éclatant et saines. dead birds are reunited with their lost birdsong through the preservational power of phonography.

Michael Graeve and Christoph Dahlhausen create an inaudible, synesthetic feedback loop between two divergent but thematically similar art practices with their minimalist cadavre-exquise, Dialog 1.2.

Pablo Helguera presents new work gleaned from the series Dead Languages Conservatory, last words from all-but-lost languages.

Douglas Henderson exhibits a series of sculptures involving ultra low-level sound components, water, and the visual language of sine-waves.

Pierre Huyghe's Partition de silence (Score of silence) is a transcription of Cage's silent masterwork 4'33” (1952) into a flute sonata achieved via a sound-to-MIDI converter program.

Tarikh Korula and Tianna Kennedy will create a recording stylus in an attempt to unlock the Archeoacoustic sound dormantly sealed in found and historic objects around New York City.

Hearing Red continues the collaborative LoVid's work in blurring sensory boundaries through the use of electrical signals and synaesthetic output: in this case, a pure "Red" video signal is played as "sound" through a speaker, taking its form from the frequency of the video signal.

Lee Ranaldo's 4 organs combines thematic and visual data from Robert Smithson and Steve Reich to reach a third, distended point between the suspension of their respective oeuvres.

Douglas Repetto will realize a new version of the installation, puff bang reverb, a kinetic sculpture and semi-accurate, two-dimensional hyper-zoom, which exposes the secret life of displaced air molecules.

Michelle Rosenberg will present a new series of Ornamental Headphones that reassess our collective, compulsive culture of listening.

Stephen Vitiello's Trio, employs low-frequency sine tones to force the surface of a number of speakers to pulse and vibrate in patterns visible to the eye yet inaudible to human ears.

James Woodfill's film 60hz derives its subject from the constant and pervasive flow of electricity throughout our environment to alter our perceptions of time and movement.