We are most happy to partner with the dynamic Serendipity Arts Festival
Steal This ✿ Melissa Cameron confesses to her role in a lawless jewellery gang
In our latest podcast, Melissa Cameron tells the story behind Melbourne’s radical street jewellery scene of the 2000s.
👉 https://garlandmag.com/loop/steal-this/
The March 2024 issue of Garland magazine has hit the streets! #garlandmag #streetmakers #togetherspaces
Dana Falcini recounts the alchemy in the hands-on transmutation of hog intestine into unique and precious objects. Read the story in our latest issue ✿ To Touch.
Our friend, Songül ARAL, shares this video from a travelling exhibition that celebrates the 100th anniversary of the Republic of Turkiye, 29 Ekim 1923
The exhibition features landscapes reflecting the sacrifices made by women living in villages as families under the harsh conditions of war...
@serifebacilar100yili2023
#turkiye100
Anna Vlahos wants us to re-join the herd.
I’m an Australian jewellery and object maker, but I’ve been living and working in Athens, Greece, since 2006. The bells were originally inspired by an Aesop fable, about a naughty dog, forced to wear one by his owner, so everyone can hear him coming. It continues to be something you come across regularly in the Greek countryside, not so much on dogs, but on goats, sheep and cows, wearing bells so they can be found again if they wander off.
While there’s no intention of creating something musical, a flock of sheep or herd of goats does become a beautifully dissonant orchestra when they’re on the move. It’s an iconic sound of the countryside here and really beautiful.
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Read more of this and other stories in our current issue, To Hear.
#soundmaker #sensorium #garlandmag
The Spanish guitar, a masterpiece of soundcraft, made by luthier Paul Aguilera @paulaguileraluthier
Crafting sonic uncertainty in objects, events and installations
Gary Warner re-traces a life in sound in which he produces experimental works that realise the sonic potential of the world around us.
✿ Excerpts:
A curious tension arises between the performative pair as they negotiate how to make sounds together.
my 21-pendulum entropophone (sound of entropy), a suspended kinetic-acoustic array installed at Articulate project space, a Sydney artist-run initiative. The instrument redeploys over 150 discarded aluminium drink cans collected from the street. I cut off their tops with a Dremel and used a roofing nail to punch a hole in each tin’s base to attach a string.
Heard from nearby, the sounds are reminiscent of distant moored boats, wandering farm animals, a forest gamelan or temple bells. If
The container offered up a satisfying kerplunk sound as the ball struck its end and came to a stop.
The woody marble-like quandong nut works well for sounding because of its gyrified surface – bumpy and dimpled like a brain
@garylwarner
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Read more of this and other stories in our current issue, To Hear.
#soundmaker #sensorium #garlandmag #quandong
Drone documentation of aeolian harp at Liku, Island of Niue by Mark and Ahi Cross
Voicing the winds: Kōea O Tāwhirimātea – Weather Choir
Phil Dadson writes about the method of constructing aeolian harps that he developed for wind recordings across Te Moana Nui a Kiwa as part of the World Weather Network.
✿ Excerpts:
In early 2022, I invited participants from eight regional locations, north, south, east and west, within the South Pacific – Te Moana Nui a Kiwa (Maori for Pacific Ocean) to be part of the project. Collaborators were established in Tonga, Niue, Cook Islands, Samoa, and around the North Island coastline of Aotearoa/NZ, at Tāmaki Makaurau (Auckland), Whakatane, Haumoana and Taranaki. We named our distributed group “Breath of Weather Collective” and set out to realise the project across one year, solstice to solstice.
Inspired in part by an aeolian harp design devised by artist friend and colleague John Cousins, I developed the Weather Choir harp to be sturdy, easily constructed and built in part using materials available at each location. A DIY kit of essential parts, including strings, bridges and resonators, was sent to each participant, with text instructions and an online video to aid its assembly.
A breeze, a gust, a bluster, a tailwind, a sou’easter; all will generate a different effect across a spectrum of harmonics unique to each device and its location. The aeolian structure gives voice to the atmosphere, letting us hear the cries and warnings of the planet as it inevitably adapts to our human impact upon its ancient balance.
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Read more of this and other stories in our current issue, To Hear.
#soundmaker #sensorium #garlandmag
Weaving to the beat
Sara Lindsay shares her experience of the unique sounds made in the weaving process in our latest issue "To Hear".
A gift of song from the valley. In our latest issue, Maria Fernanda Paes de Barros explains how to "purchase" a song from the women of Jequitinhonha Valley. #Jequitinhonha #SoundMakers #garlandmag
Rongoāoro: The healing sounds of Taonga Pūoro
Karen Leef explains the profound meaning of the Māori wind instrument she plays, the kōauau.
Visit the article for the full soundtrack 👉 https://garlandmag.com/article/rongoaoro/
Read Annika Karskens "Vivalto Lungo: Espresso bridal jewellery" in our current issue @ak._design
Ida Isak Westerberg "Kuulua vuohmaan: Belonging to a mire" - read in our current issue.
