Artists and Projects

artist

Derek Gripper

year

2013

about the artist

Derek Gripper is a musician and composer based in Cape Town, South Africa. Since 2012 he has worked on arranging and performing music originally composed for the kora – a 21-string African harp-lute – on classical guitar.

derekgripper.com

about the residency

In 2013, Derek Gripper was invited to participate in the openings of the exhibition Efter arken en ö – rapporter från team B that was shown in two episodes: at the Finnish Institute in Stockholm and Botkyrka konsthall in Tumba.

He continued to collaborate with Botkyrka konsthall through the sound project that was presented at the Fittja Pavilion in Venice in 2014.

documentation

Performance by Derek Gripper (2013). Exhibition opening After the Arc – an Island: Findings by Team B at Botkyrka konsthall. Photo: Sanna Tirén.

Performance by Derek Gripper (2013). Exhibition opening After the Arc – an Island: Findings by Team B at Botkyrka konsthall. Photo: Sanna Tirén.

labyrint archive

Derek Gripper
Cassette Locale: After Masanobu Fukuoka
Record (released 2014)

Cassette Locale was installed as a sound installation in the Fittja Pavilion in Venice (2014), a collaboration between musician Derek Gripper and architect Lindy Roy, curated by Joanna Sandell.

The globalised neighbourhood of Fittja, Sweden is the starting point of the music installation. Initially built as a utopian whole, Fittja is now transformed into an assemblage of interrelated societies and diverse communities. Cassette Locale is situated in this complex space. The music installation comes out of extensive research of West African kora music, a close reading of the philosophy of Japanese farmer Masanobu Fukuoka and an exploration of the potential of sound technologies to disrupt our perception of space. Cassette Locale is exhibited as an eight-channel sound installation with eight hypersonic speakers arrayed in the Serra dei Giardini. Visitors are invited to walk amongst the hypersonic sound beams where individual instruments are heard by moving along single corridors of sound. Larger ensembles are audible at specific points of overlap between beams and the full work is experienced at the centralised intersection of all eight sound beams.

Derek Gripper, Cassette Locale, 2014

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