and divided in groups of five. Each one of them are persons and the visitor is soon persuaded. They start talking to each other, testing the instruments and then singing an adaptation of Thomas Tallis’ opera Spem in Alium (circa1570), a piece thought for a similar place and for eight groups of five voices (bass, baritone, treble, tenor and soprano).
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This sensation can be clearly felt in the work The Paradise Institute expressly made in 2001 for the Canadian stand in the Venice biennial exhibition. You sit down in a gallery of a midget theatre. While lights are turned off to start the representation, the public sees the theatre becoming incredibly true and has his space perception mixed up. The tiny stalls beneath seem indeed plainly far away, as the screen gives the impression to have become the big screen. The showing of a disturbing, misleading film starts and settings become more suggestive when you put on headphones. In fact they spread sounds as the visitors were in cinema: the typical Italian who has not turned his mobile off, people coming late, some coughs of the nearby spectator, a woman who is incessantly whispering and chewing pop-corn, worried because she left her heater on. You get to a point in which you don’t know anymore what belongs to the movie, what is happening in the gallery and what comes from these perceived people.
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An other interesting work is Imbalance .6 (Jump) created by da George Bures in 1998 and included in his series Simple Experiments in Aerodynamics . It deals with a television hung at a little distance from floor by two cables, broadcasting a video with the artist’s feet. The main character is jumping, bending the floor and the television repeats his movement as it contained a real person, with a real weight, his real skills in working with materials and in interacting with physical forces.
And the suggestive power of sound, handled by these two artists, is especially evident also in The Forty Part Motet , outstanding work of art placed in the charming Chapel of the MACBA . Here the visitor can stand amongst 40 loudspeakers set in circle
In the work Telephone/Time of 2004
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