Re-Locating Echoes is a hybrid archive, exhibition space, and publication platform under development by Fayen d’Evie and Bryan Phillips. Re-Locating Echoes extends the artists’ collaborative investigation into audiodescription as a creative, ekphrastic medium for sharing intimate encounters with artworks with an expanded public audience.
The first issues to be published on Re-Locating Echoes will be outcomes of an iterative residency and collaboration with the Artist Initiative of the San Francisco Museum of Modern Art (SFMOMA). To learn more about how an alliance between blindness and conservation has animated sensory research at SFMOMA, read Re-Describing the Periphery.
Experimental audiodescriptive works by d’Evie and Phillips have featured in exhibitions and performance events, including: How Does a Straight Line Feel?, City Gallery, Wellington, 2019; When Mountains Become Islands, Dominik Mersch Gallery, Sydney, 2019; The National, Art Gallery of NSW, Sydney, 2019; With Seeing Hands, Incinerator Gallery, Melbourne, 2018; Seeing Voices, NETS Victoria and MUMA Touring Exhibition, Mildura Arts Centre, Cairns Regional Art Gallery, Riddoch Art Gallery, Mt Gambier, 2017/18; ee//hm, KADIST, San Francisco, 2016; and […] {…} […], Gertrude Glasshouse, Melbourne 2016.
The artists acknowledge and thank SFMOMA, Creative Victoria, the Willingham Family, and Melbourne City of Literature for supporting the creative research that has shaped this platform, and Georgina Kleege and Jill Sterrett for enduring guidance.
Image Description: At SFMOMA, February 2018, Bryan Phillips and Fayen d’Evie record within Sequence (2006) by Richard Serra. Fayen d’Evie holds a boom microphone, while Bryan Phillips crouches with a field recorder in hand. Snaking audio leads connect the pair. Georgina Kleege stands alongside, her cane resting in hand, listening. Photograph by Hillary Goidell.