Usually on entering an exhibition space we expect to find works to look at and consider. This is only partially true of Peter Flemming’s new show, Instrumentation, at Centre des arts actuels Skol. Flemming, who describes himself as a “folk machinery artist”, here exhibits five works that create, project and alter his created electro-mechanical sound. In the first room sit four large pieces, each facing a corner. Made of found objects, the works are all designed to project the sounds that Flemming has created. As you walk around them the volume changes to stress their function. In the back room is the fifth piece. Sitting in the middle of the room like a work station are piano wires, moving arms, machinery and drums kits acting as speakers. On top of the table three desk lamps get brighter then darker, adding a visual dimension. When the lights fade to black we become immersed in the sound, and when they turn back on we are reminded of the visual setting and not just what we are hearing.

In the past few years the public has begun to take more note of sound artists. The 2010 Turner Prize was awarded to Susan Philipsz’s Lowlands, a sound installation featuring three variants of the same Scottish lament. Sound installation – be it electro-machinery, words, noises or songs – focuses on heightening not only our hearing, but also our sight. In the case of Flemming’s instrumentation, when you first enter the show you try and figure out how the different objects present are making the electro-noise, then the longer you are there the less the how matters and the more you enjoy being silent totally immersed in Flemming’s music, and the way the separate noises resonate with one another. You can just relax and let the sounds wash over you.

Centre des arts actuels Skol, space 314
Peter Flemming
Instrumentation
April 27 – June 2 2012
www.skol.ca