To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Dylan Hester shares his perspective on Thursday night’s Sound Horizon performance by Holly Herndon. Agree or disagree? Feel free to share your thoughts in comments!
Holly Herndon breathes into a very loud microphone. Her inhale and exhale pan across the room. Scott Nedrelow’s Movie (Black Swan), a series of six video projections shot inside a cinema screening Darren Aronofsky’s film of the same name, plays on a loop in the background. Herndon’s voice is joined by disjointed, deconstructed beats. Her sharp inhales come so suddenly that we realize we are at her mercy: anything louder than breath would surely send a jolt through the audience.
The music grows dense, and a 4/4 rhythm emerges. Suddenly, we’re awash in drum machines. I briefly wish we were dancing in a warehouse instead of sitting quietly in a gallery. Black Swan continues to loop: an audience arrives in the cinema, watches a scene of the film, the credits roll, the audience leaves. The amplifiers shake. I wonder if the art on the other side of the wall is shaking too. She gasps. The rhythm dissipates. The focus remains on her voice, constantly manipulated, keeping us in suspense.
Holly Herndon’s work is somewhere between the academy and the club; the performance is at once confrontational and intimate. Her second LP, Platform, is due out May 2015 on the venerable 4AD label. She is a 21st century electronic artist who sits behind an array of computers – but it is the sound of her breath that fills the room, forms sonic sculptures, and keeps us on edge.