Index

001

2020

001

2020

2020

Water rhythms is a story of climate change told by ice and water. It is a story about the dualism of water, the universal connector of nature and humans. It is also an intergenerational story of the rapid change and depletion of our glaciers and freshwater sources worldwide. 

Glaciers and ice sheets are the world’s water towers; only 2.5% of water on Earth is freshwater, and of this, 99% comes from glaciers and ice sheets. As glaciers worldwide shrink and disappear in response to climate change, water availability and water quality are being threatened for the billions of humans and more-than-humans who live downstream. As the ice disappears, these water rhythms are also shifting and fading from view. 

Michele Koppes (Glaciologist, Geographer, Climate Scientist) and Susie Ibarra (Composer, Percussionist, Sound Artist), have been sonically mapping changes in glacier runoff from the source to the sink, from the glaciated mountains to the ocean, from some of the world’s most important water towers, including the Coast Mountains of the Pacific Northwest, the Greenland Ice Sheet, and the Indian Himalaya. Their fieldwork and recordings have been supported to date by Bennington College, the University of British Columbia, the Asian Cultural Council, TED, the Fine Acts Foundation and a National Geographic Explorer Storytelling grant. Through these field recordings taken from both above and below the ice and water, and including the sounds and music of the people who live along their shores, they are capturing the sounds of climate change on our lifeblood, freshwater, and listening to the stories the water is telling us about a world of increasing ecological precarity.

Humans are inextricably connected to the Earth’s freshwater; the same rhythms of glacial meltwater that flow from the mountains to the sea flow through our bodies, our histories and our music. In recording the sounds of glacier melt, we discovered that these sounds were not simply ambient, but indeed very musical. They have precise rhythms, a precise tempo/bpm (beats per minute). These tempos match the sweet spot at which pieces of music from all over the world are created and played. They also match our heartbeats at birth. Our connection to water is hence so much more intimate than we think. A world losing its flowing freshwater is not only a world of increasing ecological precarity. A world losing its flowing water is hence a world losing its music, its culture and its humanity.

002

2019

002

2019

2019

The sound installation prepared in collaboration with the Swiss sound artist and composer, Denim Szram, was created during Diana Lelonek’s residency as part of the Culturescapes festival in Basel. The recordings created by the artist on three melting Alpine glaciers: du Rhone, Aletsch and Morteratsch composed into a song by Denim Szram are a kind of symphony of disappearing glaciers. The sound of a slowly trickling catastrophe, whose arrival is hardly spectacular, is blurred, present everywhere and nowhere, and gives rise to anxiety and is lined with fear. Alpine glaciers are disappearing very quickly; some of them have already gone forever. A trip to the glacier, listening to the ubiquitous sounds of uniform dripping, resembles a countdown. The sound is a direct sign of irretrievable loss. The multi-channel sound installation presented in an empty exhibition space, fills the room with sound, while the classic “white cube” form has not been filled with objects. The emptiness is a kind of manifesto but also a question: what is the place of art in the climate crisis? It is also a question about the overproduction of objects within the process of production art, the art world being a market that constantly craves new projects, trends and works. The production race sometimes lacks the space for us to stop and feel.

Description from the artist’s website: Melting Gallery – Diana Lelonek

Submit