FeÌlicien Goguey (Switzerland/France), A GSM Landscape v.0.1.5, installation, 2016 © FeÌlicien Goguey, photo by Thomas Meghe

Wouter van Veldhoven (Netherlands), Verbuigingen, installation/performance, 2019 © Wouter van Veldhoven

Alexey Dymdymarchenko (Russia), Untitled, installation, 2019 © Alexey Dymdymarchenko, photo by Alexander Ivanov

November 17–24
Exhibition project ID
Luda gallery


Alexey Dymdymarchenko (Russia), Untitled, 2019
Félicien Goguey (Switzerland–France), A GSM Landscape v.0.1.5, 2016
Wouter van Veldhoven (Netherlands), Verbuigingen, 2019

Curated by Sergey Komarov (Russia)

Telezhnaya st. 37
Mon-Sun: 12:00 – 20:00
Free admission

Wouter van Veldhoven (Netherlands)
installation, performance, 2019

The sound artist from the Netherlands installs a sonic pile of dissected tape recorders at the Luda Gallery. On the opening night he will conduct a performance at his installation, manipulating the tape (and more) in his own special way. Wouter is a true prodigy who makes original discoveries in using tape recorders, and with every new work he transcends the boundaries of the previous day. He brings part of the installation with him, and plans to find the rest at the flea markets of St. Petersburg, as he was very inspired by the local assortment of unknown vintage machines. Surfing the Avito website is now his favorite pastime.

Félicien Goguey (Switzerland–France)
GSM Landscape v.0.1.5
installation, 2016

Félicien Goguey’s installation explores the surrounding mobile phone landscape with a cellphone. This one scans the frequency bands allocated to GSM and looks for cell towers and communications from users. The visualization and sonification of this data reveal the spectral space produced by network activity, which is usually imperceptible and superimposed on our private and public spaces.

Alexey Dymdymarchenko (Russia)
installation, 2019

What do we see when we encounter this torn and crumpled piece of paper? A piece of chalk leaves a trace when it is thrown at the white surface, and has nothing in common with drawing or any other traditional visual practice. Here, drawing means a gesture and a sound, it is a process with stages that are inaccessible to the observer and remain outside the boundaries of language. Examining the works of Alexey Dymdymarchenko, we face the impossibility of grasping and localizing the image, no matter how profound our knowledge of art and its practices is. Perhaps we should consider this work as a document, in which every mark or dot is accompanied by the sound of the chalk hitting the paper.