The work pushes a straight line of sound from a spot on the beach, intersecting the gallery, towards a wall where it is being absorbed, creating an invisible wall of sound to be stumbled upon.
In Nida, one can hear a humming background noise given the right weather conditions. The obvious connection would be to the sea, and more precisely to the wind, but given its acousmatic presence, it can become many things. The protecting dunes, the Parnidis, the angled trees, even the shape of Kurenas, the boat once prevalent on the lagoon, built to withstand the conditions at hand, they all embody the breeze. One could consider many of the preservation regulations that guide human behaviour in Neringa to be written with a pen filled with wind. It has not only taken forms of physical matter, but also forms of culture, extending its corporeality far beyond material transformations. It’s signaling a becoming — the noise is a void looking for a body, backgrounded, but present.
Visual interpretation of Hybrid(…)scapes in LTMKS by Anton Zolo and Laima Stasiulionytė