The Baltic is gearing up to become the first non-Tate host of the prestigious Turner Prize next month and much media focus has therefore been aimed at this converted flour mill, one of the biggest contemporary art spaces of its kind in Europe. However before we get too entrenched in judges, winners and awards ceremonies, a short-run interim exhibition of local artist Matt Stokes’ work has been scheduled to bridge the gap between show changeover which more than deserves a mention.
Matt Stokes’ video installation Cantata Profana (2010) is currently on show in Baltic’s lesser-used level 1 event space and is in danger of being lost amongst the hubbub of Turner fever. Taking the form of a six screen video installation, Stokes’ latest work showcases collaboration between British composer Orlando Gough (well known for his compositions for ballet and theatre) and six grind-core (an extreme branch of heavy metal) vocalists, following Stokes’ thematic trend of interweaving contrasting musical subcultures to create immersive and often surprising video installations.
As a viewer it’s a daunting walk from the open foyer of the exhibition space into the darkened arena where Stokes’ piece is installed. Deep, guttural roars echo through the corridor space creating a sense of doubting tentativeness as whether to enter or not, the mind conjuring images as to just what sort of creatures could be making this infernal cacophony of sound.
Once inside the space the viewer is confronted with the work’s fascinating set-up, which is key in providing a truly immersive visual and audio experience. Six screens are installed in a concave semi-circle, surrounding the viewer from left to right. Each screen focuses on one of the grind-core vocalists as they perform their parts, whilst the German Democratic Republic recording studio where the work was recorded and filmed provides the backdrop.
The vocalists appear larger than life-size, in some ways enhancing the extreme nature of the music subculture that they are a part of. They seem to bear down upon the viewer, the combination of the sounds and intense stares becoming almost animalistic. Each one ‘sings’ his own composed part that separately showcases each man’s impressive vocal gymnastics, whilst together the parts come to form an unexpected rhythmic composition that as the piece continues exemplifies many notions used in classical music: elements of staccato, recognisable bass and tenor parts and an intense crescendo.
It seems appropriate that the exhibition is located in Baltic’s designated ‘performance’ space as the work is as much about the visual appearance and physicality of the vocalists as the sounds that they make. Each one, despite their part in a group presentation provides a deeply individual performance through their outward appearance, facial expressions and body contortions and in capturing their unique performative demeanour; a video portrait of each vocalist is created.
All in all Cantata Profana is a piece that demands to be experienced to truly understand its immersive power. Guaranteed it will be unlike anything you have seen (or heard) before and although almost at the end of its current run at Baltic will return for the opening weekend of the Turner Prize. See this work if you can.
Matt Stokes, Cantata Profana will run at Baltic from 24th September – 7th October and return on the 20th October.
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