Durational installation · 2016 – present Kovács/O’Doherty
Microphones, speakers, cables, custom software · www.minuteyear.com
With an open minute event:
7:30pm on Sunday, March 10th, 2019, at grüntaler9
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Minute/Year is an automated, multi-year, sound-based durational installation work. For the entirety of 2019 — beginning on January 1, and continuing until December 31 — it is installed in grüntaler9, for its fourth annual iteration.
Every day, for one minute, Minute/Year adds a new layer. A daily process occurs: the sound that is happening at grüntaler9 during one single minute is recorded. But, simultaneously, the previous day’s recording – of the sound of the same space, 24 hours before – is played back into the space. So, each recording includes its predecessor, which includes its predecessor in turn, and so on, in a potentially infinite regression. Each day’s minute-long recording is then converted into a spectrogram – an image of the frequencies of the audio — and the two parts are then published online.
This entire process is automated and runs daily at 20:19 (in 2019). Through this daily three-step process, the sounds of daily life — of human and non-human activities, large and small — become material for a layered index, which develops, mutates and degrades over time, a kind of repeating surveillance turned inside-out. Minute/Year is partly an online archive, partly an accumulating layering process, and partly a multi-year durational sound installation.
Minute/Year began on January 1, 2016, and has generated compelling sounds and images for one minute each day ever since, in an accumulating, serial process. It has no set ending date.
Kovács/O’Doherty (Kata Kovács and Tom O’Doherty) have worked as a collaborative duo since 2011. Their work combines elements of durational and time-based art, minimalist and electroacoustic music and sound, movement, and video. This work often applies rigorous processes to simple but frequently-overlooked phenomena — they are interested in processes, sounds, and movements that come close to imperceptibility, and the ways in which this material can be transformed through layering, rhythm, pattern, and repetition.