Risonanze di Vino

Featured

IMG_6898Montesarchio, Italy, October 2018

Risonanze di Vino was a residency project in which I explored the interactions between the sounds and wines, culture and senses in wine regions within Campania, Southern Italy. Curated by Leandro Pisano and supported by Nicola Carfora, this project sought to uncover resonances between the sensory and affective connections of local winegrowers – predominantly located in Sannio/Valle Caudina areas – and their wines and land. These responses helped guide the making of audio recordings in their vineyards and wineries, which were then used in the creation of site-specific soundscapes for one wine from each of the six producers visited.

 

Masseria Fratassi's Pasquale Clemente up Mt Taburno

Masseria Fratassi’s Pasquale Clemente up Mt Taburno

Cantine Giardino's Daniela di Gruttola and her amphorae

Cantine Giardino’s Daniela di Gruttola and her amphorae

Each soundscape aims to reflect the connections articulated by the maker of the selected wine through sounds of that wine’s sonic ‘terroir’, sourced from its place and production. The individual soundscape was also designed to harness perceptual correspondences between elements of the sounds recorded and the salient aroma and flavour characters of the individual wine, which is tasted as part of the work. The wine and sound combined offers a sensory transmission of the complex cultural and personal contexts of the wine’s making, heightened by the works’ crossmodal harmony.

IMG_6752

The works from Risonanze di Vino were premiered on 7 October, 2018 at Cristina Park Hotel, Montesarchio, Italy. The wines used were:

 

Masseria Parisi Resolje Moscato Spumante de Baselice NV

Masseria Fratassi SVG920 2017

Vallissasoli 33/33/33 2013

Fontanavecchia Libero Taburno Falaghina 2007

Cantina Giardino Bianco 2017

Cantine Tora “Spartiviento” Aglianico del Taburno Riserva 2011

 

Further and more detailed documentation may well be forthcoming!

 

 

La Chevelure at reminiSCENT

Featured

La Chevelure Boîte à Souvenirs

La Chevelure Boîte à Souvenirs

25 July to 11 August, 2018
May Space, Sydney

My audio-olfactory work, La Chevelure is part of reminiSCENT, an ambitious olfactory art exhibition curated by Megan Fizell at Sydney’s May Space, which surveys contemporary artists initiating multisensory experiences through olfactory encounters. As well as the 2016 audio-olfactory installation, this iteration includes La Chevelure Boîte à Souvenirs, a vintage hand-carved box containing a copy of the sound work, the scent and the Charles Baudelaire poem, La Chevelure.

scent_burzynska-2

“…mon âme peut boire / À grands flots le parfum, le son et la couleur” – Baudelaire, La Chevelure.

La Chevelure is an exploratory, immersive audio-olfactory installation that charts a sensuous journey through the waves of ‘synesthetic symbolism’ in the Charles Baudelaire poem of the same name. In his poem from the mid-1800s, Baudelaire created a dense tangle of multisensory imagery to evoke the poem’s conceptual and emotional content using the central symbol of a lover’s head of hair. This wafts layers of exotic sensory symbolism through the poem’s inner and external worlds, much of which is evoked through scents and sounds. In this contemporary interpretation, the poem’s mental imagery, symbolism and conceptual elements are transposed to actual sounds and scents, and current understandings of crossmodal correspondences – the universal tendency of a sensory feature in one modality to be matched with one from another sensory modality – are applied and explored. Sensory interactions are harnessed to elicit states of mind, creating subconscious connections that provoke powerful conscious perceptual experiences.

Singing with the gluttonous railway stations devouring smoking serpents

Featured

Live audio-olfactory performance
28th January, 2018 – NOW Now Festival, Sydney, Australia
28th April, 2018 – Selectors’ Records, Vancouver, Canada

 

“When Locomotion No1 made the world’s first commercial steam journey in 1825 it created the first movement in the history of the railways, and of a whole body of musical work inspired by the iron horse’s subsequent noisy passage through the world’s once peaceful open country. While the train came to symbolise order, progress and freedom, its potential for unpredictability and disaster on the other – from runaway trains to derailments and crashes – evoked a mixture of fear and fascination reflected in and provoked by some of the sublime musical journeys which have incorporated its aural imagery.
Jo Burzynska, “The Sound of Steam.” Noisegate 13 (2006).

IMG_5184

In preparation for the performance

Jump on board for a dromological journey illuminated by the sonic, kinetic and olfactory energy of locomotion and landscapes passed through at speed. In this live audio-olfactory performance – which follows the Stanier Black-Five vinyl release of Alone with the Black Spirits on the UK’s Rail Cables last year – I’m returning to my longstanding fascination with trains in my first ever rail-based work in Australia and featuring  aromatic elements. The sound component will use my field recordings of trains made around the world, which is entwined with a congruent shifting aromascape that I’ve blended that applies my own and existing research into crossmodal correspondences, the universal tendency of a sensory feature in one modality to be matched with one from another sensory modality.

A few copies of the Rail Cables vinyl still available to purchase.

 

 

 

Amazuppai

Featured

The Auricle Sonic Arts Gallery, Christchurch, New Zealand
June 1-24, 2017

IMG_3737Jo Burzynska’s Amazuppai work for sound and wine was part of An Audacious Decade exhibition at The Auricle Sonic Arts Gallery in Christchurch, NZ. Amazuppai uses the interactions between sound and wine to explore the physical sensations, conceptual contrasts and subconscious synergies of ‘sweet and sour’. The knife-edge balance between these two contrary but often complementary tastes and their semantic associations is explored in Amazuppai (the Japanese for sweet-sour, comparable to the idea of bittersweet). This is reinforced and destabilised through the interplay of a crisp off-dry Riesling with a modulating soundscape.

This work was created as part of Jo’s current doctoral research at the University of New South Wales, Sydney. In this, she is investigating the interactions between sound and taste and applying this in the creation of installations that work at the intersections of the senses.

Wines for the research for this piece generously supplied by the Sydney International Wine Competition and the 2015 Waipara Riesling for the installation by Pegasus Bay.

Oenosthesia: Australian premiere

Featured

Recording a fermentationOenosthesia: a wine and sound experience
Wednesday 1st March – 6pm

Black Box (D106, First floor, D Block), UNSW Art & Design, Greens Rd, Paddington, Sydney NSW 2021

Join the facebook event

 

Experience the fascinating transformations that occur when wine and sound combine at the inaugural Australian presentation of Jo Burzynska’s Oenosthesia, sound and wine project. Created from blending a soundscape of recordings made from the winemaking process with wines tasted during the piece, the work will premiere in Sydney on 1st March 2017 as part of the launch of the Writing Around Sound journal that Jo co-edits.

In Oenosthesia, Jo explores the way in which sound influences the perception of a wine’s taste and texture through the changing timbres and frequencies of the sonic element in combination with different styles of wine tasted during the work. Oenosthesia brings together Jo’s two professional interests as a sound artist and wine writer to create a unique experience based on the science of sensory interaction. The work was initially created as an installation from a “Suoni dal confine” artist residency in Irpinia, Italy and premiered at the Interferenze New Art Festival’s Factory of Art Rurality and Media 2012 in Tufo, Italy. It has since been presented at Rome’s MAXXI National Museum of 21st Century Arts, at Studio Sienko in London and at the Dunedin Public Art Gallery and Physics Room Gallery in New Zealand.

 

Jo is currently engaged in research into the interaction of sound and taste as part of a PhD at the University of New South Wales (UNSW). This presentation is being made as part of this research, with participants invited to provide feedback via a short questionnaire at the end of the work.

 

Jo Burzynska has a career spanning two decades in wine and sonic art. As a wine writer and wine judge she has contributed to wine magazines and competitions internationally and is the author of the book, Wine Class (Random House). She is also an active sound artist, whose work in recent years has increasingly drawn on her interest in taste and olfaction in projects that include multisensory installations and performances, as well as establishing of the world’s first “oenosthetic” bar at The Auricle in New Zealand where she matched wines with the exhibitions and the sounds in the space. She also writes on sound and has had articles published in magazines such as The Wire and is the co-editor of Writing Around Sound sonic arts journal, the third issue of which is launched at this event.

Wines kindly supplied by Pegasus Bay, Quartz Reef and The Boneline.
The exclusive glass sponsor for this event and Jo’s research is Riedel.