E-Mixer

E-Mixer
megan matichuk

Organized by the Surrey Art Gallery in partnership with Interactive Futures ’09: Stereo, the E-Mixer is an evening of performance, exhibitions and mixing with friends and colleagues.

The E-Mixer featured local emerging artists that have graduated from Emily Carr University of Art + Design, the School of Interactive Arts and Technology at Simon Fraser University, and the Department of Art History, Visual art and Theory at The University of British Columbia.

Acoustic Illusions, which is a series of sound works that experiment with sensory illusions of the aural field, is considered the performance aspect of the E-Mixer. Performing this particular evening are Martin Gotfrit, Peter Bowles and Yota Kobayashi with Mark McGregor.

Also included in the E-Mixer are various Metro Vancouver-based digital media artists. Morgan Rauscher, Miles Thorogood and Lois Klassen from Emily Carr University of Art + Design; Arefe Dalvandi, Diego Maranan, and Benjamin Unterman from the School of Interactive Art and Technology, SFU, Surrey; along with Scott Bilings and Julio López from UBC department of Art History, Fine Art and Theory. (Surrey Art Gallery)


While Acoustic Illusions was generally the main event happening at the E-Mixer, I found its surrounding works to be much more entertaining and engaging. Sound and Audio is an aspect of contemporary art that I find intriguing yet, exceedingly intimidating. My own art practice has tapped into nearly every other division of art techniques and media, and finally fate has escorted me to Interactive Futures ’09: Stereo.

When entering a gallery for the first time I will always wheel right and follow the guidance of the well-designed exhibit, as most people do. The SAG’s food arrangement was lush and diverse and its bar supplied the most popular of beverages. The first piece in the convex line-up ended up being one of my favourite works. Benjamin Unterman and Daniel Silverman’s Lines, 2009. I sat to face the computer provided, drawing with the mouse alongside a predetermined colour palette. While the narratives presented (an adaption of a series of poems by Daniel Silverman describing to the audience what they are doing, seeing, feeling etc. (Surrey Art Gallery)) did not influence my understanding of the drawing interface and did not influence my creative behaviour, but provided me with a warm background of the mathematical and scientific programming. I enjoyed the allowance to create my own images, patterns, work of art within another work of art. Its focus on interactivity, with poetic and visual applications, is what supports its place as one of the most successful pieces of the exhibition.

The other notable piece involved in the E-Mixer is Morgan Rauscher’s Zeugen V2, 2009. A wall of half-faces watch individuals step in and out of the taped off area and darting from side to side. Tension is shared between the many motorized eyes and participants engaging in a power struggle of scanning, judgment, and securitization. Again, the interactivity in which this piece has embodied bridges the gap between ‘man’ and machine, and provides and alternate reflection on one’s self and society.

Perhaps it was the experience in its entirety, riding the bus to Surrey, exploring the different works on display, absorbing the sound performances, schmoozing, and riding the bus back to Vancouer that contributed to the E-Mixer being my preferred event of interactive Futures ’09: Stereo.


Sources ::


E-Mixer. Surrey: Surrey Art Gallery, 2009.