Artspeak Gallery – Solo Show
September 7–October 12, 2002
Off-Site Storage Provider
– 9 used white lab coats
– 12 large file cabinets
– 1 recycle bucket
– 1 chair
– 1 microfiche projector
– 1 microfilm reader/printer
– 1 picture of the off-site storage provider
Candie Tanaka’s practice involves the collection of objects, images and sounds from public or institutional spaces, which she then alters and places back into the public realm. The exhibition of the altered objects, images or sounds becomes the mid-point in the circular process of gathering, intervening and the replacing of the materials into other locations. Methodologies such as archiving and indexing the materials gleaned from her travels and explorations inform her installation work that examines the structure of public and personal memory.
In Off-Site Storage Provider, Tanaka has digitized a photo archive of images taken in transit and transferred them to microfilm and microfiche, placing the ‘originals’ in a secure storage facility. Copies of the images taken in public spaces subways, metros and airports, etc. will be available in the gallery to be viewed on a microfiche projector, and copies of images on microfilm can be viewed and printed out on a microfilm reader/printer.
Tanaka’s work makes visible the structures of official memory, the fetish of the document and the anxieties of record-keeping through the absurdity of cataloguing, reproducing and storing personal ephemera. The work exhibited is but a facsimile of the ‘real’ work, which is housed in a secure climate-controlled holding facility, the Off-Site Storage Provider, an abandoned limestone mine in Pennsylvania.
Title: ‘No sound is dissonant which tells of life’
Category: CD / Artist Book
Artist: Candie Tanaka
Year published: 2002
Cover: 4 panel paper sleeve
Binding: Staple Bound
Features: 10 colour images, Illustrations by Jen Eby
Dimensions: 13 x 14 x 0.8 cm
Weight: 51 g
In this audio project, Candie Tanaka has layered, manipulated and digitally edited ‘real world’ sounds from an urban environment into discrete soundtracks. These soundtracks are then inserted as unexplained artworks into the voice messaging systems of individuals and a range of cultural institutions. Working with the conventions of film scores, but independent of their linear visual narrative, this audio work challenges the fabrication of time and stimulates the resonance of aural memory through the creation of unsettling imaginative spaces. This work subverts the communications systems of the institutions and domestic spaces, slipping through their points of public access to play with the intimacy of sound, confounding the expectation of the listener and placing them within the vast archive of free floating information. This CD contains both the out-going recorded message of the recipients and the soundtrack messages left behind. The bookwork lists the date, time and location for the audio interventions and is illustrated with graphics by Jen Eby.
Richmond Art Gallery
Memory: International Mail Art Exhibition and Swap – Group Show
November 17, 2013 – January 12, 2014
A feminist play on On Kawara’s “I am still alive”
Looking Through a Glass -April 24 – May 29, 2004 / Group Show – Anna Harrison, Candie Tanaka, Erin Coates and Melissa Pauw at Access, Curated by Hyojin Nic Kim