I will make up
a song and sing it
in a theatre with
the night air above
my head
Hannah Collins presents a new work made in collaboration with musician Duncan Bellamy.
"This work brings together still photography and an immersive video installation exploring the work of Egyptian Modernist architect Hassan Fathy. Searching for models that might address the urgent contemporary problems of housing, poverty, and environmental sustainability, Collins reconsiders Fathy’s mid-twentieth-century utopian experiments in sustainable architecture and rural community building at New Gourna and New Baris in Egypt. Her installation underscores the visual and philosophical connections between the ancient Egyptian structures and Fathy’s historically grounded, forward-looking designs, and prompts us to meditate on the past as well as contemplate new solutions for the future." — Text courtesy of SFMOMA
Using field recordings made at the sites of the photographs as a starting point, Bellamy developed the score for the work. Heavily processing and manipulating raw sounds – car horns from a wedding, the hum of an a/c unit, a distorted radio – the score is in dialogue, exchange and equilibrium with the changing imagery.
I will make
up a song and
sing it in a theatre
with the night air
above my head
Hannah Collins presents a new work made in collaboration with Duncan Bellamy.
"This work brings together still photography and an immersive video installation exploring the work of Egyptian Modernist architect Hassan Fathy. Searching for models that might address the urgent contemporary problems of housing, poverty, and environmental sustainability, Collins reconsiders Fathy’s mid-twentieth-century utopian experiments in sustainable architecture and rural community building at New Gourna and New Baris in Egypt. Her installation underscores the visual and philosophical connections between the ancient Egyptian structures and Fathy’s historically grounded, forward-looking designs, and prompts us to meditate on the past as well as contemplate new solutions for the future."
— Text courtesy of SFMOMA
Using field recordings made at the sites of the photographs as a starting point, Bellamy developed the score for the work. Heavily processing and manipulating raw sounds – car horns from a wedding, the hum of an a/c unit, a distorted radio – the score is in dialogue, exchange and equilibrium with the changing imagery.