Frequencies, radio broadcasts, transmission sounds and background noises are the starting point for many of Guy Goldstein’s works. In the sound installation “Discourse”, Goldstein responded to the history of the gallery building, where the Palmach underground members used its roof (before 1948) to send messages with Morse signals.
He recorded ‘family whistles’ collected from families in Ramat Hasharon, a reference to a “naive” communication era that preceded the invention of mobile phones. The sounds of the whistles are played from two wooden towers topped by braided domes, which, at the same time, resemble bird nests on power poles or the antenna towers located at the base of the Israeli military intelligence unit next to the gallery.
The recorded whistles, played from two wooden towers topped by braided domes, resonate in the gallery space, like a coded conversation transmitted over the air and refer to the antenna radomes of the Israeli intelligence military base located next to the gallery.
Dozens of objects float on the wall like a flock of clouds. These are graphite drawings, transparent adhesive tapes capturing the unique surface marks of ride and crash drum cymbals covered in graphite. These graphite fans visualize the specific sound of each cymbal, like fingerprints or time rings of a tree stump.
