For Marfa Sounding: 2016, artist Erik DeLuca compiled an archive of performance recordings and environmental sounds taken from the landscapes and architectures in Marfa. He subsequently moved to Iceland to pursue his solo research, "History Misinterpreted Into Stone: (Un)Doing Eco-art Monuments in Iceland": a practice-led project that blends installation, discursive site-specificity, different “fields” of acoustic communication, and analytical writing. For this work, DeLuca studied three popular ecotourism destinations in Iceland produced by non-Icelandic artists (Kühn’s Tvísöngur, Serra’s Áfangar and Horn’s Library of Water); warping these environmental artworks into sites of critique to ask key questions about colonialism, environmental ethics, conservation, and the long-standing issue of non-Icelandic artists who romanticize nature vis-à-vis Iceland’s landscape.
The Poet Singers is a montage video essay of images, sounds, and texts from these two distinct experiences. The images were made in, and around Reykjavík; the sound has been exclusively synthesized from the Marfa Sounding: 2016 recording archive; and the text is a speculative writing in-progress between Marfa and Reykjavík (with appearances by Ingólfur Arnarsson, Donald Judd, Alvin Lucier, Eileen Myles, and Pauline Oliveros).
The following 6-minute excerpt of this video work accompanies the subsequent post: