Dancing to transformative beats: The Vinyl Factory’s Reverb at 180 Studios
The Vinyl Factory celebrates 20 years of art and music with a sonic experience at 180 Studios...
By
Rhea Mathur
June 19, 2024
The entrance to this exhibition takes you down a dark, sloping corridor. At the end, a six-hour, single-channel video is projected onto a screen. Stan Douglas’s Luanda-Kinshasa (2013), booms through the space. The two keyboard players, three guitarists, two percussionists, a saxophone player and a drummer, come together to create new music. The jam session environment resembles the famous 30th Street studio where musicians including Bob Dylan and Miles Davis recorded their songs. While the lead and rhythm instrumentalists in the video appear to be performing together, they were, in reality, filmed separately. In Reverb, an exhibition hosted at 180 Studios, The Vinyl Factory brings together art, film, and sound to create vibrant and thought-provoking spaces that harness the collaborative power of these forms of art. This exhibition aims to create calm and relaxed spaces to allow its audience to focus on an experience that constantly pushes creative boundaries.
Past the comfortable, black seats on either side, designed as if to evoke a movie theatre, and along the winding passage is celebrated American fashion designer Virgil Abloh’s 12-inch Voices (2019). This giant, pink installation made from plywood, metal, foam, paint and multiple sound systems, is designed to house stereos in the centre with pointed edges all around the sides and the top, appearing as a miniature castle. The sculpture was commissioned through the collaboration between The Vinyl Factory and the French art foundation Lafayette Anticipations, illustrating the infusion of art with music. A ten-minute loop of Yussef Dayes’ music plays through the stereos, compelling the audience to begin thinking about not just sound and rhythm but simultaneously to notice colour and design.
Each piece of art in this exhibition is an installation or sculpture that combines film, art or the moving image with sound and music. Held at 180 Studios, it is orchestrated by The Vinyl Factory, an organisation comprised of a record label, a vinyl pressing plant, and a vibrant online magazine. Working with artists and musicians, they create vinyl releases and host dynamic art and music events, with this exhibition similarly creating a collaborative environment that pushes the boundaries of its space.
Carsten Nicolai’s Bausatz Noto (1998) includes three record players with a wall of different vinyls. With headphones to listen to each vinyl together or individually, the installation celebrates the clarity and nuance revealed in the music with a vinyl. By allowing the audience access to a mixing board and amplifiers, the experience is tailored to taste, while also harnessing the creativity of the audience. Similarly, in an installation designed by Ben Kelly, one hundred vinyls are showcased with their covers on the walls, all within a compact space in the 180s Studios gallery. This includes a circular room with walls made from wood, timber, steel and black paint, laced with records released by The Vinyl Factory between 2009 and 2024. In this exhibition focused on growing, transformative and contemporary sound, they emphasise new music while also showcasing a hundred vinyl covers that bring together art and music.
A unique element in this exhibition is also its urge to inform and educate; artworks created in the last twenty years focus on the evolution of music and art. It defines the intersection of the boundaries of nature, family and culture while exploring the growing multicultural roots of today’s global youth. By including ballet and contemporary dance forms, the exhibition explores various music broken up into sound, rhythm and beats. To do so, the exhibition incorporates Cecilia Bengolea’s Shelly Belly Ina Real Life (2020), a twenty-four-minute passionate dance video, and Gabriel Moses’ Ijó (2023) a six-minute film with a group of young ballet dancers in Nigeria with music by James William Blades.
It also includes Jeremy Deller’s Everybody in the Place (2018), a high-definition video a little over an hour long, which explores An Incomplete History of Britain 1984- 1992. Based on a real lecture he delivered to A-level students, the video recreates the classroom scene and discusses significant cultural movements. The video, though long, is captivating and allows the audience to truly understand significant music movements that have changed the way we listen to it as well as impacted what we listen to. Reverb is holistic in its endeavour to highlight music as a form of expression rather than a sound in the background. It makes you think twice about what you choose to listen to on your way home.
The Vinyl Factory: Reverb is showing at 180 Studios until 28th September.
The entrance to this exhibition takes you down a dark, sloping corridor. At the end, a six-hour, single-channel video is projected onto a screen. Stan Douglas’s Luanda-Kinshasa (2013), booms through the space. The two keyboard players, three guitarists, two percussionists, a saxophone player and a drummer, come together to create new music. The jam session environment resembles the famous 30th Street studio where musicians including Bob Dylan and Miles Davis recorded their songs. While the lead and rhythm instrumentalists in the video appear to be performing together, they were, in reality, filmed separately. In Reverb, an exhibition hosted at 180 Studios, The Vinyl Factory brings together art, film, and sound to create vibrant and thought-provoking spaces that harness the collaborative power of these forms of art. This exhibition aims to create calm and relaxed spaces to allow its audience to focus on an experience that constantly pushes creative boundaries.
Past the comfortable, black seats on either side, designed as if to evoke a movie theatre, and along the winding passage is celebrated American fashion designer Virgil Abloh’s 12-inch Voices (2019). This giant, pink installation made from plywood, metal, foam, paint and multiple sound systems, is designed to house stereos in the centre with pointed edges all around the sides and the top, appearing as a miniature castle. The sculpture was commissioned through the collaboration between The Vinyl Factory and the French art foundation Lafayette Anticipations, illustrating the infusion of art with music. A ten-minute loop of Yussef Dayes’ music plays through the stereos, compelling the audience to begin thinking about not just sound and rhythm but simultaneously to notice colour and design.
Each piece of art in this exhibition is an installation or sculpture that combines film, art or the moving image with sound and music. Held at 180 Studios, it is orchestrated by The Vinyl Factory, an organisation comprised of a record label, a vinyl pressing plant, and a vibrant online magazine. Working with artists and musicians, they create vinyl releases and host dynamic art and music events, with this exhibition similarly creating a collaborative environment that pushes the boundaries of its space.
Carsten Nicolai’s Bausatz Noto (1998) includes three record players with a wall of different vinyls. With headphones to listen to each vinyl together or individually, the installation celebrates the clarity and nuance revealed in the music with a vinyl. By allowing the audience access to a mixing board and amplifiers, the experience is tailored to taste, while also harnessing the creativity of the audience. Similarly, in an installation designed by Ben Kelly, one hundred vinyls are showcased with their covers on the walls, all within a compact space in the 180s Studios gallery. This includes a circular room with walls made from wood, timber, steel and black paint, laced with records released by The Vinyl Factory between 2009 and 2024. In this exhibition focused on growing, transformative and contemporary sound, they emphasise new music while also showcasing a hundred vinyl covers that bring together art and music.
A unique element in this exhibition is also its urge to inform and educate; artworks created in the last twenty years focus on the evolution of music and art. It defines the intersection of the boundaries of nature, family and culture while exploring the growing multicultural roots of today’s global youth. By including ballet and contemporary dance forms, the exhibition explores various music broken up into sound, rhythm and beats. To do so, the exhibition incorporates Cecilia Bengolea’s Shelly Belly Ina Real Life (2020), a twenty-four-minute passionate dance video, and Gabriel Moses’ Ijó (2023) a six-minute film with a group of young ballet dancers in Nigeria with music by James William Blades.
It also includes Jeremy Deller’s Everybody in the Place (2018), a high-definition video a little over an hour long, which explores An Incomplete History of Britain 1984- 1992. Based on a real lecture he delivered to A-level students, the video recreates the classroom scene and discusses significant cultural movements. The video, though long, is captivating and allows the audience to truly understand significant music movements that have changed the way we listen to it as well as impacted what we listen to. Reverb is holistic in its endeavour to highlight music as a form of expression rather than a sound in the background. It makes you think twice about what you choose to listen to on your way home.
The Vinyl Factory: Reverb is showing at 180 Studios until 28th September.
The entrance to this exhibition takes you down a dark, sloping corridor. At the end, a six-hour, single-channel video is projected onto a screen. Stan Douglas’s Luanda-Kinshasa (2013), booms through the space. The two keyboard players, three guitarists, two percussionists, a saxophone player and a drummer, come together to create new music. The jam session environment resembles the famous 30th Street studio where musicians including Bob Dylan and Miles Davis recorded their songs. While the lead and rhythm instrumentalists in the video appear to be performing together, they were, in reality, filmed separately. In Reverb, an exhibition hosted at 180 Studios, The Vinyl Factory brings together art, film, and sound to create vibrant and thought-provoking spaces that harness the collaborative power of these forms of art. This exhibition aims to create calm and relaxed spaces to allow its audience to focus on an experience that constantly pushes creative boundaries.
Past the comfortable, black seats on either side, designed as if to evoke a movie theatre, and along the winding passage is celebrated American fashion designer Virgil Abloh’s 12-inch Voices (2019). This giant, pink installation made from plywood, metal, foam, paint and multiple sound systems, is designed to house stereos in the centre with pointed edges all around the sides and the top, appearing as a miniature castle. The sculpture was commissioned through the collaboration between The Vinyl Factory and the French art foundation Lafayette Anticipations, illustrating the infusion of art with music. A ten-minute loop of Yussef Dayes’ music plays through the stereos, compelling the audience to begin thinking about not just sound and rhythm but simultaneously to notice colour and design.
Each piece of art in this exhibition is an installation or sculpture that combines film, art or the moving image with sound and music. Held at 180 Studios, it is orchestrated by The Vinyl Factory, an organisation comprised of a record label, a vinyl pressing plant, and a vibrant online magazine. Working with artists and musicians, they create vinyl releases and host dynamic art and music events, with this exhibition similarly creating a collaborative environment that pushes the boundaries of its space.
Carsten Nicolai’s Bausatz Noto (1998) includes three record players with a wall of different vinyls. With headphones to listen to each vinyl together or individually, the installation celebrates the clarity and nuance revealed in the music with a vinyl. By allowing the audience access to a mixing board and amplifiers, the experience is tailored to taste, while also harnessing the creativity of the audience. Similarly, in an installation designed by Ben Kelly, one hundred vinyls are showcased with their covers on the walls, all within a compact space in the 180s Studios gallery. This includes a circular room with walls made from wood, timber, steel and black paint, laced with records released by The Vinyl Factory between 2009 and 2024. In this exhibition focused on growing, transformative and contemporary sound, they emphasise new music while also showcasing a hundred vinyl covers that bring together art and music.
A unique element in this exhibition is also its urge to inform and educate; artworks created in the last twenty years focus on the evolution of music and art. It defines the intersection of the boundaries of nature, family and culture while exploring the growing multicultural roots of today’s global youth. By including ballet and contemporary dance forms, the exhibition explores various music broken up into sound, rhythm and beats. To do so, the exhibition incorporates Cecilia Bengolea’s Shelly Belly Ina Real Life (2020), a twenty-four-minute passionate dance video, and Gabriel Moses’ Ijó (2023) a six-minute film with a group of young ballet dancers in Nigeria with music by James William Blades.
It also includes Jeremy Deller’s Everybody in the Place (2018), a high-definition video a little over an hour long, which explores An Incomplete History of Britain 1984- 1992. Based on a real lecture he delivered to A-level students, the video recreates the classroom scene and discusses significant cultural movements. The video, though long, is captivating and allows the audience to truly understand significant music movements that have changed the way we listen to it as well as impacted what we listen to. Reverb is holistic in its endeavour to highlight music as a form of expression rather than a sound in the background. It makes you think twice about what you choose to listen to on your way home.
The Vinyl Factory: Reverb is showing at 180 Studios until 28th September.
The entrance to this exhibition takes you down a dark, sloping corridor. At the end, a six-hour, single-channel video is projected onto a screen. Stan Douglas’s Luanda-Kinshasa (2013), booms through the space. The two keyboard players, three guitarists, two percussionists, a saxophone player and a drummer, come together to create new music. The jam session environment resembles the famous 30th Street studio where musicians including Bob Dylan and Miles Davis recorded their songs. While the lead and rhythm instrumentalists in the video appear to be performing together, they were, in reality, filmed separately. In Reverb, an exhibition hosted at 180 Studios, The Vinyl Factory brings together art, film, and sound to create vibrant and thought-provoking spaces that harness the collaborative power of these forms of art. This exhibition aims to create calm and relaxed spaces to allow its audience to focus on an experience that constantly pushes creative boundaries.
Past the comfortable, black seats on either side, designed as if to evoke a movie theatre, and along the winding passage is celebrated American fashion designer Virgil Abloh’s 12-inch Voices (2019). This giant, pink installation made from plywood, metal, foam, paint and multiple sound systems, is designed to house stereos in the centre with pointed edges all around the sides and the top, appearing as a miniature castle. The sculpture was commissioned through the collaboration between The Vinyl Factory and the French art foundation Lafayette Anticipations, illustrating the infusion of art with music. A ten-minute loop of Yussef Dayes’ music plays through the stereos, compelling the audience to begin thinking about not just sound and rhythm but simultaneously to notice colour and design.
Each piece of art in this exhibition is an installation or sculpture that combines film, art or the moving image with sound and music. Held at 180 Studios, it is orchestrated by The Vinyl Factory, an organisation comprised of a record label, a vinyl pressing plant, and a vibrant online magazine. Working with artists and musicians, they create vinyl releases and host dynamic art and music events, with this exhibition similarly creating a collaborative environment that pushes the boundaries of its space.
Carsten Nicolai’s Bausatz Noto (1998) includes three record players with a wall of different vinyls. With headphones to listen to each vinyl together or individually, the installation celebrates the clarity and nuance revealed in the music with a vinyl. By allowing the audience access to a mixing board and amplifiers, the experience is tailored to taste, while also harnessing the creativity of the audience. Similarly, in an installation designed by Ben Kelly, one hundred vinyls are showcased with their covers on the walls, all within a compact space in the 180s Studios gallery. This includes a circular room with walls made from wood, timber, steel and black paint, laced with records released by The Vinyl Factory between 2009 and 2024. In this exhibition focused on growing, transformative and contemporary sound, they emphasise new music while also showcasing a hundred vinyl covers that bring together art and music.
A unique element in this exhibition is also its urge to inform and educate; artworks created in the last twenty years focus on the evolution of music and art. It defines the intersection of the boundaries of nature, family and culture while exploring the growing multicultural roots of today’s global youth. By including ballet and contemporary dance forms, the exhibition explores various music broken up into sound, rhythm and beats. To do so, the exhibition incorporates Cecilia Bengolea’s Shelly Belly Ina Real Life (2020), a twenty-four-minute passionate dance video, and Gabriel Moses’ Ijó (2023) a six-minute film with a group of young ballet dancers in Nigeria with music by James William Blades.
It also includes Jeremy Deller’s Everybody in the Place (2018), a high-definition video a little over an hour long, which explores An Incomplete History of Britain 1984- 1992. Based on a real lecture he delivered to A-level students, the video recreates the classroom scene and discusses significant cultural movements. The video, though long, is captivating and allows the audience to truly understand significant music movements that have changed the way we listen to it as well as impacted what we listen to. Reverb is holistic in its endeavour to highlight music as a form of expression rather than a sound in the background. It makes you think twice about what you choose to listen to on your way home.
The Vinyl Factory: Reverb is showing at 180 Studios until 28th September.
The entrance to this exhibition takes you down a dark, sloping corridor. At the end, a six-hour, single-channel video is projected onto a screen. Stan Douglas’s Luanda-Kinshasa (2013), booms through the space. The two keyboard players, three guitarists, two percussionists, a saxophone player and a drummer, come together to create new music. The jam session environment resembles the famous 30th Street studio where musicians including Bob Dylan and Miles Davis recorded their songs. While the lead and rhythm instrumentalists in the video appear to be performing together, they were, in reality, filmed separately. In Reverb, an exhibition hosted at 180 Studios, The Vinyl Factory brings together art, film, and sound to create vibrant and thought-provoking spaces that harness the collaborative power of these forms of art. This exhibition aims to create calm and relaxed spaces to allow its audience to focus on an experience that constantly pushes creative boundaries.
Past the comfortable, black seats on either side, designed as if to evoke a movie theatre, and along the winding passage is celebrated American fashion designer Virgil Abloh’s 12-inch Voices (2019). This giant, pink installation made from plywood, metal, foam, paint and multiple sound systems, is designed to house stereos in the centre with pointed edges all around the sides and the top, appearing as a miniature castle. The sculpture was commissioned through the collaboration between The Vinyl Factory and the French art foundation Lafayette Anticipations, illustrating the infusion of art with music. A ten-minute loop of Yussef Dayes’ music plays through the stereos, compelling the audience to begin thinking about not just sound and rhythm but simultaneously to notice colour and design.
Each piece of art in this exhibition is an installation or sculpture that combines film, art or the moving image with sound and music. Held at 180 Studios, it is orchestrated by The Vinyl Factory, an organisation comprised of a record label, a vinyl pressing plant, and a vibrant online magazine. Working with artists and musicians, they create vinyl releases and host dynamic art and music events, with this exhibition similarly creating a collaborative environment that pushes the boundaries of its space.
Carsten Nicolai’s Bausatz Noto (1998) includes three record players with a wall of different vinyls. With headphones to listen to each vinyl together or individually, the installation celebrates the clarity and nuance revealed in the music with a vinyl. By allowing the audience access to a mixing board and amplifiers, the experience is tailored to taste, while also harnessing the creativity of the audience. Similarly, in an installation designed by Ben Kelly, one hundred vinyls are showcased with their covers on the walls, all within a compact space in the 180s Studios gallery. This includes a circular room with walls made from wood, timber, steel and black paint, laced with records released by The Vinyl Factory between 2009 and 2024. In this exhibition focused on growing, transformative and contemporary sound, they emphasise new music while also showcasing a hundred vinyl covers that bring together art and music.
A unique element in this exhibition is also its urge to inform and educate; artworks created in the last twenty years focus on the evolution of music and art. It defines the intersection of the boundaries of nature, family and culture while exploring the growing multicultural roots of today’s global youth. By including ballet and contemporary dance forms, the exhibition explores various music broken up into sound, rhythm and beats. To do so, the exhibition incorporates Cecilia Bengolea’s Shelly Belly Ina Real Life (2020), a twenty-four-minute passionate dance video, and Gabriel Moses’ Ijó (2023) a six-minute film with a group of young ballet dancers in Nigeria with music by James William Blades.
It also includes Jeremy Deller’s Everybody in the Place (2018), a high-definition video a little over an hour long, which explores An Incomplete History of Britain 1984- 1992. Based on a real lecture he delivered to A-level students, the video recreates the classroom scene and discusses significant cultural movements. The video, though long, is captivating and allows the audience to truly understand significant music movements that have changed the way we listen to it as well as impacted what we listen to. Reverb is holistic in its endeavour to highlight music as a form of expression rather than a sound in the background. It makes you think twice about what you choose to listen to on your way home.
The Vinyl Factory: Reverb is showing at 180 Studios until 28th September.
The entrance to this exhibition takes you down a dark, sloping corridor. At the end, a six-hour, single-channel video is projected onto a screen. Stan Douglas’s Luanda-Kinshasa (2013), booms through the space. The two keyboard players, three guitarists, two percussionists, a saxophone player and a drummer, come together to create new music. The jam session environment resembles the famous 30th Street studio where musicians including Bob Dylan and Miles Davis recorded their songs. While the lead and rhythm instrumentalists in the video appear to be performing together, they were, in reality, filmed separately. In Reverb, an exhibition hosted at 180 Studios, The Vinyl Factory brings together art, film, and sound to create vibrant and thought-provoking spaces that harness the collaborative power of these forms of art. This exhibition aims to create calm and relaxed spaces to allow its audience to focus on an experience that constantly pushes creative boundaries.
Past the comfortable, black seats on either side, designed as if to evoke a movie theatre, and along the winding passage is celebrated American fashion designer Virgil Abloh’s 12-inch Voices (2019). This giant, pink installation made from plywood, metal, foam, paint and multiple sound systems, is designed to house stereos in the centre with pointed edges all around the sides and the top, appearing as a miniature castle. The sculpture was commissioned through the collaboration between The Vinyl Factory and the French art foundation Lafayette Anticipations, illustrating the infusion of art with music. A ten-minute loop of Yussef Dayes’ music plays through the stereos, compelling the audience to begin thinking about not just sound and rhythm but simultaneously to notice colour and design.
Each piece of art in this exhibition is an installation or sculpture that combines film, art or the moving image with sound and music. Held at 180 Studios, it is orchestrated by The Vinyl Factory, an organisation comprised of a record label, a vinyl pressing plant, and a vibrant online magazine. Working with artists and musicians, they create vinyl releases and host dynamic art and music events, with this exhibition similarly creating a collaborative environment that pushes the boundaries of its space.
Carsten Nicolai’s Bausatz Noto (1998) includes three record players with a wall of different vinyls. With headphones to listen to each vinyl together or individually, the installation celebrates the clarity and nuance revealed in the music with a vinyl. By allowing the audience access to a mixing board and amplifiers, the experience is tailored to taste, while also harnessing the creativity of the audience. Similarly, in an installation designed by Ben Kelly, one hundred vinyls are showcased with their covers on the walls, all within a compact space in the 180s Studios gallery. This includes a circular room with walls made from wood, timber, steel and black paint, laced with records released by The Vinyl Factory between 2009 and 2024. In this exhibition focused on growing, transformative and contemporary sound, they emphasise new music while also showcasing a hundred vinyl covers that bring together art and music.
A unique element in this exhibition is also its urge to inform and educate; artworks created in the last twenty years focus on the evolution of music and art. It defines the intersection of the boundaries of nature, family and culture while exploring the growing multicultural roots of today’s global youth. By including ballet and contemporary dance forms, the exhibition explores various music broken up into sound, rhythm and beats. To do so, the exhibition incorporates Cecilia Bengolea’s Shelly Belly Ina Real Life (2020), a twenty-four-minute passionate dance video, and Gabriel Moses’ Ijó (2023) a six-minute film with a group of young ballet dancers in Nigeria with music by James William Blades.
It also includes Jeremy Deller’s Everybody in the Place (2018), a high-definition video a little over an hour long, which explores An Incomplete History of Britain 1984- 1992. Based on a real lecture he delivered to A-level students, the video recreates the classroom scene and discusses significant cultural movements. The video, though long, is captivating and allows the audience to truly understand significant music movements that have changed the way we listen to it as well as impacted what we listen to. Reverb is holistic in its endeavour to highlight music as a form of expression rather than a sound in the background. It makes you think twice about what you choose to listen to on your way home.
The Vinyl Factory: Reverb is showing at 180 Studios until 28th September.
The entrance to this exhibition takes you down a dark, sloping corridor. At the end, a six-hour, single-channel video is projected onto a screen. Stan Douglas’s Luanda-Kinshasa (2013), booms through the space. The two keyboard players, three guitarists, two percussionists, a saxophone player and a drummer, come together to create new music. The jam session environment resembles the famous 30th Street studio where musicians including Bob Dylan and Miles Davis recorded their songs. While the lead and rhythm instrumentalists in the video appear to be performing together, they were, in reality, filmed separately. In Reverb, an exhibition hosted at 180 Studios, The Vinyl Factory brings together art, film, and sound to create vibrant and thought-provoking spaces that harness the collaborative power of these forms of art. This exhibition aims to create calm and relaxed spaces to allow its audience to focus on an experience that constantly pushes creative boundaries.
Past the comfortable, black seats on either side, designed as if to evoke a movie theatre, and along the winding passage is celebrated American fashion designer Virgil Abloh’s 12-inch Voices (2019). This giant, pink installation made from plywood, metal, foam, paint and multiple sound systems, is designed to house stereos in the centre with pointed edges all around the sides and the top, appearing as a miniature castle. The sculpture was commissioned through the collaboration between The Vinyl Factory and the French art foundation Lafayette Anticipations, illustrating the infusion of art with music. A ten-minute loop of Yussef Dayes’ music plays through the stereos, compelling the audience to begin thinking about not just sound and rhythm but simultaneously to notice colour and design.
Each piece of art in this exhibition is an installation or sculpture that combines film, art or the moving image with sound and music. Held at 180 Studios, it is orchestrated by The Vinyl Factory, an organisation comprised of a record label, a vinyl pressing plant, and a vibrant online magazine. Working with artists and musicians, they create vinyl releases and host dynamic art and music events, with this exhibition similarly creating a collaborative environment that pushes the boundaries of its space.
Carsten Nicolai’s Bausatz Noto (1998) includes three record players with a wall of different vinyls. With headphones to listen to each vinyl together or individually, the installation celebrates the clarity and nuance revealed in the music with a vinyl. By allowing the audience access to a mixing board and amplifiers, the experience is tailored to taste, while also harnessing the creativity of the audience. Similarly, in an installation designed by Ben Kelly, one hundred vinyls are showcased with their covers on the walls, all within a compact space in the 180s Studios gallery. This includes a circular room with walls made from wood, timber, steel and black paint, laced with records released by The Vinyl Factory between 2009 and 2024. In this exhibition focused on growing, transformative and contemporary sound, they emphasise new music while also showcasing a hundred vinyl covers that bring together art and music.
A unique element in this exhibition is also its urge to inform and educate; artworks created in the last twenty years focus on the evolution of music and art. It defines the intersection of the boundaries of nature, family and culture while exploring the growing multicultural roots of today’s global youth. By including ballet and contemporary dance forms, the exhibition explores various music broken up into sound, rhythm and beats. To do so, the exhibition incorporates Cecilia Bengolea’s Shelly Belly Ina Real Life (2020), a twenty-four-minute passionate dance video, and Gabriel Moses’ Ijó (2023) a six-minute film with a group of young ballet dancers in Nigeria with music by James William Blades.
It also includes Jeremy Deller’s Everybody in the Place (2018), a high-definition video a little over an hour long, which explores An Incomplete History of Britain 1984- 1992. Based on a real lecture he delivered to A-level students, the video recreates the classroom scene and discusses significant cultural movements. The video, though long, is captivating and allows the audience to truly understand significant music movements that have changed the way we listen to it as well as impacted what we listen to. Reverb is holistic in its endeavour to highlight music as a form of expression rather than a sound in the background. It makes you think twice about what you choose to listen to on your way home.
The Vinyl Factory: Reverb is showing at 180 Studios until 28th September.
The entrance to this exhibition takes you down a dark, sloping corridor. At the end, a six-hour, single-channel video is projected onto a screen. Stan Douglas’s Luanda-Kinshasa (2013), booms through the space. The two keyboard players, three guitarists, two percussionists, a saxophone player and a drummer, come together to create new music. The jam session environment resembles the famous 30th Street studio where musicians including Bob Dylan and Miles Davis recorded their songs. While the lead and rhythm instrumentalists in the video appear to be performing together, they were, in reality, filmed separately. In Reverb, an exhibition hosted at 180 Studios, The Vinyl Factory brings together art, film, and sound to create vibrant and thought-provoking spaces that harness the collaborative power of these forms of art. This exhibition aims to create calm and relaxed spaces to allow its audience to focus on an experience that constantly pushes creative boundaries.
Past the comfortable, black seats on either side, designed as if to evoke a movie theatre, and along the winding passage is celebrated American fashion designer Virgil Abloh’s 12-inch Voices (2019). This giant, pink installation made from plywood, metal, foam, paint and multiple sound systems, is designed to house stereos in the centre with pointed edges all around the sides and the top, appearing as a miniature castle. The sculpture was commissioned through the collaboration between The Vinyl Factory and the French art foundation Lafayette Anticipations, illustrating the infusion of art with music. A ten-minute loop of Yussef Dayes’ music plays through the stereos, compelling the audience to begin thinking about not just sound and rhythm but simultaneously to notice colour and design.
Each piece of art in this exhibition is an installation or sculpture that combines film, art or the moving image with sound and music. Held at 180 Studios, it is orchestrated by The Vinyl Factory, an organisation comprised of a record label, a vinyl pressing plant, and a vibrant online magazine. Working with artists and musicians, they create vinyl releases and host dynamic art and music events, with this exhibition similarly creating a collaborative environment that pushes the boundaries of its space.
Carsten Nicolai’s Bausatz Noto (1998) includes three record players with a wall of different vinyls. With headphones to listen to each vinyl together or individually, the installation celebrates the clarity and nuance revealed in the music with a vinyl. By allowing the audience access to a mixing board and amplifiers, the experience is tailored to taste, while also harnessing the creativity of the audience. Similarly, in an installation designed by Ben Kelly, one hundred vinyls are showcased with their covers on the walls, all within a compact space in the 180s Studios gallery. This includes a circular room with walls made from wood, timber, steel and black paint, laced with records released by The Vinyl Factory between 2009 and 2024. In this exhibition focused on growing, transformative and contemporary sound, they emphasise new music while also showcasing a hundred vinyl covers that bring together art and music.
A unique element in this exhibition is also its urge to inform and educate; artworks created in the last twenty years focus on the evolution of music and art. It defines the intersection of the boundaries of nature, family and culture while exploring the growing multicultural roots of today’s global youth. By including ballet and contemporary dance forms, the exhibition explores various music broken up into sound, rhythm and beats. To do so, the exhibition incorporates Cecilia Bengolea’s Shelly Belly Ina Real Life (2020), a twenty-four-minute passionate dance video, and Gabriel Moses’ Ijó (2023) a six-minute film with a group of young ballet dancers in Nigeria with music by James William Blades.
It also includes Jeremy Deller’s Everybody in the Place (2018), a high-definition video a little over an hour long, which explores An Incomplete History of Britain 1984- 1992. Based on a real lecture he delivered to A-level students, the video recreates the classroom scene and discusses significant cultural movements. The video, though long, is captivating and allows the audience to truly understand significant music movements that have changed the way we listen to it as well as impacted what we listen to. Reverb is holistic in its endeavour to highlight music as a form of expression rather than a sound in the background. It makes you think twice about what you choose to listen to on your way home.
The Vinyl Factory: Reverb is showing at 180 Studios until 28th September.
The entrance to this exhibition takes you down a dark, sloping corridor. At the end, a six-hour, single-channel video is projected onto a screen. Stan Douglas’s Luanda-Kinshasa (2013), booms through the space. The two keyboard players, three guitarists, two percussionists, a saxophone player and a drummer, come together to create new music. The jam session environment resembles the famous 30th Street studio where musicians including Bob Dylan and Miles Davis recorded their songs. While the lead and rhythm instrumentalists in the video appear to be performing together, they were, in reality, filmed separately. In Reverb, an exhibition hosted at 180 Studios, The Vinyl Factory brings together art, film, and sound to create vibrant and thought-provoking spaces that harness the collaborative power of these forms of art. This exhibition aims to create calm and relaxed spaces to allow its audience to focus on an experience that constantly pushes creative boundaries.
Past the comfortable, black seats on either side, designed as if to evoke a movie theatre, and along the winding passage is celebrated American fashion designer Virgil Abloh’s 12-inch Voices (2019). This giant, pink installation made from plywood, metal, foam, paint and multiple sound systems, is designed to house stereos in the centre with pointed edges all around the sides and the top, appearing as a miniature castle. The sculpture was commissioned through the collaboration between The Vinyl Factory and the French art foundation Lafayette Anticipations, illustrating the infusion of art with music. A ten-minute loop of Yussef Dayes’ music plays through the stereos, compelling the audience to begin thinking about not just sound and rhythm but simultaneously to notice colour and design.
Each piece of art in this exhibition is an installation or sculpture that combines film, art or the moving image with sound and music. Held at 180 Studios, it is orchestrated by The Vinyl Factory, an organisation comprised of a record label, a vinyl pressing plant, and a vibrant online magazine. Working with artists and musicians, they create vinyl releases and host dynamic art and music events, with this exhibition similarly creating a collaborative environment that pushes the boundaries of its space.
Carsten Nicolai’s Bausatz Noto (1998) includes three record players with a wall of different vinyls. With headphones to listen to each vinyl together or individually, the installation celebrates the clarity and nuance revealed in the music with a vinyl. By allowing the audience access to a mixing board and amplifiers, the experience is tailored to taste, while also harnessing the creativity of the audience. Similarly, in an installation designed by Ben Kelly, one hundred vinyls are showcased with their covers on the walls, all within a compact space in the 180s Studios gallery. This includes a circular room with walls made from wood, timber, steel and black paint, laced with records released by The Vinyl Factory between 2009 and 2024. In this exhibition focused on growing, transformative and contemporary sound, they emphasise new music while also showcasing a hundred vinyl covers that bring together art and music.
A unique element in this exhibition is also its urge to inform and educate; artworks created in the last twenty years focus on the evolution of music and art. It defines the intersection of the boundaries of nature, family and culture while exploring the growing multicultural roots of today’s global youth. By including ballet and contemporary dance forms, the exhibition explores various music broken up into sound, rhythm and beats. To do so, the exhibition incorporates Cecilia Bengolea’s Shelly Belly Ina Real Life (2020), a twenty-four-minute passionate dance video, and Gabriel Moses’ Ijó (2023) a six-minute film with a group of young ballet dancers in Nigeria with music by James William Blades.
It also includes Jeremy Deller’s Everybody in the Place (2018), a high-definition video a little over an hour long, which explores An Incomplete History of Britain 1984- 1992. Based on a real lecture he delivered to A-level students, the video recreates the classroom scene and discusses significant cultural movements. The video, though long, is captivating and allows the audience to truly understand significant music movements that have changed the way we listen to it as well as impacted what we listen to. Reverb is holistic in its endeavour to highlight music as a form of expression rather than a sound in the background. It makes you think twice about what you choose to listen to on your way home.
The Vinyl Factory: Reverb is showing at 180 Studios until 28th September.
The entrance to this exhibition takes you down a dark, sloping corridor. At the end, a six-hour, single-channel video is projected onto a screen. Stan Douglas’s Luanda-Kinshasa (2013), booms through the space. The two keyboard players, three guitarists, two percussionists, a saxophone player and a drummer, come together to create new music. The jam session environment resembles the famous 30th Street studio where musicians including Bob Dylan and Miles Davis recorded their songs. While the lead and rhythm instrumentalists in the video appear to be performing together, they were, in reality, filmed separately. In Reverb, an exhibition hosted at 180 Studios, The Vinyl Factory brings together art, film, and sound to create vibrant and thought-provoking spaces that harness the collaborative power of these forms of art. This exhibition aims to create calm and relaxed spaces to allow its audience to focus on an experience that constantly pushes creative boundaries.
Past the comfortable, black seats on either side, designed as if to evoke a movie theatre, and along the winding passage is celebrated American fashion designer Virgil Abloh’s 12-inch Voices (2019). This giant, pink installation made from plywood, metal, foam, paint and multiple sound systems, is designed to house stereos in the centre with pointed edges all around the sides and the top, appearing as a miniature castle. The sculpture was commissioned through the collaboration between The Vinyl Factory and the French art foundation Lafayette Anticipations, illustrating the infusion of art with music. A ten-minute loop of Yussef Dayes’ music plays through the stereos, compelling the audience to begin thinking about not just sound and rhythm but simultaneously to notice colour and design.
Each piece of art in this exhibition is an installation or sculpture that combines film, art or the moving image with sound and music. Held at 180 Studios, it is orchestrated by The Vinyl Factory, an organisation comprised of a record label, a vinyl pressing plant, and a vibrant online magazine. Working with artists and musicians, they create vinyl releases and host dynamic art and music events, with this exhibition similarly creating a collaborative environment that pushes the boundaries of its space.
Carsten Nicolai’s Bausatz Noto (1998) includes three record players with a wall of different vinyls. With headphones to listen to each vinyl together or individually, the installation celebrates the clarity and nuance revealed in the music with a vinyl. By allowing the audience access to a mixing board and amplifiers, the experience is tailored to taste, while also harnessing the creativity of the audience. Similarly, in an installation designed by Ben Kelly, one hundred vinyls are showcased with their covers on the walls, all within a compact space in the 180s Studios gallery. This includes a circular room with walls made from wood, timber, steel and black paint, laced with records released by The Vinyl Factory between 2009 and 2024. In this exhibition focused on growing, transformative and contemporary sound, they emphasise new music while also showcasing a hundred vinyl covers that bring together art and music.
A unique element in this exhibition is also its urge to inform and educate; artworks created in the last twenty years focus on the evolution of music and art. It defines the intersection of the boundaries of nature, family and culture while exploring the growing multicultural roots of today’s global youth. By including ballet and contemporary dance forms, the exhibition explores various music broken up into sound, rhythm and beats. To do so, the exhibition incorporates Cecilia Bengolea’s Shelly Belly Ina Real Life (2020), a twenty-four-minute passionate dance video, and Gabriel Moses’ Ijó (2023) a six-minute film with a group of young ballet dancers in Nigeria with music by James William Blades.
It also includes Jeremy Deller’s Everybody in the Place (2018), a high-definition video a little over an hour long, which explores An Incomplete History of Britain 1984- 1992. Based on a real lecture he delivered to A-level students, the video recreates the classroom scene and discusses significant cultural movements. The video, though long, is captivating and allows the audience to truly understand significant music movements that have changed the way we listen to it as well as impacted what we listen to. Reverb is holistic in its endeavour to highlight music as a form of expression rather than a sound in the background. It makes you think twice about what you choose to listen to on your way home.
The Vinyl Factory: Reverb is showing at 180 Studios until 28th September.
The entrance to this exhibition takes you down a dark, sloping corridor. At the end, a six-hour, single-channel video is projected onto a screen. Stan Douglas’s Luanda-Kinshasa (2013), booms through the space. The two keyboard players, three guitarists, two percussionists, a saxophone player and a drummer, come together to create new music. The jam session environment resembles the famous 30th Street studio where musicians including Bob Dylan and Miles Davis recorded their songs. While the lead and rhythm instrumentalists in the video appear to be performing together, they were, in reality, filmed separately. In Reverb, an exhibition hosted at 180 Studios, The Vinyl Factory brings together art, film, and sound to create vibrant and thought-provoking spaces that harness the collaborative power of these forms of art. This exhibition aims to create calm and relaxed spaces to allow its audience to focus on an experience that constantly pushes creative boundaries.
Past the comfortable, black seats on either side, designed as if to evoke a movie theatre, and along the winding passage is celebrated American fashion designer Virgil Abloh’s 12-inch Voices (2019). This giant, pink installation made from plywood, metal, foam, paint and multiple sound systems, is designed to house stereos in the centre with pointed edges all around the sides and the top, appearing as a miniature castle. The sculpture was commissioned through the collaboration between The Vinyl Factory and the French art foundation Lafayette Anticipations, illustrating the infusion of art with music. A ten-minute loop of Yussef Dayes’ music plays through the stereos, compelling the audience to begin thinking about not just sound and rhythm but simultaneously to notice colour and design.
Each piece of art in this exhibition is an installation or sculpture that combines film, art or the moving image with sound and music. Held at 180 Studios, it is orchestrated by The Vinyl Factory, an organisation comprised of a record label, a vinyl pressing plant, and a vibrant online magazine. Working with artists and musicians, they create vinyl releases and host dynamic art and music events, with this exhibition similarly creating a collaborative environment that pushes the boundaries of its space.
Carsten Nicolai’s Bausatz Noto (1998) includes three record players with a wall of different vinyls. With headphones to listen to each vinyl together or individually, the installation celebrates the clarity and nuance revealed in the music with a vinyl. By allowing the audience access to a mixing board and amplifiers, the experience is tailored to taste, while also harnessing the creativity of the audience. Similarly, in an installation designed by Ben Kelly, one hundred vinyls are showcased with their covers on the walls, all within a compact space in the 180s Studios gallery. This includes a circular room with walls made from wood, timber, steel and black paint, laced with records released by The Vinyl Factory between 2009 and 2024. In this exhibition focused on growing, transformative and contemporary sound, they emphasise new music while also showcasing a hundred vinyl covers that bring together art and music.
A unique element in this exhibition is also its urge to inform and educate; artworks created in the last twenty years focus on the evolution of music and art. It defines the intersection of the boundaries of nature, family and culture while exploring the growing multicultural roots of today’s global youth. By including ballet and contemporary dance forms, the exhibition explores various music broken up into sound, rhythm and beats. To do so, the exhibition incorporates Cecilia Bengolea’s Shelly Belly Ina Real Life (2020), a twenty-four-minute passionate dance video, and Gabriel Moses’ Ijó (2023) a six-minute film with a group of young ballet dancers in Nigeria with music by James William Blades.
It also includes Jeremy Deller’s Everybody in the Place (2018), a high-definition video a little over an hour long, which explores An Incomplete History of Britain 1984- 1992. Based on a real lecture he delivered to A-level students, the video recreates the classroom scene and discusses significant cultural movements. The video, though long, is captivating and allows the audience to truly understand significant music movements that have changed the way we listen to it as well as impacted what we listen to. Reverb is holistic in its endeavour to highlight music as a form of expression rather than a sound in the background. It makes you think twice about what you choose to listen to on your way home.
The Vinyl Factory: Reverb is showing at 180 Studios until 28th September.
