Terence Hannum

Portfolio

Video + Film Work 2008-2004
18 Photos

Stills from various video and film installations. Including "The Badge of Punishment (Featuring PRURIENT)" "Gift of Gravity", "Flash/Flash", "In the Presence of the Wraith", "Evocation (Featuring SUNN O))) )".

Drawings (2008)
2 Photos

Paintings (2008-2006)
15 Photos

Record Sleeves + Sculptures
13 Photos

Back in 2004 I started painting on record sleeves to try and bridge the divide between the recorded object and music devotion. After a brief respite I returned to them in 2006 and have followed them into their sculptural manifestations and multi-piece grids.

Publications
9 Photos

"The Future Belongs to Ghosts" is a zine I make in small editions as collections of my drawings. The older issues 1-4 contained drawings from past issues of Goleta, CA based hardcore zine HeartattaCk. Issue 5 was created to exhibit the shift in my drawings from the zine to combine with drawings from videos. Issue 6 containes video still and drawings from an entire set by Antioch Arrow, and Issue 7 contains drawings and photographs of amplifiers. In all issues I have invited other individuals involved at different levels in the punk community to write about memories and/or current strategies for Doing it Yourself.

2006 - Grids
6 Photos

"Noise is not just defined by itís excessive volume in immediate presence but by its wraith-like existence after the experience. Listening to music can be a sacrificial act, whether by performer or audience as Jacques Attali observes in Noise: The Political Economy of Music where he first describes noise as ìa resonance that interferes with the audition of a message in the process of emission.î Attali then states that; ìMusic is a channelization of noise and a simulacrum of sacrifice, a sublimation to create orderÖî Certainly this sacrificial element has assisted in the inflated martyr-complexes of many a musical performer, brave (and pathetic) sonic paladins.

For me it has always been the live event, that presence, and group catharsis in the mesh of noise, bodies, and heat that remains primary. I choose to focus on one of the devices that enables the element of volume ñ the amplifier. Not only for its ability to project but also for its ability to be projected on to. Throughout modern art the grid has been held as an epitome of Modernism by its form. The rigidity of the grid created by the mesh on the amplifierís surface is usurped by the amplifierís ability to blurt, feedback, remain mute ñ which always carries with it the staggering potential to deafen us all and the anticipation of sonic spectres accompanying us until they gradually dissolve."

MIX TAPE @ Gallery 400 | UIC
4 Photos

"As the audiocassette becomes obsolete in the wake of the compact disc and downloadable digital tracks, Terence Hannum returns gallery visitors to the frugal egalitarianism of the mix tape. In this group exhibition, visitors may listen to, take home, or even remix their own versions of mix tapes provided by national and Chicago-based artists, musicians, and writers" (November 9-27, 2004)

Featuring: Anthony Elms, Dan Pineda/Total Gym, Terence Hannum, Paola Cabal, Elijah Burgher, Gabriel Fowler, Stacey Gengo, Matthew Hanner, John Phillips, Paul Lloyd Sargent, Greg Svitil, Carl Suddath, & Carl Warnick/Dawn Reed.

At this exhibit each tape was available in a limited edition for those who attended to take, there was also a station set up to make new mix tapes with blank tapes provided.