Photographic series, 2022-ongoing
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outtakes from the ongoing photographic series Car-dispersed

metal, plaster, glue, gravel, cement, stones, sand, broken car glass, dried plants
80 x 110 x 90 cm
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studio views, 2022

Salvaged cardboard and packing material mounted on wood panel, naturalised moths, lacker
60 x 47cm
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studio views, 2022

Salvaged cardboard and packing material mounted on wood panel, naturalised moths, lacker
47 x 35,5 cm
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studio views, 2022

The works presented during this exhibition at KIOSK, in the Cité Radieuse Le Corbusier in Marseille were produced during the Fonds de soutien residency at La Friche Belle de Mai organised by Fraeme and Triangle – Astérides. 
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Installation Views, Future Flora, KIOSK, Cité Radieuse Le Corbusier (8-12th June 2021)

Ailanthus gloriosa, 2021 (reinforced plaster, cement, sand, gravel, dried plants)

“Ryder Morey-Weale presents Singing at a loud party, a sculptural and sound installation whose starting point began during his participation in a research program in Shanghai, China, that was abruptly interrupted by the Covid-19 crisis. Shortly before abandoning the city, Morey-Weale started to film and record the sound of caged birds in the city’s streets, whose singing has become influenced by the surrounding sounds of the megalopolis. Instead of singing to fellow birds, the birds had begun to respond to human generated sounds, such as motors passing by, electrical alarms and mobile phones.

The exhibition at Bungalow further expands upon this situation through an eco-fiction where the birds are present in Berlin, in a basement facing Ritterstrasse. Sounds of passersby, car traffic and construction across the street infiltrate the basement, mingling with the bird songs. Several sculptures are disposed throughout the space and connected together by speaker cables, as if they are in a state of charging. Made with hardened textile and based on fabric designs used to shield the bird cages in outdoor settings, an orchestra of bird songs can be heard, into which alarm sounds become gradually integrated.

Seemingly in a state of rest, yet defying the calmness that is meant to be imposed by the obscuring covers, the birdsongs progressively seep out into the space. By depicting their morphing calls, the installation implies a reactive and tenacious urban fauna taking forms of resistance, as well as volatile ecologies which bring into question our anthroprocentric belief in a static natural environment. For the duration of this exhibition, the space becomes a temporary zone of collective rehearsal and auto-transformation.”

Exhibition text by Joan Lee / ChertLuedde Gallery

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Installation views, Singing at a loud party, Bungalow, Berlin
Singing at a loud party (detail); series of sculptures (hardened and painted textile, iron), surround-sound system, soupiece on loop, dimensions variable.
All Photos © Andrea Rossetti 

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Installation view during the Ce Cher Mois de Septembre residency, Maison Salvan, Labège.
Pierre, Bernard et Augustine, 2020; reinforced plaster, epoxy resin, iron, cement, gravel, sand, dried plants and seeds. 145 x 80 x 55 cm 
Pierre, Bernard et Jean, 2020; reinforced plaster, epoxy resin, iron, cement, gravel, sand, dried plants and seeds. 155 x 70 x 85 cm

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installation view of Singing at a loud party, 2020; double HD-video, sound, 5′, on loop.
Presented during Hypertime, organised by École Offshore at Former Civil Defence Bunker, Shanghai, 2020.
Extract visible here.

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Dispersion certificate, 2020, protocol and series of contracts signed by participants. 
Presented during Passif Office, organised by Mathilde Gérard and Héloïse Aloncle at École Offshore, Shanghai, 2020.

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Installation views of please wait for me, 2019; series of epoxy resin sculptures, series of taxidermy pigeons, paint and inks. Dimensions variable. 
Presented during Relocation – a temporary studio, organised by École Offshore, Shanghai, 2019.

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installation views, Robinia pseudoacacia, 2019; inbox cable and tenders, circled robin branches. Dimensions variable.
Presented during LFJDEULFIHXZUKFTIKGGRREHMD,at Institut Supérieur Des Arts de Toulouse, 2019.

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Installation views, Edge effect, 2019; series of cement and iron sculptures, dissimulated speakers, printed texts, audio files on loop. Dimensions variable.