Many of the sound sequences in Anywhen have been created from field recordings made by the artist’s team in and around Tate Modern: lifts, voices of people, birds, electricity passing through cables, a football game, sounds from the building itself. Sampled, amplified, extended and manipulated, they become unique compositions, twisting listeners’ perception of the Turbine Hall space.
Live sounds transmitted from around the building are also woven into the soundscapes occasionally during the day. Microphones on the roof capture the sound of the city and planes or helicopters flying over the gallery; by the bioreactor they transmit the noise of microorganisms pulsating; under the Millennium Bridge they record the music played by buskers. In a sense, all the outdoor noises make the building ‘disappear,’ transforming the Turbine Hall into a kind of urban park. But sound is also used to turn the Turbine Hall into a domestic space through the inclusion of radio broadcasts and musical compositions produced by a range of collaborators.
Gamelan, traditional Indonesian percussion performed by an ensemble of players, is an important a reference point for Parreno. In conceiving Anywhen the artist has approached the Turbine Hall as a complex multi-part instrument, devising a score and gathering an orchestra of collaborators to perform it.