benjamin darville




2024        O (So Say the Circle is Round)
                Sandy Crow ‘Godard The Director’
                Pirate Carnival (La Biennale di Venezia)
                Sandy Crow ‘Regret it’                                      
2023        Thunderowl
                Bakala Angels
                Manifesto
                Room
                Volumina
                Kitchen Sink Drama
                A Manifesto for Now                                        
2022        Sandy Crow ‘Waiting For Life’
                Hannah Tait ‘Darting Hither’
                Clutching At Concrete Straws
                Arthur ‘You’re So Fun’
                Creature Feature for Off The Block Magazine
                Haznat for Off The Block Magazine
                Circle
                These Spinning Straight Lines (creative)
                Izzy McCormac Disney Collection                  
2021        Reek0 ‘Setting’ ft Nia Archives
                Celeste ‘Love Is Back’ (16mm)
                DIY Generation for ES Magazine
                Bree Runway for ES Magazine (bts)
                Tara Lily ‘4 Years’
                Louis Dunford (Live) for i-D Magazine
                Sandy Crow ‘If Theres a War I Started It’        
2020        Bakar ‘Play’ ft Lancey Foux
                St Kilda
                Kernel
                Benjiflow ‘You Know’
                Bakar for Collectible DRY (bts)
                Bakar Stage Visuals (editor)
                Chrysalis
                Bakar Tour Promos (editor)                              
2019        A Dream Play           
                Jon
                Gravitea
                Sunny                                                                  
2018        Chaos vs Constitution
2016        techno.utopianism




Volumina
2023
Printed ink on paper
235 x 414



A prose poem written response to 'Figure 13' of Ligeti's Volumina, considering the work across time and space, from its first performance in 1962 to my own experience in June 2023.

Plotted fragments across an experiential map. Like a musical score, the x-axis indicates the passage of time and the y-axis communicates various elements across perception, duration and space. The map can be read in any direction.

Unless specified otherwise, material within quote marks are drawn from Ligeti's statements on the work.