Yoga with Liz Kresch
Liz teaches Iyengar-based vinyasa yoga and pilates.
She has maintained a dedicated yoga practice since 1996. Her teacher training was completed with Adrienne Burke at Atmananda currently Centerpoint Studio in early 2004. She is certified in pilates mat and equipment through the Kane School of Core Integration and appreciates the support that pilates offers a yoga practice and movement in general as well as the profound physical results of the discipline. Her Wat Po Thai massage work, certified at the Pai Spa in Bangkok and the Swedish Institute in NY and her bellydance work with Dunya McPherson also inform her teaching. Liz‘s B.A. (1993) is from Sarah-Lawrence College where she majored in art & philosophy of religion. More recently she has completed both Nalandabodhi and New York Shambhala’s Buddhist study courses which have illuminated ground to her asana practice.
Liz has taught previously at Finetune Pilates, Omala, Body Elite Fitness, Vayu Yoga and Jaya Yoga in Brooklyn, The Standard Hotel, Brown’s Apothecary, and the Nirvana Spa in Miami, the Caribo B&B in Cozumel, Mexico, The United Nations, The Urban Justice Center and The New York Studio School for Painting & Sculpture. She currently works privately with students of varying experience, strengths & challenges.
Liz strives to create the support to let our own evolutionary capacity surprise us.
She is Yoga Alliance certified at the 500 hour level and a member of the International Dance Exercise Association. She adheres to their ethical guidelines. CPR certified.
Ann Adachi + Marie Evelyn + Nick Lesley + Todd Merrill
Ann Adachi is a flutist, pianist and multi-media performer, working with sound, the moving image, and performance. Compositions involve through-composed music for one or more acoustic instruments, and in some pieces, interaction with video and light as sculptural and environmental element. Ann is a member of the Eidolon Ensemble which performs original compositions monthly in New York. Education includes Berklee College of Music (B.M.), and Massachusetts College of Art (course work).
Marie Evelyn is an extended vocalist and interdisciplinary artist. She works with amplified and unamplified extended voice rooted in mimicry and reenactment. She is the founder of Analogous, for which she directs several sound-based projects. Her work has been reviewed in The Wire, Time Out New York, The Village Voice, and elsewhere. Marie holds a B.A. in Mathematics and is currently a Ph.D. candidate at Columbia University.
Nick Lesley is a musician and video artist. He primarily plays improvised drums and interactive electronics (analog or laptop). His drumming style is in the realm of “free-improvisation” but infused with the distinct hardcore-punk he grew up with in San Diego. On any instrument, he focuses on allowing space and creating energy and drama in an improvised performance. Nick holds an MFA in Performance and Interactive Media Arts from Brooklyn College, and a BA in Media Arts from U.C. San Diego.
Todd Merrill
From a young age, Todd Merrell has been fascinated with the continuum connecting melody, harmony, timbre, tempo and dynamic. These ambiguities form the nexus of his work.
Born in Worcester, Massachusetts in 1967, he spent his early years in isolated, remote areas of New England and New Mexico, and found deeply human connections through radio transmissions, and inspiration from music synthesis. In 1978 he discovered the imperceptible environment of electromagnetic radiation that shortwave radio and processing can capture, and transform into an immersive, musical environment. In 1991 he began exploring the musical possibilities of this world in a collaboration with Patrick Jordan. The result was ‘SWR’, a two movement work that was performed several times in Chicago, and on WBEZ National Public Radio. Composer Lou Mallozzi, of the Experimental Sound Studio in Chicago, wrote in P-Form Magazine:
“It soon becomes clear that the focus of the work is not on acheiving any particular musical moment, but on the ephemerality of sonic transformation itself. Unlike compositions that utilize radio in part for its referential or signifying qualities, SWR is more in the minimalist tradition of relying on the primacy of the material itself. The work is a celebration of the radio as material and of the belief that minutiae and limited systems can yield rich results. But it is also a celebration of the rich, ragged, unstable thickness of analog sound in a world anesthetized by the crisp and clean precision of digital audio.”
He has since developed these techniques, incorporating the melody, harmony and timbre blurring possibilities of granular synthesis and other contemporary electronic compositional methods, to create a larger, more sonically, visually and emotionally evocative world, with an emphasis on live performance, and the thrilling contingency and danger that such site- and time- specifically dependent work produces. Along with several current solo projects, he continues to work with like-minded musicians and sound artists, and completed a project with Aidan Baker, who joined him in 2004 on a mini-tour of the Northeastern United States.
Todd Merrell studied music composition and voice at Berklee College of Music, and with James Sellars of The Hartt School. A 2008 New Boston Fund Individual Artist Fellowship recipient, AIRtime resident artist and transmission artist at free103point9, his work has been performed by many ensembles, including Chicago A Capella, Jan Williams Percussion Ensemble and The New York Festival of Song. He has contributed live and recorded work to festivals and exhibitions throughout the world, from MACBA (Barcelona) to The New Museum (New York), and Orange 94.0 (Vienna) to The New American Art Union (Portland, Oregon, USA). His work has been reviewed in The Wire, Signal To Noise, and The New Art Examiner, and he has been interviewed for Monitoring Times, as well as WBEZ and WFMT in Chicago, East Village Radio in New York, and WWUH in Hartford. He has performed at many venues, including The Guggenheim Museum, The Stone, Issue Project Room, Knitting Factory, and HotHouse, collaborated with BT, Aidan Baker, and bassist Robert Black, and recorded for the Whirlybird, Dreamland, Archive, Mode and Mille Plateaux labels. He makes his home in Connecticut, New York, and the rest of the world.
Ha Yang Kim
Cellist, composer and improviser Ha-Yang Kim was born in Seoul, Korea. Ha-Yang made her professional solo debut at age 16 with the Atlanta Symphony Orchestra. Hailed as “phenomenal” and playing with “brilliant technique full of energy, concentration, musicality and expression” (Mainpost, Germany), she performs new music as a soloist and with ensembles and artists in festivals and concert venues throughout the world. She is the founder of Odd Appetite, a cello-percussion duo which performs and commissions new contemporary works alongside original works and improvisations. Ms. Kim has developed a unique language of extended string techniques and has created her own music based on this work, as well as collaborating on new pieces from other composers. Her musical influences draw equally from a range of western classical music, American experimentalism, rock, jazz, and improvised music, to non-western musical sources from Bali, Korea and South Indian classical music (Karnatic). Her music has been performed in the US, Turkey, The Netherlands, Belgium, Korea, and Germany. In seeking new musical experiences, Ha-Yang has performed traditional and new Balinese music as a member of Gamelan Galak Tika, and has collaborated/ performed with many diverse musicians such as Evan Ziporyn, Cecil Taylor, John Zorn, Christian Wolff, Lee Hyla, Louis Andriessen, Lukas Ligeti, Larry Polansky, and Stefan Poetzsch, with whom she has presented original compositions incorporating electronics, dance, theatre, and multi-media.
Past performances include as soloist at Carnegie Hall, touring and playing at festivals in the US, Europe, Cuba and Bali, Indonesia, performing at the Bang on a Can Marathon with both her duo and the All-Stars, composing for and performing at the Kwacheon International Theatre Festival in Seoul, Korea, a solo recital at the Hochschule für Musik in Würzburg, Germany, and broadcast recordings for the Bavarian Radio Network. Upcoming performances of her music include at festivals in St. Petersburg and Moscow, Russia, Holland, Belgium and in the US. Ama, a CD of her own compositions, is released on Tzadik. Ms. Kim has also recorded for New World, Cold Blue, New Albion, Karnatic Lab and Bridge Records.
She has received prizes and awards including a grant from Meet the Composer, Trust for Mutual Understanding, the Argosy Foundation, the Ruth Schwob Foundation, and The Atlanta Symphony Orchestra. Ms. Kim has been an artist-in-residence at Princeton University, Brown University, Harvard University, Dartmouth College, Bates College, Brandeis University and at the Walden School for Young Composers. Ha-Yang studied cello, improvisation, and microtonality at the New England Conservatory of Music, Karnatic music concepts at the Conservatorium van Amsterdam, and was on the faculty at Franklin Pierce College in New Hampshire, USA. She currently lives in Brooklyn, New York.
Carlos Giffoni & Okkyung Lee + Oneohtrix Point Never + Religious Knives
Carlos Giffoni
Carlos Giffoni – Bio
Carlos Giffoni is a prolific Venezuelan electronic musician who resides in the New York City area since the year 2000. Currently using modular synthesizers, hand made custom instruments, and various types of analog and digital synthesis in the composition of electronic music pieces, as well as improvising live with local and international musicians. His recent solo work has focused in live analog synthesizer pieces that put his style in a line with early Brian Eno, Cluster and Conrad Schnitzler while maintaining the harsher edge of his previous noise works. Carlos remains a major figure in the US and international experimental music scene, performing live in New York and in a number of tours and festivals in the US, South America, Europe and Japan. He is the curator of the No Fun Fest, a yearly event in Brooklyn bringing together a wide variety of international experimental musicians as well as running the No Fun Productions label. His work has been featured in many publications including The New York Times, The Wire, Pitchfork, Art Forum, Tokion, Signal to Noise and many others. He also holds an MFA in design and technology from Parsons School of Design, where he occasionally teaches classes and workshops.
Recent live and recording collaborations include:
-In the US: Jim O’Rourke, Thurston Moore, Lee Ranaldo, Nels Cline, Chris Corsano, Peter Rehberg, Chuck Bettis, Nautical Almanac, Smegma, Yasunao Tone, Emeralds.
-In Europe: Gert-Jan Prins, John Duncan, Rudolf E.ber, Lasse Marhaug, Z. Karkowski,
-In Japan: Merzbow, Astro, Solmania.
Selected Discography:
-Carlos Giffoni “Adult Life” (2008)-Full Length CD on No Fun Productions.
-Carlos Giffoni “Arrogance” (2007)-Full Length CD on No Fun Productions.
-Carlos Giffoni “Welcome Home” (2005)- Full Length CD on Important records.
-Merzbow/Carlos Giffoni “Synth Destruction” (2007) CD on Important Records
-Smegma,Carlos Giffoni,Metalux- LP collaboration on LAFMS/No Fun Productions
-Carlos Giffoni/Lee Ranaldo/Jim O’Roruke “North Six. -3” CD on Antiopic Records
-Carlos Giffoni, Nels Cline, Chris Corsano “Graduation” LP- Benefit for free 103.9
Website: http://www.carlosgiffoni.com
Oneohtrix Point Never
Daniel Lopatin is the American-born son (b. 1982 in Boston, Massachusetts USA) of Leonid Lopatin (former member of The Flying Dutchmen) and Susanna Lopatin (musicologist and piano teacher). He attended Hampshire College where he studied aesthetic philosophy and electronic music, later releasing his senior thesis recording on Naivsuper under the alias Dania Shapes. Utilizing freeware audio editing programs in conjunction with synthesizers, the Dania Shapes sound was a neo-romantic derivation of glitch music that opted for an ornate, hands-on melodic approach rather than systematized processes of degradation.
At the same time, Lopatin began recording as Oneohtrix Point Never, abandoning the glitchwork of DS for a more open-ended approach to recording and live performance. Using a variety of synthesizers, sequencers and loopers, Lopatin employs a technique he refers to as “grid layerage” which abstracts the organizing elements of automated synthesizer arpeggiation via “blurring, decay and melancholic repetition.” He often frames his method around aesthetic motifs associated with the Berlin School of Cosmic Music, 80s new age, darkwave, b-film scores, fusion, minimalism and contemporary noise, but rather than focus purely on sentiment or style alone, the promise of OPN is found in his ability to rethink and retool ubiquitous sonorities into something engaging and personal. Lopatin’s longstanding fascination with the old teutonic masters of the sequencer and their ensuing private press diaspora, his ability to underscore with tact and subtlety the lines of sympathetic resonance between the Berlin school and Giorgio Moroder, John Carpenter, and the tearstained pillows of the polysynth epoch remain entirely his own.
Lopatin is also member of Infinity Window with Taylor Richardson of Prehistoric Blackout and Black Egg. He is currently living in Brooklyn, New York.
Maya Miller and Michael Bernstein met in New York a decade ago, and began making music together as half of sturm und drone quartet Double Leopards a few years after that. Religious Knives came later still, away from the road and the rehearsal space, borne and nurtured in cramped apartments throughout Kings County. Beginning in 2005, the pair released a string of CD-Rs and cassettes, both on their own Heavy Tapes imprint and through the labels of kindred spirits. Steadily moving away from the psychedelic tone baths and modern industrial scrape for which the Leopards had become known, Religious Knives coursed through minimal synth oscillations and spare Kraut repetition.
Mouthus’ Nate Nelson joined the pair in 2006, lending a powerful presence behind the drums that shaped Religious Knives’ rudimentary jams into rough-hewn, long-form paeans to tar-blackened bummer psych. Soon after that, old friend Todd Cavallo completed the quartet on bass, adding a sturdy low end and dubwise groove that lifted Religious Knives from cellar murk to black cloud puffs of bone deep alarm.
An active four-piece for a little more than a year now, Religious Knives have presided over a pair of twelve-inches, a couple of collections of out of print singles and long gone burns, and one full-length. All throughout, these four have traced a path away from the clamour they once knew, bathing slight guitars, interlocking vocals, and solemn basslines in reedy organs and recalcitrant modular synths. The seemingly tin eared would call it noise, but in these eight hands such a set plays as anything but, instead a (cough) syrupy stroll in search of the ghosts of rock’s classicist past.
With The Door, Religious Knives have not only found those bygone days, but broken them apart. There are bookmarks to be found here, pages creased in well-worn chapters. But make no mistake – theirs is a sound tied to the here and now, a summer record for those dread days when the heat holds low and skin sticks to cheap car seats and old patio furniture. These six songs are brighter, sharper than anything that has come before, locking in tight on jugular rhythms. It’s the score for disappearing neighborhoods and crumbling buildings, a hope of holding onto the past as those around us move fast to forget it. It is scent as sound, the stench of smog and sickly smoke spiraling towards the sky. It is Brooklyn, July of 2008. The sun has left us in the East, disappearing somewhere behind Jersey, leaving our borough to find the pulse of another night deep with the city’s streets.
Angela Jaeger, Byron Coley + Gary Panter, Devin Flynn & Ross Goldstein
THE RIDICULOUS NO
A running quest for word slap ingénue, songstress/ poet Angela Jaeger joins forces with underground textsmith extraordinaire Byron Coley for an evening of sporadic talk – to no one, to each other, to you. A collection of psychedelic chants, words, sights and sounds will bounce between these 2 college buddies in what might otherwise be explained as unknown chemistry. See for yourselves.
After that, Brooklyn’s own Gary Panter and Devin Flynn (with Ross Goldstein “Sittin’ In”) will conjure up whiffs of the sweetly-scented musical gangaroo that is theirs alone. This evening’s performance will be in celebration of the newly released “Gary and Devin Go Outside” CD, and will draw from the rich tradition of world psychedelia, as well as blazing ragged pathways through jungles of freshly-scorched synapses. They may be collaborated upon as well. Hear for yourselves.
Angela Jaeger
Angela Jaeger is a New York-based singer and poet who has collaborated with a diverse group of musicians including PigBag, The Drowning Craze, Bush Tetras, Billy McKenzie, David Cunningham, Amy Rigby, Jim Sclavunos and Alan Licht. She has published with glass eye books, Green Panda press, the Brooklyn Rail and is currently working on an edition for Principal Hand. She gave a debut joint reading of her Punk Diary project with writer/journalist Byron Coley at Issue Project Room in 2007 and is currently shaping this material into a graphic text book form.
Byron Coley
Byron Coley lives in Massachusetts and has worked as a writer, archivist, editor & collector for over 30 years. His most recent book was a collaboration with Thurston Moore called “No Wave” (Abrams). In the works are “Pants Down, Earthlings!” (Gladtree), “The Moisture of Diapers” (L’Oie de Cravan) and others. He currently runs the Ecstatic Yod Collective and glass eye books, writes a few columns, authors liner notes aplenty, and contributes to various periodicals.
Gary Panter
Long one of his generation’s great visual artists, Gary Panter also has a long history as a musician. He began recording and issuing records on his own back in the ‘70s, but he is probaby best know for the “Tornader to the Tater” single, engineered & backed by the Residents, which came out in ‘81, and the Japanese LP, “Pray for Smurph,” which has recently been reissued in deluxe digital format. His sound is always woozy, but he can play a guitar just like stealing a bell. And considering his history – from Jimbo to Pee Wee’s Playhouse to Dal Tokyo to Pink Donkey and onward – well, what would you expect? His most recent book is the massive “Gary Panter” two-volume monograph issued by Picture Box. Amazing.
Devin Flynn
Devin Flynn is another guy whose visual presence is better known – for now – than his “footprint musicale.” A master of animated insanity, his most revered project may well have been the “Y’all So Stupid” series, which destroyed the line beyween surrealism and Asperger’s Syndrome with all thumbs blazing. What is less known is his deft-ass handling of all-known musical instruments, no matter how obscure. How deft? Deft enough to make Gary sound more like Paul McCartney than a walrus. Which is defter than hell.
Ross Goldstein
Ross Goldstein is the new “secret weapon,” whose presence explodes the duo-infinity of the Panter/Flynn Union into triangulated perfection. Based in upstate New York, Goldstein has evolved into that region’s answer to many questions posed (imperfectly, it seems) by Van Dyke Parks. His first LP, “Trail Songs” (Specific Recordings) is a puff & chug of special merit. His photograph remains classified.
ISSUE Project Room’s Sixth Anniversary Party @ Galapagos
A special anniversary celebration loosely inspired by Alejandro Jodorowsky’s 1973 masterpiece of psychedelic cinema, “The Holy Mountain.”
Tuesday May 19, 2009 @ Galapagos Art Space
6:30 pm Reception with Founder & Artistic Director Suzanne Fiol & Featured Performers
7:30 pm Performances (beginning with Henry Grimes and Andrew Lamb)
Join us as we celebrate ISSUE’s 6th Anniversary of presenting the freshest art of our time and ISSUE’s recent selection as occupant for the beautiful McKim Mead and White theater space at 110 Livingston Street. The night begins at 6:30 pm with a pre-performance reception with ISSUE’s Founder and Artistic Director, Suzanne Fiol and featured artists from the evening followed by performances beginning at 7:30pm by:
Elysian Fields
Henry Grimes and Andrew Lamb
Lone Wolf and Cub
The Pinch of the Baboon (JG Thirlwell, Ed Pastorini, Oren Bloedow and Ben Perowsky)
MV Carbon
Mountains
members of Excepter
Ray Sweeten – live video and performance
Brock Monroe – live visuals (member of the Joshua Light Show)
“Straight and Narrow” (1970), Film screening by Tony Conrad with soundtrack by John Cale and Terry Riley
Films by Martha Colburn, Bradley Eros & Marie Losier
DJ Fabio from WFMU’s “Strength through Failure”
Robot Movie by Jim Sharpe with Soundtrack by Lary Seven
Plus, photo portraits by Carissa Pelleteri, Surprise auctions of visual art, Prize for best “Holy Mountain” inspired costume! And, raffle prizes! Your chance to win: 5 Free Yoga Classes at Prema Yoga NYC, a beautiful gold necklace designed by Michelle Fantaci (see photo below), a beautiful brass Giles & Brother “Railroad Spiked Cuff” bracelet, (see photo below), and more!
Tickets:
$100 for 6:30 pm reception w/ reserved seating for 8:00 pm performances
$50 7:30 pm admission with reserved seating
$30 7:30 pm general admission
Galapagos Art Space - 16 main street – dumbo – brooklyn, ny, 11211
All proceeds benefit ISSUE Project Room’s continued growth as New York’s foremost venue for avant-garde performance and art.
image from "holy mountain"
The Pinch of the Baboon
aka (JG Thirlwell, Ed Pastorini, Oren Bloedow and Ben Perowsky)
The inscrutable J.G. Thirlwell was dropped on this planet some time ago to bestow sonic majesty, chaos, violence & beauty and cunning linguistics on an unsuspecting earth.
A Brooklyn-based Australian ex-pat, Thirlwell has used many names for his many visions: Foetus (and its many name variations), Steroid Maximus, Clint Ruin, Wiseblood, DJ OTEFSU, Manorexia and Baby Zizanie. His multitude of influential recordings under the name FOETUS and variations thereof (including Scraping FOETUS off the Wheel, the FOETUS All-Nude Revue, FOETUS Inc., etc.), has amassed a rabid world-wide cult following. Over the course of more than a dozen albums he has stretched from yearning orchestral soundscapes, meticulously organized chaos, electronic swathes, blistering big band pastiche, crunching hard rock and even inventing stupefying collisions of genres and forms with a raw emotion and irresistible musicality.
His instrumental Steroid Maximus project contains JG’s cinematic stylings of encompassing haunting soundscapes, twisted neo-blaxploitation, spy/crime noir-intrigue, sinuous carnal funk, soundtracks of the unimagined and ethnic music from civilisations yet to be conceived, among other things! It was this project that led to his re-imagining of this music to be played live by a nineteen-piece ensemble, including brass and string sections and concert percussion, with musical director Steven Bernstein. As Manorexia, JG exorcises even darker instrumental inclinations over two self released albums, Volvox Turbo and The Radiolarian Ooze. Baby Zizanie, a collaboration with Jim Coleman, allowed him to explore improvisation and collaboration via laptop with visual backdrops on several European tours. An accomplished re-mixer and producer, he’s worked his magic on the likes of NIN, White Zombie, JSBX, Red Hot Chili Peppers, Coil and countless others. JGT has also worked in film and even voiceovers for MTV. His acclaimed graphic design appears on his sleeve as well as gracing several magazine covers and fine art lithographs.
More recently JG has also branched out into audio installations (the freq_out project curated by CM Von Hausswolf, with whom he also conducted an audio workshop at the Stadelschule in Frankfurt), DJ-ing (as DJ Otefsu), has appeared in an opera (Der Kastanienball in Munich in 2004, directed by Stefan Winter), has scored a cartoon series for The Cartoon Network in the USA (The Venture Brothers), and recently completed a commission for Bang On A Can. In 2005 he will be writing his first commission for Kronos Quartet, which will premier in 2006.
Elysian Fields
Legendary cult heroes Elysian Fields have always travelled in mysterious waters. Led by the enigmatic New York co-composers Jennifer Charles (vocals) and Oren Bloedow (guitar), the music born of their collaboration is not easy to categorize. They carry a torch for nature, sex, love, the cycle of death and rebirth, and the sounds of folk and jazz ballads, no wave and classical music, seamlessly interwoven into a style that is at once languorously romantic and tough. TimoutNY writes “the voice and presence of Jennifer Charles are so powerful that almost any criticism falls flat,” and Oren has been called a “guitar god” by the Village Voice.
Their seventh record “The Afterlife” was released last month in Europe to high critical acclaim. Here is Brooklyn writer Peter Spagnuolo on their new album-Now that you’ve eaten your own heart, will you ever taste ambrosia again? Never mind that now—the Afterlife brings you sustenance of a different kind: the bitter palate of true love, as it is lived and endured. Ten new songs from Elysian Fields stir the pot of Romance through all its flavors—from deranging eros to self-less devotion—but it is a menu of cold comforts. There is regret, and there are secrets; there is love that requires surrender and submission, like Baudelaire’s surgeon and patient; there is truth and treachery, and yearning that collapses into disillusion; there is love that panders, and great tenderness; and there is ecstasy, but only for tonight.
Jennifer Charles and Oren Bloedow make songs of such refinement, one searches in vain for the seams between sound and word: it is at times as if one heartsick, enraptured mind inhabited two heads. As always, they are joined at the table by their extended family of players from New York City’s jazz and pop demimonde, in music of timeless dislocation, uniting elements of cabaret, Noir rock and torch, Art Song and gospel: a murderous piano vamp is coming for you, now a guitar mocks, a vibrato-soaked chord quivers at the ear and falls off like a lover’s sigh; while an unadorned, simple tune leads us through a catechism of sworn love at first sight. Song-craft so rarely strikes such collaborative equipoise between lyric and setting—each partaking of the other’s instincts for allusion and inflection, attack and release—as here. This is hand-made pop music, patient and thoughtfully wrought, risky and knowing, inhabiting its unique idiom as easily as a sharp-dressed man mixes his woolens and silks, never sounding like pastiche. The band sinks us under a constant spell, while its emotionally naked, unflinching singer—in a voice sometimes only above a whisper—lowers her ladder of dark hair and dares us to climb.
A founding member of Booklyn collective, Peter Spagnuolo’s poetry and translations have appeared in Poetry Magazine, The Threepenny Review, and Danta.
Ray Sweeten
Ray Sweeten is a composer and software designer, working in the intersection between image and sound using a hybrid of digital and analog media. His visual music has been performed at The Kitchen, the San Francisco Electronic Music Festival, Lux festival (Seville), The Stone, Eyebeam, ISSUE Project Room, MATA Interval, Aurora Picture Show’s Media Archeology festival, Monkey Town, and Millenium Film Workshop. He has released music as The Mitgang Audio on the Suction record label.
http://www.raysweeten.com
Brock Monroe
Brock Monroe is a live cinema artist and designer, working mainly in the connection of improvisatory projections to music. In collaboration with the Joshua Light Show and Mighty Robot A/V Squad, Monroe has created visuals at The Kitchen, Lincoln Center Out of Doors, Brooklyn Academy of Music, Netmage festival (Bologna), Aurora Picture Show’s Media Archeology festival (Houston), Monkey Town, ISSUE Project Room, and Secret Project Robot. His new project with Seth Kirby, named Light + Stage Design, recently performed at Performa’s Metal Ball and for Wired magazine as part of an event curated by Anthology Recordings.
http://www.lightandstagedesign.com
Straight and Narrow
Directed by Tony Conrad, with music by Terry Riley and John Cale
US 1970, 16mm, b/w, 10 min.
“Filmmaker, composer, musician, conceptual artist, Tony Conrad (b. 1940) is a multi-faceted and polymath artist who has exerted an immeasurable influence over the American avant-garde film and music scenes. Conrad’s first experience in film came from his creative partnership with Jack Smith as the sound designer for Smith’s best known works, Scotch Tape (1959-62), Flaming Creatures (1963), and Normal Love (1963-64). An accomplished violinist, Conrad began a fruitful partnership with minimalist music pioneers La Monte Young, Terry Riley, and John Cale, as a key member of their multi-media performance group, and as one of the inventors of “dream music,” a mode of improvisation that explored the musical possibilities of drone harmonies.
Conrad’s musical work informed his breakthrough film debut, The Flicker (1966), a radical reduction of the cinema to its most essential properties – light and darkness, black and white, sound and silence – that brought film fully into the emergent minimalist art movement. With subsequent works such as Straight and Narrow (1970), Coming Attractions (1970) and Four Square (1971), Conrad created some of the purest and, to this day, among the most arresting examples of structural film.
An important complement to Conrad’s films is found in his path-breaking work as a performance artist who has explored a wide range of unusual materials and methods in order to challenge traditional notions of film events. Conrad has not only experimented with various ways of cooking film – treating raw film stock as an ingredient to be stir-fried or pickled, and then projected – but has also played film as a musical instrument (stretched taut and played upon with a bow) and, most recently, has used a Tesla coil to electrocute film stock. The theatricality, mystery and off-beat humor of Conrad’s performances have made them among the most rewarding and thought provoking forms of expanded cinema.”
-Harvard Film Archive
FILMS BY MARTHA COLBURN
Artist Statement
In my work I utilize the language and materials of filmmaking to comment on popular culture, consumerism, politics and sexuality. My work addresses contemporary topics to express my personal anxieties and passions. Through a collage of live action (paint-on-glass) animations, found footage and documentary filmmaking techniques, my films are a disturbing and at times humorous take on popular and political culture.
Complimenting my films, I create elaborately layered collages, paintings, and installations that incorporate transparencies, recordings, and live performances. As my conceptual process grows, so follows advances in my already detailed and labor-intensive animating process. Technically, I am expanding my technique into working with multi-plane glass animation which represents a physical manifestation of my conceptually layered ideas.
Currently I am working on films that combine art historical representations and current depictions of politics to challenge our notions of truth and fantasy. As a descendent of some of America’s earliest settlers (ministers, farmers and wagon train members), I have an awareness of the repository of the guilt-haunted twisted history of the American soul. My current work draws from this perspective and personal experience to address issues such as Methamphetamine use, environmental catastrophes, and man’s relationship to nature.
Robot Movie
Directed by Jim Sharpe
Soundtrack by Lary Seven
Directart Productions Ltd.
2005
2:30 Min.
16mm
This film originally started production in the spring of 1986. For various reasons, it remained uncompleted for nearly 20 years: its attributes were deliberate, yet seemed banal. In 2005, the producers at Directart Ltd. decided to revisit this peculiar document to see what had happened. To everyone’s amusement, the raw film contained information which had previously gone undetected. After extensive restoration and a new soundtrack, the film was deemed ready for public scrutiny.
Jim Sharpe: Director
Jim Sharpe was born in Bar Harbor, Maine and raised in New York City. Primarily self-taught, Sharpe’s early work was in promotion and public relations. He later worked closely with the various participants of the Directart group to produce, direct, promote and distribute a number of audio and film/video shorts. Sharpe was co-director and advisor on the original production for “Robot Movie” in 1986, but left the film uncompleted due to artistic differences with his collaborators. Since then, Sharpe has been living on a dairy farm in Manitoba, Canada. He periodically produces audio and film documents whenever the mood strikes him and remains in contact with the Directart.
MV Carbon
M.V. Carbon uses fragmented field recordings, analog synthesizers, samplers, tape manipulations, and photosensitive oscillators to assimilate structural chaos and decomposition. She creates eerie and unsettling compositions using her voice as an instrument and processing it through tape machines. She plays cello through tape loops and guitar pedals and uses 16mm film imagery as a backdrop for her performances. She is interested in the structural decomposition and fragmentation that occurs within architecture, landscape, human physiology, and perception.
M.V. Carbon is a Brooklyn based musician and composer who sometimes incorporates film into live performances. She studied at The School of the Art Institute of Chicago and has displayed her paintings and installations in galleries and sites in Chicago, New York, and Pittsburgh.
She has collaborated with an array of amazing musicians and is a member of Metalux, Bad Faces, Foamula and the now defunct Bride of No No. She has work released on labels such as 5RC, Load, Hanson, Veglia, No Fun Productions, Nihilist, and Atavistic. Upcoming Release of he new solo album, Sidewalk Scrape, will be coming out on Shinkoyo Records this winter.
SETH meets SSPSS (members of excepter)
Excepter members JFR and Porkchop join forces for a rare twin exploration of infinity and mystery through electronics and voice. For those who expect the unexpected, don’t expect even that. The sun stays down all night long.
Mountains
Mountains is Brendon Anderegg and Koen Holtkamp, friends since their middle school days. The duo were brought together by mutual artistic and musical interests, and both ended up at the School of the Art Institute of Chicago. It was during this time that they began exchanging musical ideas and compositions which led to them founding the Apestaartje label in 1999. As their collaborations and individual projects blossomed, they decided to create Mountains as a vehicle for live performance. A love of sculpting sound in front of an audience is at the heart of Mountains. The group’s third album, Choral, (their first self-titled release and second album Sewn were both on Apestaartje), is the culmination of their work to date and a balanced mix of the first two efforts. Mountains is often compared to artists such as Brian Eno and Fennesz citing their extended melodies and their unique broad guitar work. Mountains seamlessly blend pastoral electronic sounds with both field recordings and a plethora of acoustic instruments. The resulting soundscapes are broad in scope and rich in detail. The effect is incredibly sublime and hypnotic as the sounds slowly wrap themselves around each other and alter themselves in the mind of the listener. Choral is a uniquely soothing and addicting listening experience and an aural crazy quilt: warm and inviting with many details to discover and explore. Recorded by the duo entirely in the winter and spring of 2008 at home in Brooklyn, Choral is largely live and performed in real time, with only a few overdubs to create a more “choral” effect. The opening title-track carries the weight of a full orchestra gradually drawing their bows across a field of strings. The subtle undulations produce a warm blank canvas and create an impending sense of what’s to come. As the percolating electronic melodies creep into the track, they’re soon joined by field recordings, organ, electric piano, synthesizer, accordion and then later by the gentle strum of a guitar. This densely layered and textured song contains over 30 tracks of material. On the quiet and more guitar oriented “Map Table”, the band ‘play’ ice water and books by recording the sounds of them flipping through the pages. The calming “Telescope” actually features the sound of an intense thunderstorm recorded in the desert in Arizona. Guiding us through sonic peaks and valleys, the band takes us on a journey through their realm of experimentation, occasionally crossing over into psychedelic and kosmiche (Harmonia, Cluster, Popol Vuh) territory. Choral is the sound of an adventuresome duo, who is equally invested in melody and discovery.
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John Medeski w Tisziji Munoz, Don Pate & Bob Ra-kalam Moses
Tisziji Munoz’ Heart-Fire Sound: Celebrating Sacred Origin Featuring John Medeski with Don Pate/Bass and Bob Ra-kalam Moses/Drums
(New York, NY) For the first time in more than 18 years, keyboardist John Medeski of the innovative trio Medeski Martin & Wood is pairing with guitarist Tisziji Munoz for live dates and an upcoming recording session this spring.
Munoz and Medeski kicked off their partnership April 9th at the Colony Café in Woodstock, NY and will continue with another show on May 15th at Issue Project Room in Brooklyn, NY. Joined by musicians Don Pate and Bob Ra-kalam Moses, Medeski and Munoz will play a selection of music comprised of various Tisziji Munoz compositions. Although known for their healing qualities, Munoz’ pieces are not always easy listening. Medeski comments that the performances will be “very powerful” and believes that it will open many people’s minds to the strength of Munoz’ compositions. The evening promises to be one of exciting jazz improvisation with musicians who consistently test their boundaries by challenging themselves and the audience with powerful music.
Composing and playing by the mantra “Heart-Fire Sound” Tisziji Munoz channels his jazz experience and spiritual teachings through his music. Of this knowledge, Medeski states: “He keeps a certain spirit of music alive in the tradition of John Coltrane, passed down through his work with Pharaoh Sanders. Tisziji’s whole life and music are a sacred thing.”
Tisziji Munoz’ biography is filled with the names of great musicians. Munoz began playing music as a child, teaching himself the drums in the Afro-Cuban style before moving on to the ukulele and eventually the guitar. Munoz’ music is known for its healing qualities, just as he is known for his deep devotion to spiritual pursuits. Becoming fully entrenched in the jazz scene, Munoz created Anami Music Productions to handle the ever-expanding demands of his musical spirit. During this time, Munoz began touring with saxophone legend Pharaoh Sanders. Munoz has since gone on to play and record with Elvin Jones, Ravi Coltrane, Dr. Art Davis, McCoy Tyner, Rashid Ali, Paul Schafer, Don Pate and John Medeski.
Since 1991, John Medeski has been part of the genre-defying trio Medeski Martin & Wood. Building upon their jazz roots with the addition of different rhythmic styles, electronics and various forms of rhythmic grooves MMW have broken out of the traditional jazz sphere, garnering them fans from across the musical spectrum. MMW have shared the bill with groups such as The Roots, Beck, A Tribe Called Quest, Ray Charles, Hermento Pascoal, and Phish, frequently appearing in venues unavailable to most jazz artists. Medeski’s recording credits include John Zorn, Iggy Pop, T Bone Burnett, Ray Lamontagne, Dan The Automator, k.d. Lang and more. Medeski has also produced The Dirty Dozen Brass Band, pedal steel guitar group The Campbell Brothers, and two records from The Wood Brothers
Karen Finley
photo: timothy greenfield sanders
IMPULSE to SUCK
The performance of the apology and
The separation of sex and state
Karen Finley was in Albany, New York on March 10 in the Capital for a conference waiting to hear a speech from Governor Eliot Spitzer on Reproductive Health. Instead later that day, Spitzer performed an apology with his supportive, devastated wife standing next to him. Finley will speak about the performance of the apology, the erotic transference of the media’s fixation on Spitzer’s frown and the emotional starring role for his wife, Silda. Finley will perform her latest spoken word text which examines the confession, the apology, the imagining of the sexual encounter, the travel of the escort, the compulsion, the immigrant father’s plan for his son to succeed and the couples imagined therapy sessions. Looking at the psychodrama in the intimacy of our political leaders, Finley poses to see the agony of the son’s need for approval from the father and the ancient wrestling of the feminine archetypes of mother and whore.
Jonathan Kane’s February
February
Jonathan Kane is a Downtown NYC legend — as co-founder of the no-wave behemoth Swans, and the rhythmic thunder behind the massed-guitar armies of Rhys Chatham and the rock excursions of La Monte Young and one of the hardest-hitting drummers on the planet.
“Wedding the brutal severity of Delta country boogie and Seventies German pulse rock – all dead-ahead motion and mounting detail…Epic.”
Rolling Stone
“Somewhere between Sonic Youth and Steve Reich is the drummer Jonathan Kane. Interested in the crossroads of new-music iconoclasm and experimental rock, he has a drummers sense of steady dynamic development and an unapologetic love of noise. Virtuosic”
New York Times
“Intensely propulsive motorik blues, its muscularity and greased relentlessness is never less than exhilarating”
Uncut
Matthew Ostrowski + Karlheinz Essl
Born in New York City, Matthew Ostrowski has been active since the early 1980s, working in improvised music, music theater, electroacoustic composition, and audio installations. An unreconstructed formalist with a continuing interest in density of microevents and rapid change, he has wasted much of the last ten years developing interfaces for real-time musical performance, attempting to emulate the multidimensionality and flexiblity of acoustical instruments in the electronic domain.
He has performed with a boatload of international improvisors, and is currently most active as one half of KRK, with contrabassist George Cremaschi, whose CD ‘Acouasm’ has recently been released on Achuliean Handaxe Records; and as one third of the a/v trio Fair Use, specializing in sped-up interpretations of film classics. He has also worked as a composer/live processor/technical advisor to Elizabeth Streb, Shelley Hirsch, the Flying Karamazov Brothers, and many others.
Ostrowski’s work has been seen or performed on four continents, including the Wien Modern Festival, the Kraków Audio Art Festival, Sonic Acts in Amsterdam, PS 1 and The Kitchen, the Melbourne Festival, and Unyazi, the first festival of electronic music on the African continent. He received the NYFA Fellowship for Computer Arts in 2001, a Radio and Sound Art Fellowship from the Media Alliance in 2000, and was a nominee for the 2006 Alpert Award in the Arts.
Recent projects have included A Theory of Meaning, a radio piece for synthesized voices, comissioned by free103point9 radio(2006); atopia: levigation and apophenia, (2004-7) for downloaded data, recently exhibited at the Rencontres Internationales new media art festival in Madrid; and Spectral City (2007) a networked sound installation for urban spaces, most recently seen at the Dis-Locate festival in Yokohama.
Karlheinz Essl: computer, live-electronics, kalimba, gadgets Born 1960 in Vienna. Austrian composer, improviser and performer. He studied composition with Friedrich Cerha and musicology in Vienna (doctorate 1989 with a thesis on Anton Webern). As a double bassist, he played in chamber and jazz ensembles. Besides writing experimental music and composing electronic music, he performs on his own electronic instrument m@ze°2, develops software environments for computer-aided composition and creates generative sound and video environments – often in collaboration with artists from other fields. Essl erved as composer-in-residence at the Darmstadt Summer Courses (1990-94) and completed a commission for IRCAM. In 1997, he was presented at the Salzburg Festival with portrait concerts and sound installations. Since 1994, Karlheinz Essl curates experimental music concerts and sound installations at the Essl museum in Klosterneuburg. Between 1995-2006 he was teaching „Algorithmic Composition” at the Anton Bruckner University in Linz. Since 2007 he is professor of composition for electro-acoustic and experimental music at the University of Music and Performing Arts in Vienna. m@ze°2 Karlheinz Essl performs on a laptop computer that he has transformed into a live electronic musical instrument. The result is exciting and musical. You just won’t hear these sounds anywhere else. He performs solo and in duets and trios, responding with sensitivity to fellow musicians, producing fascinating sound transformations, creating spontaneous surprises, and moving quickly from loops to cacophony to tiny clips of vocal sounds to all kinds of textures and ideas. He does all this with his m@ze°2(Modular Algorithmic Zound Environment) performance software. Joel Chadabe, CDeMusic (Januar 2002)
Lumendog and HKM+
Monday, May 4 at ISSUE PROJECT ROOM
232 3st Brookllyn NY
3 st 3 ave
FGRN
Doors at 8pm
10$
Lumendog and HKM+
(individual and combined sets)
Lumendog
Geoff Gersh – guitar and electronics
Adam Kendall – keyboard, electronics and video
Christof Knoche – bass clarinet, harmonica and electronics
Bradford Reed – pencilina (a homemade instrument), drums and electronics
with special guest Chris Jordan on Video
Lumendog is an electro-acoustic group working with improvisational and rules-based pieces. Their music ranges from ambient and textural to fierce and rhythmic, exploring the sounds of acoustic instruments and electronics, and often incorporating live visuals as another “instrument”. The core members bring bass clarinet, haromonica, synthesizer, guitar, drums, the unique Pencilina, and live performative video to the group, and guests range from additional visualists to all types of musicians.
Formed in 2008 and based in Brooklyn, NY, Lumendog meets and records weekly, using any impetus — A word, a note, an idea — to push themselves outside the comfort zones of their instruments and into challenging the sonic boundaries between their instruments.
HKM+
Ludger Hennig, microphone devices, live electronics
Christof Knoche, bass clarinet, harmonica, electronic devices
Markus Markowski, prepared guitar, live electronics
“…the “present” constitutes the distributed musical material, in which the “new” implies the “past”, with which the “yet to come” has to have a mutual background with …”
The ensemble HKM+ (Germany/New York) extends musical improvisation with electro-acoustic instruments that are connected to a network based on audio signals and network-communication. The aim of this project is to create transient and spatial situations in this musical network through improvised musical articulation.
Originally from Northern Germany, the members of HKM+ have been creating music together since the late 80s, concentrating on electro-acoustic improvisations since Knoche moved to New York in 1997.
Jessica Rylan
Boston synthesizer designer and tone warper Jessica Rylan’s performances are spare but magnetic, using empty space and static moods as a beacon for transfixion. When she speaks into her microphone, her circuits chop, bend and break her earnest confessions as she paces and sways, calibrating knobs to reconfigure the sound. Rylan’s intimate sort of noise is steady and patient, not given to the momentary onslaughts of many of her peers. Even when she goes entirely instrumental, her synthesizers abide the same general aesthetic, their sudden shifts in tone and texture meant to pull you closer into her different gravity, not blow you further into your own.
Share with guest Boring Machine (David Steinberg) – Share starts at 9:30PM
what is share?
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday in New York City at the Issue Project Room (through December), from 8 to Midnight.
open jams and walk-in sets
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
9:30pm, free — featured guest set will start at around 10:00PM
www.share.dj
Boring Machine (David Steinberg)
Liveset from a few months ago (full of errors but at least it was recorded Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
There are some other (mostly live) sound bites here :
http://www.oscillateur.com/boringmachine/sounds
Website :
http://www.oscillateur.com/boringmachine
Andrew Lampert, Steve Dalachinsky and Yuko Otomo
Andrew Lampert, Steve Dalachinsky and Yuko Otomo
GET THIS PICTURE HERE
Old friends Andrew Lampert, Steve Dalachinsky and Yuko Otomo invite one and all to Issue Project Room for the world premiere of their new collaborative film:
JACKA SPADES (a.k.a. GET THIS PICTURE HERE)
2009, Super 8mm, 34 minutes, black and white, sound.
Steve Dalachinsky, with the aid of Yuko Otomo and cinematographer Andrew Lampert, is given the chance to direct his dream film. This is not that, but rather the result of what they shot that day presented in real time as they filmed it. In the end, this is always what the film was supposed to be; what Steve wanted is another story heard on the soundtrack of the images gathered within. Shot last February on the streets of Soho, and mostly edited in-camera, this movie is never shown the same way twice. It will change forms with each subsequent presentation. JACKA SPADES (a.k.a GET THIS PICTURE HERE) is the second installment in Lampert’s ongoing TABLES TURNED trilogy. In this series, the filmmaker (Lampert) hands over direction of the movie to his subjects. “I think I always wanted to be the actor, not the director.” – Steve Dalachinsky from the soundtrack.
Also expect to hear Dalachinsky and Otomo read selections from recent writings, a new and still untitled film performance from Lampert, additional audio surprises, a potential guest star and, of course, door prizes.
For more information: read again.
Bios:
ANDREW LAMPERT, film/video/performance, born St. Louis, lives in Brooklyn. Regularly concocts performances involving projectors, people and text; super 8 and 16mm portraits, home movies and found footage; videos of domestic matters and disjointed narratives; audio recordings on various subjects including those mentioned above and more; other stuff, too. Works have been seen/performed/exhibited here, there including Whitney Museum of American Art, Rotterdam International Film Festival, British Film Institute, The Kitchen, The Getty Museum, Kill Your Timid Notion festival, New York Film Festival, Sculpture Center, The Fabulous Festival of Fringe Film, Cinema Project, Diapason, Issue Project Room and many other venues. He was Director of Programming for the New York Underground Film Festival for many years and is currently Archivist at Anthology Film Archives. Lately he has been reading early Lawrence Block books, listening to Ornette Coleman bootlegs and working on a forthcoming comedy record with musician/writer Alan Licht.
STEVE DALACHINSKY was born in Brooklyn, New York in 1946 right after the last BIG WAR and has managed to survive lots of little wars. He has been writing poetry since he was a child and though he has grown older he has never grown up. He has been listening to, inspired by and influenced by music most of his life along with visual art, primarily surrealism and abstract expressionism. His great love is LOVE though he has been called a big curmudgeon. He feels that his poetry is an act of spontaneity and tries rather than to simply describe the “thing”, the “other,” to transform it. What he likes to think of as a kind of descriptive transformation and commingling of everything he encounters both internally and externally. His work has appeared in journals on & off line including; Big Bridge, Milk, Unlikely Stories, Xpressed, Ratapallax, Evergreen Review, Long Shot, Alpha Beat Soup, Xtant, Blue Beat Jacket, N.Y. Arts Magazine, 88, Helix and Lost and Found Times to name a few and is included in numerous anthologies such as Beat Indeed, the Haiku Moment and most notably The Outlaw Bible of American Poetry. His most recent chapbooks include Trial and Error in Paris (Loudmouth Collective 2003), Musicology (Editions Pioche, Paris 2005), , Lautreamont’s Laments (Furniture Press 2005), In Glorious Black and White (Ugly Duckling Presse 2005), St. Lucie (King of Mice Press 2005), Are We Not MEN & Fake Book (2 books of collage – 8 Page Press 2005). Dream Book (Avantcular Press 2005), Totems (Unarmed Press 2008) and Christ Amongst the Fishes ( a book of collage Oilcan Press 2009). He has written many liner notes for such luminaries as Charles Gayle, Roy Campbell, Matthew Shipp, James “Blood” Ulmer, Anthony Braxton, Rob Brown, Sabir Mateen, Rashied Ali, Roscoe Mitchell, Hamid Drake, Mat Maneri, Assif Tshahar and Derek Bailey. His books include A Superintendent’s Eyes (Hozomeen Press 2000) and his PEN Award winning book The Final Nite (complete notes from a Charles Gayle Notebook, Ugly Duckling Presse 2006) and Logos and Language, co-authored with pianist Matthew Shipp (RogueArt 2008 ). His latest book is Reaching into the Unknown, a collaboration with French photographer Jacques Bisceglia (RoguArt 2009). His CD’s include Incomplete Directions (Knitting Factory Records with many great musicians 1999), The End of the World with drummer Federico Ughi (577 Records 2002), Phenomena of Interference with pianist Matthew Shipp (Hopscotch Records 2005), Merci De Votre Visite with Didier Lassere and Sebastian Capazza (Amor Fati 2006), and Thin Air with Loren Mazzacane Connors (Silver Wonder Press, recorded 2001, released 2007). He has read his work throughout American including New Orleans , San Francisco and the N.Y. area in venues such as the Poetry Project and The Bowery Poetry. He has also read extensively Japan, Britian and Europe, including France (posesie bienniale, Paris, Musee d’Aquintane, Bordeaux, C.I.P.M., Marseilles, Maison d’Poesie,Nante) and various institutions throughout Japan and Germany. He has little formal education and has been called a Jazz- poet, a post-beat poet, a street poet etc. All of these he flatly denies. He’s also been called lots of other things, some of which he is and some of which he is NOT. Or as he likes to see it: HE SIMPLY IS… or as Monk once stated, ” I don’t know I just do IT.”
YUKO OTOMO is a visual artist & a bilingual poet (poetry & haiku) who is of Japanese origin. She also writes art criticism, essays & does translation. In visual art, she has been concentrating herself on the study of “pure abstraction” & has created a body of work covering over 3 decades. Her work has been shown in various gallery spaces; such as Tribes Gallery, Anthology Film Archives Courthouse Gallery, ABC No Rio, Brecht Forum, Gallery 128, Knitting Factory & Vision Festival. As a poet/writer, she has read her work in venues such as St. Marks’s Poetry Project, Bowery Poetry Club, Tonic, The Stone, Knitting Factory, NY Public Library, Issue Project Room, Brooklyn Botanic Garden, Nest, Pink Pony, Nuyorican Poet’s Café etc. She also has read in Germany, France & Japan. She has been published in many magazines & literary publications such as Recluse, 6×6, Long Shot, Appearances, The Unbearables Assemblage Magazine, Downtown Anthology, Senritsu & others. Her books include “ Garden: Selected Haiku” (Beehive Press), “Small Poems”, “The Hand of the Poet” (by Ugly Duckling Presse), “Cornell box Poems”, “Genesis”, “ Fragile” (by Sisyphus Press). She also has a huge volume of critical writing on art such as “On Artist & Studio”, “On Artuad: Writing & Drawing”, Henri Michaux: Untitled Passage”, “Vermeer & the Deft School”, “ Being as an academician versus being an intellectual”, “Victor Hugo” & etc
Emil de Wall & Erik Sanko, andy green, bruce tovsky, CHIKA and kato hideki + Mikkel Hess
Play- and joyful freeform acoustic/electronic music by dane Emil de Waal and the great artists of the evening.
Accompanying artists will make improvised music interplaying with Emil and his prerecorded material, a.o. adding improvisations and backing to the preliminary (live) recordings from his laptop.
Emil de Waal on drums, percussion, electronics and laptop is one of the most heavily engaged drummers in Danish music, and has toured internationally and appeared on 150 releases since his debut in 1986. Emil de Waal is also known as a band-leader, programmer, composer and arranger. Since 2004, Emil de Waal+ has released two albums with his “Emil de Waal+” project that have been appraised by reviewers a.o. in British “The Wire”. Emil de Waal+ has toured in China, US, Belgium, Germany, Sweden, Norway and Denmark with diverse guests such as Wayne Horvitz, Danny Frankel, Erik Sanko, Bruce Tovsky, Andy Green and Yan Jun.
Multi-instrumentalist Erik Sanko “Erik Sanko is the leading light in the much admired Skeleton Key and was an original member of John Lurie’s Lounge Lizards. He also helps out such luminaries as Yoko Ono and John Cale from time to time. ”
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Guitarist and technician Andy Green is known for his work with John Cale & The Velvet Underground, among others.
bruce tovsky is a visual/sound artist, who began painting at the age of 7 and started playing with tape recorders at the age of 10. Ever since then he has been figuring out ways of putting sound and pictures together. For the past several years he has been creating live video and sound improvisations, often in collaboration with artists such as John Hudak, David Linton, Kim Cascone and Michael Schumacher in a variety of spaces around New York City, such as Diapason, Experimental Intermedia, Issue Project Room, Tonic, and his own installation space 106BLDG30 at the Brooklyn Navy Yard. His audio/video duo with video artist Shimpei Takeda has been appearing in planetariums, rural arts festivals and galleries around New York.
Kato Hideki (Kato:family name; Hideki: given) is a Japanese-born composer/bassist/multi-instrumentalist, who lives in NYC. He is the co-founder of Death Ambient with Ikue Mori & Fred Frith. His other groups as a leader are: Green Zone with Otomo Yoshihide & Uemura Masahiro; OMNI wtih Nakamura Toshimaru & Akiyama Tetsuji. His compositions include: solo bass piece Turbulent Zone, Mystic Ship of Life, (commissioned by the Kitchen, NYC) and Tremolo of Joy for his quartet with Charles Burnham, Briggan Krauss & Calvin Weston. Besides his own projects, Kato collaborates with Nicolas Collins and James Fei. He is also a member of analog synthesizer collective, Analogos. (http://www.katohideki.com/)
CHIKA
BIO
CHiKA is a live media artist working in the international VJ and experimental music scene. Her performances vary from minimalist geometric patterns to unique compositions overflowing with a variety of forms and color.
She has performed at THE MUSEUM OF MODERN ART, THE HAMMER MUSEUM, MUTEK, THE MAPPING FESTIVAL,DECIBEL FESTIVAL, Platform Bohenstrasses, THÉÂTRE MAISONNEUVE, ASIA CONTEMPORARY WEEK, SAN FRANCISCO ART INSTITUTE, REMIX HOTEL MIAMI, Eyebeam, Monkeytown, THE ISSUE PROJECT,GALAPAGOS ART SPACE, Tonic, EYEWASH as well as private parties, festivals, events, galleries and night clubs.
She is recently resident vj at monthly event at “THE FUTURE IS BEAUTIFUL” Her wrok was featured CLUB CHROMA onJOOST and EYEWASH 3 DVD by FORWARD MOTION THEATER AND IS SUPPORTED BY MODUL8, KORG,EXPERIMENTAL TELEVISION CENTER and FORWARD MOTION THEATER.
Mikkel Hess
“If you think of a piece of music as a rubberband – I like to try and stretch it. Let’s say melancholy in one end, and humor in the other, and
see how far you can take it. Bringing oppositions together. “ Welcome to the playfull world of New York based Mikkel Hess aka HESS IS MORE.
Originally from Denmark, HESS IS MORE is something like the Danish answer to both Jon Brion and The Flight of The Conchords. Like Brion, Hess is a
skillful singer, songwriter, composer with the virtuosic ability to play multiple instruments and a eclectic sense of instrumentation that
encompasses rock, Jazz and experimental electronica. And like Brion, Hess doesn’t let his natural tendencies for eclecticism sink his ship but uses
them to craft a distinct sound all his own firmly grounded in the art of proper song form. Unsurprisingly, also like Brion, Hess has got vast
experience in both multimedia and film work. In his native Denmark Hess is a well known name with MTV and itunes chart topping success alongside work with the likes of the Danish Royal Theatre, National Danish TV, the Danish Film Academy as well as collaborations with Danish celebrities like Saatchi Gallery represented modern artist Tal R and hyped fashion designer Henrik Vibskov. Like The Flight of The Conchords duo, Hess has a unique distinctly very poppy Steve Martin style sense of humor that is very appealing and inviting even though it’s often filtered through quite a dark almost Lars
von Trier outlook.
Unsurprisingly Mikkel’s first musical memory is banging the Cookie jars with wooden spoons in the kitchen around 3 or 4 years old. It’s something he
continued to do in a more refined manner getting his first drum kit at 7 years old and then later taking up conservatory training and becoming a
student of Denmark based Chicago born Jazz drummer Ed Thigpen.
Glenn Branca + Neg-Fi + Paranoid Critical Revolution
GLENN BRANCA
NEG-FI
In addition to PCR, Guitarist Reg Bloor has been playing with Glenn Branca (to whom she is married) since 2000. She played in Branca’s Symphony No. 12, Lesson No. 3, his rock band Branca/Bloor, in his trio, eventually becoming Concertmaster for his Symphony No. 13 for 100 Guitars. In the late 90′s she was a founding member of the Boston-based band TWITCHER, who released the self-produced CD “Leg of Lamb of God” in 1999 and appeared on the soundtrack for the Troma film “Terror Firmer”.
Prior to joining PCR, drummer Libby Fab studied electro-acoustic music and music composition at Trinity College Dublin, where she completed an M.Phil in Music and Media Technology. Libby became part of the Glenn Branca crew in 2006 as technical director, rehearsal drummer and assistant engineer for Symphony No. 13. She has worked on Branca’s shows in Montclair (New Jersey), Ghent, Dublin, London, Minehead, Rome, Seattle and St. Louis. She also performed in Branca’s Lesson No. 3 in London and Minehead.
http://www.theparanoidcriticalrevolution.com/
http://www.myspace.com/theparanoidcriticalrevolution
Grey Room with Ulrike Müller and Emma Hedditch, Petit Mal and XXX Macarena
GREY ROOM PRESENTS:
XXX Macarena started to form at 4:30 pm on June 3, 2006 when Karin Schneider invited Jutta Koether and John Miller to take part in her performance Sabotage at the Sculpture Center in Long Island City. Schneider had been included in group show called Grey Flags. She set smoke machines and instructed Koether and Miller to start playing when the entire space filled with smoke. Since then the two have performed at art venues such as NBK in Berlin, Forde Galerie in Geneva and Artists’ Space in New York. MFC-Michèle Didier & Les Presses du Réel have recently published the CD Selling Short, a recording their NBK performance. Last February Mike Kelley and Tony Conrad joined Koether and Miller for a performance at the Friedrich Petzel Gallery. This will be their third performance with Conrad.
John Miller was born in Cleveland, Ohio in 1954 and currently lives and works in New York and Berlin. He received his BFA from the Rhode Island School of Design in 1977 and his MFA from the California Institute of the Arts in 1979. He is currently an Associate Professor Barnard College’s Art History Department. While at RISD, he played bass in a band that included J.D. King who went on to form the proto-Sonic Youth band, the Coachmen. At CalArts, he played in Mike Kelley and Tony Oursler’s band, the Poetics. The Kunsthalle Zurich will have a retrospective of Miller’s work that will open August 29.
Petit Mal (Benedict Seymour & Melanie Gilligan)
Petit Mal are Melanie Gilligan and Benedict Seymour, an artist and writer respectively, who first started to publicly release music as part of the Antifamily collective in London. The duo have been described as practicing a kind of electro-pop fusion of Chris and Cosey and Alain Robbe-Grillet, with Gilligan’s icily melancholic vocals and Seymour’s synths and piano staking out an unironic reinvention of post-punk and electro sounds. Their single “Crisis in the Credit System” failed to penetrate the charts, but is, as far as they know, the only song to predict the current collapse of capitalism as we have unfortunately known it. (Dusted Magazine)
Celeste Dupuy-Spencer, A Naked Woman Riding a Spiral Graphic of Some Kind, 2009
Emma Hedditch & Ulrike Müller with Nancy Brooks Brody, Zoe Leonard, and Megan Palaima
Emma Hedditch and Ulrike Müller will use the inventory list of the Lesbian Herstory Archives’ expansive T-shirt collection as the material for a collaborative reading performance (names of participants to be announced).
To wear a T-shirt for others to read. To get the message, or ask for it’s meaning. A communication, to communicate with strangers. A signal, sent out, a call, with or without intention. To embrace the confessional. To make and be made by it. To embody and intend ones desires, politics, and alliances. Declarative. Encounters in your face, so many bodies, women, lesbians. A move towards tensions? An attraction and a question. An archive, a collection, a list. Dense absence. To reintroduce the body, our bodies, and feel both difference and affinity. To voice a relationship. How to talk about contentious feminist histories without leveling them into all-one, all-the-same? To talk about a movement, and be a movement. Be moved. What are you trying to tell me, what do I think you are trying to tell me?
Emma Hedditch
Emma Hedditch is an artist living in New York whilst participating in the Whitney Independent Study Program. Recent performances include When I Do This, Can You Feel Something? as part of If I Can’t Dance… Frascati Theater, Amsterdam, March 2009 and We Are The Signs And The Signal atWorking Documents, La Virreina, Barcelona November 2008.
Ulrike Müller
Ulrike Müller is an artist living and working in New York and Vienna, Austria. She has worked with the queer feminist collective LTTR, is the editor of Work the Room. A Handbook on Performance Strategies (OE/b_books, 2006) and currently serves as visiting faculty at VCFA (Vermont College of Fine Arts).
GREY ROOM
Grey Room brings together scholarly and theoretical articles from the fields of architecture, art, media, and politics to forge a cross-disciplinary discourse uniquely relevant to contemporary concerns.
Publishing some of the most interesting and original work within these disciplines, Grey Room has positioned itself at the forefront of the most current asthetic and critical debates. Featuring articles, translations, interviews, dossiers, and academic exchanges, Grey Room’s emphasis on aesthic practice and historical and theoretical discourse appeals to a wide range of readers, including architects, artists, scholars, students, and critics.
http://www.mitpressjournals.org/loi/grey
Crackleknob (Mary Halvorson/Reuben Radding/Nate Wooley)
Angie Eng, Okkyung Lee & Satoshi Takeishi
Live video artist, Angie Eng revives cinepoetry with miniature cameras, object manipulation and a light table with cellist Okkyung Lee and percussionist Satoshi Takeishi. A garden of digital improvisational delights, a cross between music for silent film, a surrealist appetizer and a magic act. Angie Eng- Live camera, video effects, object manipulaiton Angie Eng is a media artist who works in video, installation and time-based performance. In 1993 she moved to New York City and became involved in the downtown electronic arts scene with The Poool a live video performance group with Nancy Meli Walker and Benton Bainbridge in 1996-1999. She has collaborated with artists/musicians: Ron Anderson, Vincent Epplay, Yuko Fujiyama, Jon Giles, Andy Grayton, Jason Kao Hwang, Simon Hostettler, Jessica Higgins, Hoppy Kamiyama, Gabriel Latessa, Zach Layton, Jarryd Lowder, Thierry Madiot, Matthew Ostrowski, Jean Jacques Palix, Zeena Parkins, Ludovic Poulet, Liminal Projects, Kyoko Kitamura, David Linton, Geoff Matters, Ikue Mori, Karine Saporta, Jane Scarpantoni, Peter Scherer, Jim Staley, Yumiko Tanaka, Keiko Uenishi, Nancy Meli Walker , David Weinstein. Her work has been performed and exhibited at the Whitney Museum at Philip Morris, Lincoln Center Video Festival, The Kitchen, Eyebeam Art and Technology Center, New Museum of Contemporary Art, Renssalaer Polytechnic Institute, Experimental Intermedia, and Roulette. She has received numerous grants and commissions: New Museum of Radio and Performing Arts, Art In General, Lower Manhattan Cultural Council, New York State Council on the Arts, Jerome Foundation and Experimental TV Center. She recently relocated to Paris in 2008. Okkyung Lee. After being in music schools from age of 3 to 25, korean cellist/improviser/composer okkyung lee finally found her artistic freedom in new york’s lower east side where she moved in 2000. Her performances have been featured in festivals: Whitney biennial 2006, BAM Next Wave Festival, San Francisco Jazz Festival, Time Based Arts Festival, Kill Your Timid Notion Festival, International Festival Musique Actuelle Victoriaville, Sons d’Hiver Festival, Kontra.com Festival, Moers Festival, Taktlos Festival, La Biennale di Venezia and Saalfelden Jazz Festival 2008. She has performed and recorded with numerous artists such as Laurie Anderson, Lotte Anker, Derek Bailey, Kjell Bjørgeengen, Carla Bozulich, Nels Cline, Chris Corsano, Sylvie Courvoisier, Mark Dresser, Fred Frith, John Hollenbeck, Vijay Iyer, Lindha Kallerdahl, Andrew Lampert, Christian Marclay, Billy Martin, Miya Masaoka, Min Xiao-fen, Thurston Moore, Ikue Mori, Butch Morris, Larry Ochs, Jim O’rourke, Zeena Parkins, Marc Ribot, Wadada Leo Smith, Skuli Sverrisson, Spencer Yeah and John Zorn. Satoshi Takeishi, drummer, percussionist, and arranger is a native of Mito Japan. In Columbia, he combined traditional, jazz and classical music with composer Francisco Zumaque. In 1987 he produced “Morning Ride” for jazz flutist Nestor Torres on Polygram Records. His interest expanded to the rhythms and melodies of the middle east where he studied and performed with Armenian-American oud master Joe Zeytoonian. In NYC since 1991, he has collaborated with: Ray Barretto, Carlos “Patato” Valdes, Eliane Elias, Marc Johnson, Eddie Gomez, Randy Brecker, Dave Liebman, Anthony Braxton, Mark Murphy, Herbie Mann, Paul Winter Consort, Rabih Abu Khalil, Toshiko Akiyoshi Big Band, Erik Friedlander and Pablo Ziegler. He continues to explore multi-cultural, electronics and improvisational music with local musicians and composers in New York. |
Mary Jordan Presents “Jack Smith and the Destruction of Atlantis”
JACK SMITH & THE DESTRUCTION OF ATLANTIS
“…an extraordinary job…”
Variety
“A real triumph…something of an aesthetic manifesto”
Filmmaker Magazine
“Superb…a fascinating portrait…a glorious visual achievement”
TIMEOUT London
“Irresistible…”
Time Magazine
For Jack Smith (1932-1989), Atlantis was both the idea of a fantastical utopia and the reality of the Lower East Side apartment in which this prophetic artist staged baroque, improvisational multi-hour one-man theatrical productions, often with a cast of stuffed animals and dolls. An avant-garde photographer, filmmaker, actor, performance artist, and all around “flaming creature,” Smith has been credited as a major influence by Fellini, Godard and Jarmusch. In Mary Jordan’s mesmerizing portrait, he fairly jumps off the screen: a combination mystic, comedian and madman, a protean artist whose vast energy and creativity were undermined (or perversely fed?) by the poverty of his day-to-day life and his paranoid misgivings about just about everything. If there is a heaven for the wonderfully bizarre, Jack Smith resides there, accompanied by his patron saint, Maria Montez.
myspace.com/destructionofatlantis
Mary Jordan – Director/Producer
Mary Jordan grew up traveling between Toronto and the Bronx. She began working in production at the age of 16, after attending the Norman Jewison
film school. By the age of 20, she was producing for Canada¹s top new directors, such as Steve Chase, Marco Brambilla, and Curtis Wehrfritz, and
for leading production companies like Revolver, The Partners, Alliance, and Nitrate Films. During this time, she traveled across North Africa to shoot
her first documentaries and short pieces on female circumcision rituals and the cultural modernization of women in the area, which would later be
acquired by the BBC.
After extensive travels, Jordan settled in Sydney, Australia where she continued her documentary work on projects such as ABC¹s Tribal Music of
Tonga and was awarded by ABC News for her bravery while documenting refugee camp conditions on the Thai-Burmese border for Médecins Sans Frontières. While in Sydney, Mary worked as a talent scout as well as founded, and later sold, the production Indigo Blue within which she produced and directed commercials and music videos.
In 2005, Mary Jordan was featured as one of Filmmaker Magazine¹s 25 New Faces. Shortly thereafter, she premiered her first feature length
documentary entitled Jack Smith and the Destruction of Atlantis which has garnished many awards. In addition to her work in film, Mary is also involved in photography, performance art, and music.
WFMU Free Music Archive and ISSUE Project Room
We’re pretty excited to be working with WFMU on their new and fantastic Free Music Archive to put up some selected excerpts of performances going on here.
The Free Music Archive is a social music website built around a curated library of free, legal audio. Fellow curators include radio stations like KEXP (Seattle) and KBOO (Portland OR), webcasters like DUBLAB (Los Angeles) and Halas Radio (Israel), netlabels (Comfort Stand), and amazing online collectives like CASH Music.
check it out here:
Share – Timo Daum (FUSS!) presents Ambientador & featured guest Christophe Devaux
what is share?
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday in New York City at the Issue Project Room (through December), from 8 to Midnight.
open jams and walk-in sets
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
>> 8:30PM: Timo Daum (FUSS!) presents Ambientador (A/V sequencer) at 20:30!
“Ambientador” is an audio-visual sequencer, based on the natural form to represent a loop: the circle. A rotating beam activates sounds and visuals represented by circular arcs. It allows to create audio-visuals with great ease and freedom. The metaphor of representing the sequencing allows users (artists) and spectators (audience) to follow the structure of the composition and the principle of playback during the creative process.
Ambientador is flash based, works online and offline, PC or MAC, and is free of charge. Feel free to download your Ambientador from our website http://www.fuss.cc .
showreel: www.fuss.cc/showreel/showreel.swf
>> 9:30PM: Christophe Devaux
I play guitar solo improvisations. The sound can be discribe as minimalist buitist forms improvisations. I made music since a long time now and I play in two bands : absinthe (provisoire) and sap(e). With this projects I made a lot of albums and gigs in France and others countries. I work for teatre and dance pieces too in France since 4-5 years.
my url : www.myspace.com/christophedevaux
Direct link to Share.dj site:
For more info please visit:
http://issueprojectroom.org/
http://share.dj
Charlotta Kotik (cancelled)
CHARLOTTA KOTIK
Charlotta Kotik, curator at the Brooklyn Museum since 1983, was born and raised in Brooklyn. She studied art history and archaeology on the undergraduate and graduate levels at Charles University in Prague, Czech Republic. She has worked at the Jewish Museum, the National Gallery, Prague’s National Institute for Preservation and Reconstruction of Architectural Landmarks, and the Albright-Knox Art Gallery.
During her tenure at the Brooklyn Museum, Kotik has organized site-specific installations of works by Martin Puryear, Jenny Holzer, and Joseph Kosuth in the institution’s Grand Lobby. She also curated Louise Bourgeois: The Locus of Memory, Works 1982-1993, the widely acclaimed special exhibition that toured internationally after its debut at the Venice Biennale in 1993.
As of 2006, Kotik is the John and Barbara Curator of Contemporary Art at the Brooklyn Museum.
On January 25, ISSUE Project Room will inaugurate its new space at 110 Livingston with Gaudeamus Muziekweek, a four-day festival celebrating groundbreaking and challenging new music by emerging composers from around the world. Working in partnership ...
ISSUE is starting off the New Year with a change of scenery. That's right, Issue Project Room is moving out of our space at the Old American Can Factory and into 110 Livingston in Downtown Brooklyn. We've had a great run at the Can Factory,...