Share – all night free open audio & video jam – featured guest Damian Marhulets
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
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.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
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 —
Tonight’s feature guest:
composer / media-artist / sound fetishist
Damian Marhulets was born in Minsk in 1980. His musical education has been developing throughout playing oboe and piano towards composition and electroacoustic music, that he studied in Poland and Germany. Since 2000 he lives in Germany, actively taking part in development of the new musical scene in Hannover – the city from where he graduated as a composer.
Damian Marhulets is a founder and participant of many musical projects spanning classical music and avant-garde to live-electronic improvisation. Among others, he established such groups as ‘Sky Scribe’, in which he’s been creating music derived from hard-core free-jazz improvisation’s tradition and ‘dak~’ [dak.tilde], which is meant to be a platform covering the overlapping border areas of electronic and electroacoustic music. ‘dak ~’ [dak.tilde] puts its special interest on creating particular form of improvisation with electronic instruments. Making use of vintage synthesizers extended with new digital instruments and computers ‘dak ~’ [dak.tilde] creates a musical context between old science-fiction sounds and new digital music. Further important part of ‘dak ~’ [dak.tilde] creativity is co-working with contemporary artists and collaboration with museums and contemporary art galleries. Besides others, ‘dak ~’ [dak.tilde] performed at front of the Tatsuo Miyajima installation, improvised for an exhibition of German photographer Wolfgang Tillman and was a frequent guest of the “long night of museums” event in Hannover, Germany. In collaboration with the Sprengel Museum Hannover ‘dak ~’ [dak.tilde] established its own elecronic festival ‘music for rooms’. The main point of this festival is a connection between contemporary art and modern electronic music.
As a composer, Damian Marhulets owns numerous accoustic pieces. The main concept they are based on is sound semantic and new ways of expression emerged as a result of audio-information reduction. Through exploration of wide spectrum of possibilities provided by digital media, Damian Marhulets creates and performs pieces for live-electronic as well. They spread from electro-acoustic composition to multimedia performance, from laptop improvisation to audio-visual installation.
Among others, Damian Marhulets performed at such festivals as Music21 contemporary music Festival in Germany, ZKM Festival in Karlsruhe, Re:New digital art Festival in Copehagen, contemporary Music Fesival in Witten, Germany and others. His multimedia works were presented at such places as the Sprengel Museum Hannover, Kestnergesellschaft Gallery, RobertDrees Gallery, ArtCenter Berlin, Philharmonic Hall Essen (Germany) and others.
———
Share @ Issue Project Room
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Share – all night free open audio & video jam – featured guests Le Code (Yoann Trellu with Sibin Vassilev)
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
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.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
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 —
Tonight’s feature guest is Le Code (Yoann Trellu with Sibin Vassilev)
Le Code is a live-generated digital painting. Le Code should be perceived as an abstract movie, not as a concert with visuals.
The painting emerges from artistic and aesthetic choices:
- Only horizontal and vertical should be used in terms of graphic elements.
- Only plain colors should be used.
This is revealed by colored lines and rectangles.
- At times, an external element comes to disrupt the order, appearing as a dramatic event.
Le Code is a visual and poetic language.
The subject is an attempt to give a depiction of Life on a graphic level.
Or the creation of digital sonic paintings that might induce it.
The graphic evolution can be almost undetectable, or very fast and sequenced.
This alludes to memory, the perception of time, and the notion of evolution.
The basis to Le Code is a program developed by Yoann Trellu on Max/MSP/Jitter. This software uses audio signals to generate visuals and interact with them. The interaction sound/image, although it is “physical” and mandatory, isn’t the substance of this project: the software uses the audio signal to function but its aim isn’t its visualization.
The music is normally played by Mangrove Kipling but for this session in ShareDJ, the music will played by Sibin Vassilev
Yoann Trellu is a french multi-disciplinary video artist established in Berlin since 2003.
Since 10 years he worked with numerous musicians and performers in France, Germany and USA.
Main dance collaborations: Motion-Lab, Wire Monkey Dance (USA), Howard Katz, Post Theater, Ten Pen Chi (Berlin)
More informations on http://www.keyframed.org
Sibin Vassilev grew up in Berlin and Sofia. He was a member of Rag Dolls, a famous Bulgarian rock-band. In the nineties he turned his attention and focus to computer music. He composed and produced soundscapes, among others for the EXPO 2000 in Hannover. He created various sound installations. From 2003 onwards he composed soundtracks for movies and theater productions.
More informations on http://www.semantics-of-sound.com
http://www.share.dj/share/event_info.php?eventID=612
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Share – all night free open audio & video jam
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
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.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
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 —
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Artist In Residence: 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.
ISSUE Project Room’s Artist In Residence Program is made possible through generous support from the Jerome Foundation
Angela Jaeger & Alan Licht with Pat Irwin, Cynthia Sley and Chris Brokaw
Angela Jaeger: KICKWANTS ONLY: excerpts from the punk diaries
Angela Jaeger is a New York-based singer and poet who has collaborated with a diverse group of musicians including PigBag, David Cunningham, Bush Tetras, The Drowning Craze, Billy McKenzie, Amy Rigby, Jim Sclavunos and Alan Licht. She has published with glass eye books, Green Panda press, Principal Hand and the Brooklyn Rail. Her punk diary project is based on her own teenage journals from the mid-late 70s East Village, a graphic text that has inspired readings with writer/ journalist Byron Coley.
Angela Jaeger
Alan Licht will read from An Emotional Memoir of Martha Quinn (Drag City Press, 2002), a “both sides now” extended meditation on the 80s, the 90s, New Wave, Grunge, Post-Rock, Ronald Reagan, Bill Clinton, Philip K. Dick, and the pets.com sock puppet. Some rock-geek described Licht’s tome thusly: “A thoughtful and entertaining look at how music and culture infect (“cross-pollinate?”) each other, Alan Licht’s An Emotional Memoir of Martha Quinn succeeds by being real.”
Alan Licht is a New York-based guitarist and writer. Author of Sound Art: Beyond Music, Between Media (Rizzoli, 2007), he has written for the WIRE, Sight & Sound, Modern Painters, Village Voice, and other publications. A composer and improvisor who has performed with everyone from Tom Verlaine to Michael Snow to Devendra Banhart to the late Rashied Ali, he is the co-founder, with Sonic Youth’s Lee Ranaldo, of Text of Light, a group which combines free improvisation with screenings of experimental cinema.
Alan Licht
Pat Irwin & Cynthia Sley
Pat Irwin was a founding member of the ground-breaking instrumental band ”The Raybeats” as well as ”Eight Eyed Spy,” formed with Lydia Lunch and others from the New York “No Wave” scene of the late Seventies and early Eighties. Pat also played guitar and keyboards with ”The B-52′s” from 1989 through 2007. He has also composed the scores for numerous independent films (including My New Gun, But I’m A Cheerleader, Bam Bam & Celeste) and cartoons (including “Rocko’s Modern
Life,” “Pepper Ann,” and “Class Of 3000.”)
As lead vocalist of the ”Bush Tetras,” Cynthia Sley produced some of the most distinctive aspects of the Tetras sounds. Sley’s spoken/sung vocals in songs like
“Too Many Creeps” and “You Can’t Be Funky” created hypnotic trances offset by Pat Place’s guitar rhythms. “Too Many Creeps” was a mainstay of the infamous early Eighties New York “No Wave” club scene.
Together, Pat Irwin and Cynthia Sley have started to record and perform as Command V.
chris brokaw
CHRIS BROKAW was born and raised in and around new york city. after attending oberlin college, he moved to boston, massachusetts, where he continues to reside.
in 1990, he began recording and performing internationally with CODEINE, with whom he played drums and guitar on 2 records for SUB-POP. in 1992, he left that band to pursue songwriting, singing and guitar playing with COME, who recorded four albums for MATADOR and toured internationally over the course of 10 years.
since 2002, chris has recorded four solo albums: the instrumental “RED CITIES” (ATAVISTIC/KIMCHEE/12XU, 2002), the solo acoustic “WANDERING AS WATER”(NORMAL, 2004), the film score “I WAS BORN, BUT” (ATAVISTIC/12XU, 2004), and the rock/vocal “INCREDIBLE LOVE” (12XU/ROCK ACTION/ACUARELA, 2005).
he has performed on over 2 dozen other recordings, performing as a member of the following bands: THE WILLARD GRANT CONSPIRACY, THE NEW YEAR, PULLMAN, CONSONANT, and THE EMPTY HOUSE COOPERATIVE; as a guest on recordings by COBRA VERDE, MANTA RAY, ROSA CHANTSWELL, KARATE, and VIA TANIA; and as an accompanist to recordings and performances by STEVE WYNN, EVAN DANDO, THALIA ZEDEK, ALAN LICHT, TARA JANE O’NEIL, crime writer GEORGE PELECANOS, and RHYS CHATHAM.
Alex Waterman reads Robert Ashley
a conversation with Robert Ashely, scored using one of Ashley’s early graphic scores, in memoriam…Esteban Gomez (1963)
Alex Waterman is a founding member of the Plus Minus Ensemble, based in Brussels and London, specializing in avant-garde and experimental music. In New York he performs with the Either/Or Ensemble. Alex has worked with musicians such as Robert Ashley, Richard Barrett, Helmut Lachenmann, Keith Rowe, Marina Rosenfeld, Anthony Coleman, Elliot Sharp, Ned Rothenberg, Gerry Hemingway, David Watson, Chris Mann, Alison Knowles, Thomas Meadowcroft, and Michael Finnissy. He has performed as guest musician with numerous ensembles, including Trio Event (Berlin), Champs d’Action-Antwerp, Q-O2-Brussels, and Magpie Music and Dance Company. Waterman has made music for numerous European ballet and modern dance companies including Freiburg Ballett/Pretty Ugly, Scapino Ballet, Nederland Dans Theater III, and others. As a curator he has organized events at Les Bains:Connective in Brussels, OT301 in Amsterdam, Miguel Abreu Gallery and The Kitchen. His duo projects with the dancer Michael Schumacher have toured in Switzerland, Italy, Holland, the Opera of Monaco and most recently in all 5 boroughs of New York in a Joyce Theater production in association with the City Parks Foundation in July of 2008.
In 2007 Alex curated two exhibitions in New York, one on experimental music and poetics: Agapê (June 2-July 28th, 2007) at Miguel Abreu Gallery; and the other on graphic notation, Between Thought and Sound: Graphic Notation in Contemporary Music (September 7-October 20, 2007) at The Kitchen in Chelsea. Alex is presently working on his PhD in musicology at NYU as well as writing a book about the composer Robert Ashley with the designer and writer Will Holder. Alex participated in Dexter Sinister’s residency at the Armory for the 2008 Whitney Biennial writing a new work based upon Herman Melville’s Bartleby the Scrivener. Alex Waterman and Beatrice Gibson’s film, A Necessary Music, narrated by Robert Ashley and with original music by Waterman, premiered at the Whitney Museum ISP show and will be shown in galleries and museums in the US and Europe this fall.
Robert Ashley, a distinguished figure in American contemporary music, holds an international reputation for his work in new forms of opera and multi-disciplinary projects. His recorded works are acknowledged classics of language in a musical setting. He pioneered opera-for-television.
The operatic works of Robert Ashley are distinctly original in style, and distinctly American in their subject matter and in their use of American language. Fanfare Magazine calls Ashley’s Perfect Lives“nothing less than the first American opera…”, and The Village Voice comments, “When the 21st Century glances back to see where the future of opera came from, Ashley, like Monteverdi before him, is going to look like a radical new beginning.” A prolific composer and writer, Ashley’s operas are “so vast in their vision that they are comparable only to Wagner’s Ring cycle or Stockhausen’s seven-eveningLicht cycle. In form and content, in musical, vocal, literary and media technique, they are, however, comparable to nothing else.” (The Los Angeles Times).
Born in Ann Arbor, Michigan in 1930 Robert Ashley was educated at the University of Michigan and the Manhattan School of Music. At the University of Michigan, he worked at the Speech Research Laboratories (psycho-acoustics and cultural speech patterns), and was employed as a Research Assistant in Acoustics at the Architectural Research Laboratory.
During the 1960s, Ashley organized the ONCE Festival, the annual festival of contemporary performing arts in Ann Arbor which, from 1961 to 1969, presented most of the decade’s pioneers of the performing arts. He directed the highly influential ONCE Group, a music-theater ensemble that toured the United States from 1964 to 1969. During these years Ashley developed and produced the first of his mixed-media operas, notably That Morning Thing and In Memoriam…Kit Carson, and he composed the sound tracks for films by George Manupelli.
In 1969, Ashley was appointed Director of the Center for Contemporary Music at Mills College (Oakland, California), where he organized the first public-access music and media facility. From 1966 to 1976 he toured throughout the United States and Europe with the Sonic Arts Union, the composers’ collective that included David Behrman, Alvin Lucier and Gordon Mumma. With the support of the Rockefeller and Ford Foundations, Ashley produced and directed, Music with Roots in the Aether: video portraits of composers and their music, a 14 hour television opera/documentary about the work and ideas of seven American composers, which premiered at the Festival d’Automne à Paris in 1976 and has since been shown worldwide in over 100 television broadcasts and closed-circuit installations.
The Kitchen (New York) commissioned Perfect Lives in 1980, an opera for television in seven half-hour episodes. The opera was co- produced with Great Britain’s arts network, Channel Four, in August 1983. First broadcast in Great Britain in April 1984, Perfect Lives has since been seen on television in Austria, Germany, Spain and the United States and has been shown at film and video festivals around the world. It is widely considered to be the pre-cursor of “music-television.”
Staged versions of the operas Perfect Lives, Atalanta (Acts of God), and the tetralogy, Now Eleanor’s Idea, have toured throughout Europe, Asia and the United States. Ashley and his company have been presented at the Avignon Festival, the Festival d’Automne à Paris, Musica Strasbourg, the Almeida Festival (London), the Festival de Otono (Madrid), New Music America (New York, Chicago, Minneapolis, San Francisco, Philadelphia), the Inventionen Festival and the Hebbel Theater (Berlin), by the Gaudeamus Foundation (The Netherlands), the USIS Interlink Festival (Japan), the Next Wave Festival (New York) and Site Santa Fe.
The Florida Grand Opera, Miami-Dade Community College and the South Florida Composers Alliance commissioned an opera, based on the experiences of the Cuban “rafters”). Balseros, was premiered at the Colony Theater, Miami Beach, on May 16, 1997.
Other commissioned works include operas Now Eleanor’s Idea (1993) and Foreign Experiences (1994) for his own opera ensemble, with funds from the Mary Flagler Cary Charitable Trust and Meet the Composer’s Lila Wallace-Reader’s Digest Commissioning Program; Van Cao’s Meditation (1992), for pianist Lois Svard; Outcome Inevitable (1991), for chamber ensemble, by Philadelphia’s renowned Relâche Ensemble; Superior Seven (1988), for flute with orchestra and chorus, by Barbara Held and the Bowery Ensemble; eL/Aficionado (1987), opera, by Mutable Music for Thomas Buckner; Atalanta (Acts of God) (1985), by the Museum of Contemporary Art, Chicago, for its anniversary celebration;Odalisque (1984), for orchestra, solo voice and chorus, by The Arch Ensemble, Musical Elements, Alea III, and The Contemporary Chamber Players of the University of Chicago; Music Word Fire (1981), for television, by Channel 13/WNET.
Ashley’s When Famous Last Words Fail You, for voice and orchestra was commissioned and premiered by the American Composers Orchestra on December 7, 1997. Your Money My Life Good-bye, a radio production for Bayerischer Rundfunk, in English and German, has been completed and will air in early 1999. Dust, an opera commissioned by the Kanagawa Arts Foundation, Yokohama, Japan, premiered on November 15, 1998.
Ashley has also provided music for the dance companies of Trisha Brown (Son of Gone Fishin’, 1983), Merce Cunningham (Problems in the Flying Saucer, 1988), Douglas Dunn (Ideas from The Church, 1978) and Steve Paxton (The Park and The Backyard, 1978.)
Robert Ashley is the subject of a film by Peter Greenaway, one of a series entitled Four American Composers, Transatlantic Films (London) and Mystic Fire Video (New York). Perfect Lives was published by Burning Books (San Francisco) with Archer Fields (New York), October 1991. Ashley’s recorded music and videotapes are available on Lovely Music, Ltd., Nonesuch/Elektra, New World Records, Mainstream, CBS Odyssey, O.O. Discs, Koch International and Einstein Records.
Gary War + Tom Carter + Purple Haze FREE SHOW
ISSUE Project Room and the Old American Can Factory Market present,
FREE:
Gary War
“Gary War is taking sonic wizardry to levels as yet uncharted by man. While we sleep he is fashioning lyric webs like a yellow brick path thru the rawest of the honest…” -La Maladie Tropicale
“The best modern psych sounds bar none” -Volcanic Tongue on “Zontag” 7″
Operating out of New York City, current Gary War releases include
“New Raytheonport” LP (SHDWPLY), “Zontag” 7″ (Sacred Bones),
“Anhedonic Man” one-sided 7″ (Hell Yes!), “Opens-Live at WFMU” Cassette
(Captured Tracks), “Horribles Parade” LP (Sacred Bones) and “Galactic
Citizens” 12″ ep (Captured Tracks).
Tom Carter
Tom Carter is a guitar player best known for his work with acclaimed psych-drone iconoclasts Charalambides. Since 2000, however, he has become increasingly active as not only a solo artist but as a collaborator. He has performed with improvising musicians as diverse as Thurston Moore, Jandek, Tetuzi Akiyama, Matt Valentine, and many others, as well as being a key member in groups like Badgerlore (with Ben Chasny of 6 Organs of Admittance), Friday Group, Mudsuckers (with Robert Horton and the Yellow Swans), and Zaika (with Marcia Bassett of the Double Leopards and Hototogisu).
Carter’s solo work covers a lot of territory, but latter-day sightings show him to be concentrating on looped guitar drones of immensely stacked beauty, with heaps of psychedelic melodic content missing from the repertoires of many noise and drone bands. His most recent solo releases are a pair of releases on Important Records, Shots at Infinity 1 & 2.
Purple Haze
Purple Haze is Marcia Bassett (Double Leopards, Zaimph, Hototogisu) and Taylor Richardson (Infinity Windows, Prehistoric Blackout).
Honne Wells and Juan Comas + Sacred Harp + Greg Jamie FREE SHOW
ISSUE Project Room presents in collaboration with the Old American Can Factory Market:
FREE
Honne Wells and Sacred Harp
Honne Wells and Juan Comas
Honne Wells hails from America’s Bible Belt South. It is there that he has been mining below the “underground” music scene for the past four years. After settling in Baltimore, Wells, originally billed as the solo act “Honey Waller,” brought to the Mason Dixon line a deep southern depression era repose.
For Honne Wells, the destitution of Baltimore paralleled the desperation of a pre-war America. Wells’ developed his style of over-driven, primitive amplification and performance using pre-war methodologies spit through electrical processes. Although initially a solo act, Wells’ teamed up with Texas based percussionist, Bobby Weiss in further experiments in noise composition. It was also working with percussionist Benji Derdeyn, with a project entitled, ” Henri Lee”, that a standardized structure emerged from his previous emotive-noise based performances.
In 2006, Wells left the city of Baltimore for New York. He began experimenting with techniques in recording; primarily with orthophonics and wax cylinder technologies. Today, Honne Wells continues his studies in orthophonic recording and audio documentation. He has given more than a dozen musical demonstrations articulating a focus on acoustic sound. Wells releases his recordings for study and preservation with the local group Yell-O-Faith Archive that deal predominantly with his work, and act as distributor for Wells’ recordings.
Honne Wells currently lives and works in Brooklyn, New York.
Sacred Harp draws influences from Old Time to psychedelia, beveled edges and appalachia, Fuckle, dirty fingernails, killer jowls, rappahannock river, backyard coal train, depersonalization/derealization, family, friends, Marye’s Heights talking box (R.I.P.), The Caroline Street Jug Nugglers, steel strings, nylon strings, Fog Haus.
Greg Jamie
Born out of the art school insularity of SUNY Purchase back in 2003, the New York-based quintet O’Death (MySpace) has cultivated an increasingly rabid fan base for their punk-inflected Appalachian caterwauling. Stray too close to the stage at one of their shows and you’re liable to find yourself completely enveloped by a sweat-drenched crowd of dudes determined to make banjo moshing a reality in our lifetimes. It’s a blast.
Share – all night free open audio & video jam – featured guests @ 10:30PM Chen + Yassin + Carey + Olsen
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
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.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
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 —
Tonight’s feature guest will play @ 10:30PM: The set will happen immediately following Issue Project Room’s ‘Jandek’ concert taking place at the (OA) Can Factory’s courtyard.
A rare meeting of the three from three points of the world:
Audrey Chen (cello/voice) Baltimore
Raed Yassin (acoustic bass) Beirut/Amsterdam
Jeff Carey (live electronics) Odenton
Morten J Olsen (percussion) Norway/Berlin
Audrey Chen (cello/voice)
http://myspace.com/audreychen
jeff carey (electronics)
http://jeffcarey.foundation-one.org
Raed Yassin (acoustic bass)
http://myspace.com/raedyassin
Morten J Olsen (percussion)
http://www.myspace.com/themoha
———
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://www.share.dj/share/event_info.php?eventID=600
Byron Coley and Andy Schwartz with Loren Connors
ISSUE Project Room presents author and poet Byron Coley reading from an unpublished novel about record collectors called ”Dominos”… with musical accompaniment by the legendary Loren Connors, plus a reading by former editor of “New York Rocker” Andy Schwartz.
Share – collective showcase by the artists group, ‘ichiigai’ from Karlsruhe, Germany
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
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.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
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 —
Tonight’s presentation:
Come EARLY!!! to catch the very special presentations/showcases by the artists group, ‘ichiigai’ from Karlsruhe, Germany!
The concentrated presentations will be 1 hour total by 8 artists, starting at around 20:30. Do not miss the occasion!
==========================
About ichiigai
ichiigai is an independent label for sonic and visual art, run by artists in the vicinity of the State University for Arts and Design (HFG) and the Center for Art and Media (ZKM) in Karlsruhe,
Germany.
ichiigai means ‚not one‘ or !1.
ichiigai promotes the fusion of sound, music, video and art.
ichiigai is focused on a model of distributed creative action situated in modern networked
communities.
http://www.ichiigai.com
=====artists’ info======
See Share’s website for detailed information about all the artists: http://www.share.dj/share/event_info.php?eventID=602
(in the alphabetical order:)
capman
born 1982
Musician [Lo-fi Electro Psykedelic Punk FreeJazz Noiz]
AudioVisual Performer & Producer
studies MediaArt at University of Arts & Design Karlsruhe. Germany
works on improvisation, installation, spatial acoustics, moving pictures.
—————–
co of bacosa
The music of BACOSA is located between minimal-electronica and Jazz-improvisation.
Acoustic sounds generate electronic sounds.
Frank Halbig
born 1970 in Munich / Germany.
Studied in the class for gold- and silversmith at Akademie der Bildenden Künste Nürnberg; masterclass.
Studied media art at State University for Arts and Design (HfG) Karlsruhe.
Guest artist at the Center for Art and Media (ZKM) Karlsruhe since 2006.
Executive producer at the radioplay department (ars acustica) of the Südwestrundfunk Baden-Baden since 2007.
Head of the Media art/sound department at the Karlsruhe University of Arts and Design since 2008.
http://www.frankhalbig.com
http://www.bacosa.de
http://www.sol-sol.de
http://www.antarktika.at
———————
dmda
DMDA, born 1978 in Cologne/Germany. Lives and works in Karlsruhe and Cologne. He is a musican, artist and performer who works alone as well as in severeal coorporations and projects with artists of different categories.
His perfomances are made up of electronic live sets, theatric, partially absurd stagings, audio-visual installations as well as instrumental
improvisations. His sound is covering a wide range in which the human voice, harmonic guitars, synthesizers are spread as well as distorted,
minimalistic beats, metal guitars and painfull noise.
—————–
fff
run by Florian Meyer since 2004.
Born 1976 in Berlin / Germany.
Demand is the sound producing usage of music related objects and machines, which are not intended to produce sound by themselves.
Main fokus is the classical dj-setup, recently reduced to only the mixing-device and/or some cables.
Hereby the process for realization of music is subjekt to various conditions and hence to sudden change at any time. The result is a ruminant quest for spaces beyond melody and rhythm.
fff-performances therefore take place along the line between boring media-art and interesting music or the other way round.
Spin-off from iff
http://www.khm.de/~flw/feinmotorik
http://www.discogs.com/fff4-barkthatfishingmarble/release/1435065
——————-
irel.ier
semi-algorythmic lifeperformances, DJing, DIY electronics, installation and multichannel compositions.
With sh, member of composting.
Releases:
lofi e.p. – tape release
earshot e.p. – net release
dub wrec sessions – net release
Further information:
http://www.hfg-karlsruhe.de/~lfuettere
——————
sh
Frank Bierlein
is a audio-visual artist who lives in Karlsruhe/Germany.
He is studing media art at the State University of Arts and Design in Karlsruhe. His work currently focuses on multichannel sound installations, experimental sound, electronic dance music and non-linear, interactive‚ game-engine based music and video works.
The artist‘s works have been exhibited at smc in Berlin (2008), Hörspieltage at ZKM Karlsruhe (2008) etc. He has performed with other ichiigai-artists in several locations around Germany including electronic church (Berlin), kuhle knut (Freiburg), art’s birthday »safe and sound« (Karlsruhe) and has produced sound and visuals for the project „lepidoptera“ in cooperation with dancers from „bewegungs-art“ in Freiburg.
Further information:
http://www.hfg-karlsruhe.de/~fbierlein/
———————-
soundflorA
The artist SoundflorA is routed in traditional
singer-song writer music for voice and guitar. In 2007 she startet to use electronic devices like MIDI and drum-sampling and combined them with unusual analog instruments such as a paper-tape organ, bells and the use of found footage sound. So noise and music find a new synthesis on the border between alternativ soundtrack and radio play.
Last year SoundflorA finished the unpublished concept album „The duration of a soap bubble“
based on philosophical texts. It includes very different electro-acoustic tracks.
In general SoundflorA is a loop-based artist.
The newest project is called „I‘m a walkman band“ and more performance orientated.
For this kind of „retro-sampling“ she trys to use outmoded equipment with modern Dj-techniques and follows in the footsteps of artist like the japanese Aki Onda and his „Casette Memories“.
—————
tordebruit
Elmar Farchmin
Born 1980 East-Berlin
MediaArtStudent (HfG Karlsruhe, Germany)
Ichiigai-Member since 2004
Visual Arts – Animation, VJing.
Soundtrack, Musicvideo, Radioplay MaxMSP Programming, selfmade Interfaces.
SoundInstallations – Multichannel Evironment – up to 44 speakers, Mobile, Sculpture.
Performances – DJing, Cello, Voice, Dirty Electronics.
Several Bands/Projects – accoustic/electronic/lyrical.
He performed at different locations in german cities – Berlin, Hamburg, Munich…
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://share.dj/share
http://facebook.com/sharenyc
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Share – featured guest El Lazo Invisible
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
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.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
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 —
Tonight’s feature guest:
EL LAZO INVISIBLE
José Ignacio López Ramírez-Gastón (a.k.a El Lazo Invisible) has been a sound artist and producer working in the border region San Diego/Tijuana since 1998. He was born in Barcelona, Spain, in 1968, and since then has lived in different countries, spending most of his youth in Lima, Peru. He is the founder of the record label Discos Invisibles, a project that works on the generation of public spaces for alternative sound arts; and Dinet, a netlabel dedicated primarily to promote the work of experimental musicians in Latin-America. He is a graduate student of Computer Music at the University of California San Diego (UCSD) and a researcher at the Center for Research in Computing and the Arts (CRCA). His research work involves the study of those cultural strategies unique to the Latin-American environment and the application of technology in a way that represents its users.
http://blog.discosinvisibles.org
http://www.d-i-net.org
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Artist In Residence: Matana Roberts
“Ms. Roberts isn’t just mildly curious to expand her medium: She seems driven to do it.” - NY Times
“Matana is definitely nondescriptive. She’s not a lady, she’s not a man; she’s just a being…” – Jazz Times
“Roberts is a deep traditionalist who looks beyond the rigid distinctions and definitions of musical style” – Chicago Defender
“…alto saxophonist and clarinetist Matana Roberts –add this name to the frustratingly short list of excellent, female reed players…” – All About Jazz
“…Roberts is a fluid, elegant player who rejects the star soloist approach of many a saxophonist….” – BBC Jazz
“The sound of Matana Roberts’ alto sax spans jazz her-story, from its roots in New Orleans, through the swinging ‘30s-40s, to the New Thing.” – All About Jazz
Matana Roberts COIN COIN : a blood narrative in blacks, browns, reds , and blues….
Since 2005 Saxophonist/composer Matana Roberts has been experimenting on a sound narrative about the intricacies, contradictions and questions that surround the human bloodline experience. How when broken down into the most minute details new meanings arise beyond the surface levels of one dimensional human acceptance; generally attached to shades of difference, and fear of the unknown. Transcending sometimes the unbearable in order to create new possibilities of understanding the human condition.
Using herself and research she has done on her own bloodline history and various ensembles she leads as the “guinea pig” in this sound endeavor, she has been able to cull a myriad of rich and awe inspiring stories that speaks many interesting truths about the flexibility and wonder of individual understanding. Transversing the American South of days past– traveling reflections of African, French, Irish, English, Scottish, Canadian, and Choctaw, Cherokee, Chickasaw Native America history, Matana is weaving together stories and lore that speak to a very distinct, historically experimental, yet common, American experience. For her, a very personal search in sound practice that opens a dialogue for possibilities going beyond the specific; regenerating a focus that she hopes in the end celebrates the inherent potential that resides in the overflowing capability of human love, sadness, kindredness, perseverance, and joy.
COIN COIN, in essence, a musical monument to the human experience.
For her residency at the Issue Project Room Matana has decided to use her time there to create what she is calling “COIN COIN Happenings” based on ideas and concepts she has used to put together some of the larger ensemble chapters. Purposely pairing down each piece to duo live instrumental pairings, combined with pre arranged field recordings, she will experiment in ways that she has been unable to yet in some of the large ensemble pieces, aiming to create sonic environments that would pull even the most particular witness in. These Happenings will be based around three upcoming chapters of the work, whose current working titles are:
Wed September 30th– Chapter 6: exodus: bell, book, and candle
Thursday October 29th–Chapter 7: papa joe
Wednesday November 18th– Chapter 8: the field(s) of memphis
Her last performance in the Issue residency ( Wed, December 9th) will be the premiere of a current new reworking of a large ensemble chapter — Chapter 1—Gens de Couleur Libre/Free People of Color
Each performance will be followed by reading from Matana’s self published ‘zine about the project Fat Ragged and will evolve from there into a question and answer session for anyone in attendance about the project as well as a discussion of resources that can be used searching for ones genealogical traces.
Matana (mah-tah-nah) Roberts, is a dynamic saxophonist, composer and improviser, who tries to expose in her music the mystical roots and spiritual traditions of American creative expression.
As a Chicago native she was fortunate enough to be surrounded by musicians who showed her by distinct example the importance of listening to one’s personal creative voice while at the same time using the profound and many layered traditions of jazz and improvised musics to act only as her creative guide, not as her creative definer. By using their mentorship, she has been able to craft a voice and creative focus that truly speaks to her own true artistic individuality. She feels strongly that her music should not only reflect the many colors and moods of universal human emotions, but that it should also testify, critique, document, and respond to the many socio-economic, historical, and cultural inequalities that exist not only in this country, but all over the world.
Matana, a 2006 Van Lier fellow, Brecht Forum fellow, and 2008 and 2009 Alpert Award in the Arts nominee, has appeared as a collaborator on recordings and performances in the U.S., Europe, and Canada with her own ensembles as well as with the collaborative jazz trio Sticks and Stones, Black Rock Coalition founder Greg Tate’s Burnt Sugar, Reg E Gaines and Savion Glover’s homage project to the late John Coltrane, the Oliver Lake Big Band, and the Julius Hemphill Sextet and Merce Cunningham dance. She recently released a homage project to her hometown entitled The Chicago Project, on Barry Adamson’s Central Control International, produced by pianist extraordinaire Vijay Iyer, featuring friends and supporters of her Chicago development. She has also recorded as a side person on recordings with such iconic bands as Godspeed You Black Emperor, TV on the Radio, Guillermo Scott Herren’s Savath and Savalas, Silver Mt Zion, and sound artist Daniel Given’s Day Clear/Day dark. Matana is a member of the AACM– Association for the Advancement of Creative Musicians and the BRC– Black Rock Coalition.
She has played alongside some of the most intriguing creative sound visionaries spanning across genres of this time period and currently resides in New York City
Littoral Series: Melvin Van Peebles + Nondor Nevai w/ Mick Barr
Melvin Van Peebles is unquestionably a renaissance man and his reputation as a living legend is indisputable. The incomparable Van Peebles has found success in every medium of the entertainment industry as a director, producer, writer, actor, composer and editor. From music (a three time Grammy nominee) to television (an Emmy-award winner) to Broadway (eleven Tony nominations) this trail blazer and trendsetter does everything his way. While he is best known as the “godfather of independent film and modern black cinema”, he also has the honor of being another first—the first African-American trader on the American Stock Exchange.
Melvin Van Peebles was born in Chicago. After graduating from college two years before most, Van Peebles joined the Air Force where he became the youngest member of the Strategic Air Command. Upon leaving the Air force he went to Mexico made his living as a painter for awhile and then it was on to Europe to do graduate study in Astronomy at the University of Amsterdam in Holland. Several years later Van Peebles moved to Paris, taught himself French and worked as a journalist for a French Newspaper. Adapting Chester Himes’ writings as an ongoing cartoon series for “Harikiri” the legendary French Magazine, ignited a fire and Van Peebles went on to write five French language novels. One of those novels became the basis of his first feature film, La Permission: A Story of a Three Day Pass which won him the Critics Choice Award at the San Francisco Film Festival. The rest as they say is history.
Unfortunately, sometimes the reality of people who are simply trying to maximize their personal potential is often complicated by prejudice, discrimination, intolerance and systemic destruction of the ego. In their struggle for liberation pioneers like Van Peebles, with their discontent and refusal to accept the status quo, create eruptions so significant that they become the bedrock upon which new opportunities are born. Looking over the life of Mr. Van Peebles we can now on truly fully assess the enormity of his actions on History. Van Peebles calculating merger of his roles as a businessman and artist not only assured his projects meet with success, but opened the door for many African American Artist. Best said by his son, Mario Van Peebels, and I quote: “My father crashed the gates, then along with Gordon Parks and Ossie Davis broke down Hollywood’s color barriers. They made it possible for all of us to come marching up the hill: Spike Lee, the Brothers Hudlin, John Singleton, Bill Duke and myself.” In 2004 Mario Van Peebles honored his father by making Baadasss the story of his father’s struggles through Hollywood. The movie won the Academy’s Spirit Award. Today the Hollywood machine counts African-Americans filmmakers among some of their most lucrative producers.
The evening will also inlcude music performance by Nondor Nevai w/ Mick Barr as part of ISSUE’s Littoral Series co-curated by Suzanne Fiol and Tony Antoniadis.
nondor –
Nondor Nevai (drums/throat) is, according to Thurston Moore, “… a satanic power metal freak of nature…crushing, hilarious and delivers the damaged goods…A lot of Beefheartian voiced ruminations on straight up boner-boy sex with a shot of art history thrown in. Fucking weird and fucking awesome.”
For their performance expect an athletic display of psychonautical rigor that approaches and occasionally surpasses what is physically possible on this instrumentation; antagonizing the nonidiomatic and the panidiomatic, it will push the limits of extreme metal.
Mick Barr is an American avant-garde metal guitarist. Notable for his relentless speed and agility on his instrument[1], he is most well known for being one half of the band Orthrelm, currently signed to Mike Patton‘s Ipecac Recordings label.
Some of Barr’s other projects have included Crom-tech, and a duo with drummer Zach Hill from Hella, as well as appearances with Quix*o*tic, and The Flying Luttenbachers. He has also released albums under the names Ocrilim and Octis, consisting of his own guitar over a drum machine. On the difference between the two, he says “Ocrilim is Mick Barr overthinking. Octis is Mick Barr underthinking. These names mean nothing when a live show is concerned. Come see Ocrilim and you may be forced to watch Octis.”[2]
In 2008, he was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award.
ISSUE’s Littoral Series began in 2006 and presents fresh and compelling writers of today working with innovative contemporary musicians to develop new ways of experiencing the works, in part by dissolving the boundaries between language, sonority and art.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.
a Nick Hallett and Daisy Press Voice Recital
Nick Hallett and Daisy Press sing works by Ives, Monk, Ashley, Cardew and more
Nick Hallett is a musician and avid curator working in the intersection of sound, moving image, and live performance. Nick’s projects encompass singing various genres of new music (from opera to cabaret to extended vocal technique), composing for film and theater, and staging new media performance. He originated the band PLANTAINS, which from 2000 until 2003 operated as a live multimedia act, incorporating electronic music and video. His New York opera debut was in 2005 at the Kitchen in Susie Ibarra’s Shangri-La at The Kitchen. His has since presented several music-based multimedia concerts at The Kitchen, in addition to singing the music of Arthur Russell there as part of a shared bill in 2008. He has performed selections from Meredith Monk’s cycle, Our Lady of Late, at Performa07 and the New Museum. He is the co-curator of the Darmstadt series, which is regularly recognized in the New York Times and Time Out New York for its innovative programming of new music, in addition to being the producer and music curator for the Joshua Light Show. He has two original music-theater works in development, one with playwright Jessica Blank (The Exonerated, Iraq Refugee Project) and another with video-performance artist Shana Moulton (Whispering Pines). Upcoming concerts for 2009 include a solo recital at The Stone, and another tribute to Arthur Russell (which he is performing in and co-organizing) at Le Poisson Rouge, as part of the Wordless Music Series.
A specialist in the field of contemporary music, Daisy Press, vocalist, was born into a performing family as the daughter of two musicians. In addition to her solo and ensemble vocal work, she also plays the violin and guitar and has appeared as an actor in an upcoming Adam Goldberg independent film. Most recently, she was praised by the New York Times for her “winning subtlety and understatement” in her rendition of George Crumb’s new folk-based song cycle “Unto the Hills” at Miller Theater with the acclaimed group So Percussion. Previously, she has sung with them the works of Steve Reich, including “Music for 18 Musicians” and “Drumming,” which she has also performed as a guest artist at Juilliard.
Additional credits include being the featured soloist for the New York premiere of Phillipe Leroux’s “Voi(rex)” at Miller Theater alongside IRCAM; “Apparition” by George Crumb at the Bang on a Can Marathon, where Ms. Press was for two years singer-in-residence; “Attila-Joszef Fragments” by Kurtag at Symphony Space; and excerpts, with the composer in attendance, for Elliot Carter’s “Of Challenge and of Love.” She has also appeared in Ireland with the Argento Ensemble in Earl Kim’s “Exercises en Route” and was hailed for her “calm naturalness” by The New York Times for her performance of early and late Webern song cycles.
Ms. Press has performed Morton Feldman’s “Three Voices” (the studio recording of which is soon to be released) and has appeared with the renowned VOX vocal ensemble. She is currently on faculty at Manhattan School of Music, where she received her Masters degree. She also holds academic degrees from Sarah Lawrence College and Oxford University, and she has studied voice in the studios of Trish McCaffrey and Hilda Harris, and North Indian ragas with Michael Harrison.
Kenneth Goldsmith sings Roland Barthes with live String Quartet
A live String Quartet (Mari Kimura, Dana Lyn, violins; Jessica Pavone, viola; Egil Rostad, cello) will perform Vivaldi’s Four Seasons and improvisations in the style of Anton Webern while Kenneth Goldsmith sings text by Roland Barthes.
Kenneth Goldsmith’s writing has been called some of the most exhaustive and beautiful collage work yet produced in poetry by Publishers Weekly. Goldsmith is the author of nine books of poetry, founding editor of the online archive UbuWeb, and the editor I’ll Be Your Mirror: The Selected Andy Warhol Interviews, which is the basis for an opera, “Trans-Warhol,” premiered in Geneva in March of 2007. An hour-long documentary on his work, “sucking on words: Kenneth Goldsmith” premiered at the British Library in 2007. Kenneth Goldsmith is the host of a weekly radio show on New York City’s WFMU. He teaches writing at The University of Pennsylvania, where he is a senior editor of PennSound, an online poetry archive. He has been awarded the The Anschutz Distinguished Fellow Professorship at Princeton University for 2010. A book of critical essays, Uncreative Writing, is forthcoming from Columbia University Press.
James Nares
James Nares is known for his paintings, films and to some extent, his music (most notably as a member of the Contortions).
He will be showing a selection of his films, with an emphasis on those which have a musical or sonic component.
“As befits a linchpin of film’s No Wave movement, director James Nares is barely recognized for his impact on cinema. His aesthetic a ragged, often wordless and colorless zoom on inanimate objects or people oddly reduced to the same state — set a precedent built upon by more accessible filmmakers such as David Lynch.” -Flavorpill
“James Nares’ films are like luminous jewels scattered in the dirt — as varied and striking as his paintings, his photographs and his train of thought.”
- Jim Jarmusch
“Nares’ “Motion Pictures” will tear you apart and put you back together all at once.”
Amy Taubin- Artforum.
Meredith Drum and Alison Ward
Selected Films by Meredith Drum and Alison Ward
Meredith Drum presents three low-ball sci-fi video works that form a loose trilogy, “The Tower”, “The Formula” and “The Double”. The narratives combine elements from old stories of conflict between feminine and masculine and interior and exterior loss and fulfillment. All three were filmed in the same feral park and graced by actress Juliana Francis Kelly.
Alison Ward explores the ideas and motivations behind her piece the Beastly Beauty in the form of a performance as slide lecture. She will re-envision her spectacular performance, an on-going farcical battle that most recently occurred on Coney Island’s beach and boardwalk in late August. The Punch and Judy battle between two characters embodying different elements of beauty and the grotesque features elaborate Baroque style costumes, one set adorned with pink ribbons and lace, the other with garbage bags and filth. Each are backed by six cheerleaders in armor, who taunt each other with chants that merge cheerleading rallies with traditional battle cries and King Kong-style beating of the chest. The battle is comical with each side flirting and fighting, hitting and kissing, much like two lovers in a fierce fight. The choreography combines wrestling moves with traditional dance and burlesque to create a spectacle that is simultaneously violent, sexual, and humorous. The idea behind The Beastly Beauty, is an effort to comment through use of physical humor and public performance, on the nature of violence, and to upend notions of traditional roles of the masculine and feminine.
Artist Bios:
Meredith Drum is a cinema artist who makes both experimental fiction and nonfiction as well as more conventional documentary. Her videos have recently shown at the Bronx Museum of the Arts, Galapagos Art Space, Monkey Town, Fales Library and Archive at NYU and been published online on Good Magazine and the New York Times Tmagazine. Recent honors include a Flaherty Film Seminar fellowship, an Artists-in-the-Marketplace residency and an award from the Experimental Television Center. Also, she was named an “artist to watch” by art critic Ken Johnson in his New York Times review of the AIM 29 show. Of late she has worked with Patrick Bensard, the director of the Cinémathéque de la Danse in Paris, on a portrait of Lucinda Childs and with artist / choreographer Grisha Coleman on a piece about artists and health care for Levering Investments in Creativity (LINC).
Alison Ward is an artist whose work incorporates performance, video and sculptural installation. She focuses on issues of identity interpreted through physical and slapstick humour. Exhibitions include Haven Arts, The Dumbo Arts Center, and the Bronx Museum as well as the CCCB Museum in Spain, RAW Space Gallery in Australia and Castlefield Gallery in England. She has done residencies at Raw Space in Australia, The Artist in the Marketplace Program, and the LMCC studio program. Currently she is an artist partner on board The Waterpod Project in New York City, and is an artist in resident in LMCC’s Swing Space Program.
This event made possible, in part, through funding from:
Nate Boyce + Ray Sweeten
BOYCE, NATE |
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Boyce is a video artist and musician who lives and works in San Francisco. His audio/visual works investigate the liminal regions of human perception through kinetically charged, visceral abstractions. His work exploits inherent plasticity of electronic sound and image through the use of customized analog and digital tools with which he has developed a formal language informed the history of structural and psychedelic filmmaking. He has performed and exhibited at galleries and film festivals such as the Scope Art Fair, New York (2009) The Luggage Store, San Francisco (2009), New York Underground Film Festival, New York (2008), Deitch Projects New York (2008), The Stone, New York (2008), Center For Contemporary Art Glasgow, Glasgow (2007), Galerie Alt Neu Brukte, Frankfurt, Germany (2007), the Wattis Institute, San Francisco (2006), the Aurora Picture Show, Houston (2006), Club Transmediale, Berlin, Germany (2006), Monkeytown, New York, (2006) Queens Nails Annex, San Francisco (2005), Yerba Buena Center For the Arts (2004)
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Ray Sweeten b.1975. Audio origins begin with antiquated tape experiments based on recorded correspondences between his late father and brother. In ‘89 he studied classical piano and theory at the University of Rhode Island. In ‘93 Sweeten entered the TIMARA program (Technology In Music And Related Arts) at Oberlin Conservatory. In ‘98 he acquired a residency at Fabrica, spa.Italy, where he collaborated with Michael Galasso (ECM), Robert Wilson, Chieko Mori (Tzadik). He also produced music for MTV Japan and Italy, Benetton, and performed frequently throughout Italy and Europe solo and with FabricaMusica, a collaborative ensemble comprised of musicians from diverse cultural and musical backgrounds. Ray moved to New York City in 2000 to work for Children’s Television Workshop where he provided music for CD-Rom/Web games, cell phones and broadcast television. He received the Van Lier Residency for experimental electronics and oscilloscope graphics. He was also a member of the Plantains, a multi-media synth-pop outfit, and released work on Suction Records, Kinetic Media, They Shoot Homos Don’t They, Ghostly, and Colette. Sweeten has performed and screened at The Kitchen, Monkey Town, Millennium Film Project, The New York Underground Film Festival, CinemaTexas, Liverpool Biennial, Pacific Film Archive, Chicago Filmmakers, Aurora Picture Show and Angel Orensantz.
This event made possible, in part, through funding from:
Scott Draves – Dreams in High Fidelity
Scott Draves a.k.a. Spot is a visual and software artist living in New York City. Draves is best known as the creator of the Electric Sheep, a continually evolving abstract animation with over 60,000 daily participants.
He created the original Flame algorithm in 1991, the Bomb visual-musical instrument in 1995, and the Electric Sheep in 1999. Draves’ software artworks are released as open source and distributed via the internet. His latest work, Clade 1, is a rare true high-definition video artwork that runs a 26-minute loop. Dreams in High Fidelity, a moving painting that runs infinitely, is installed in the lobby of Google’s headquarters, and has been acquired by corporate and residential collections nationally.
Draves’ award-winning work is permanently hosted on MoMA.org, and has appeared in Wired and Discover magazines, the Prix Ars Electronica, the O’Reilly Emerging Technology Conference, and on the main dance-floor at the Sonar festival in Barcelona.
Dreams in High Fidelity
Considered the piece de resistance of the Draves oeuvres, Dreams in High Fidelity is a captivating presentation of high-resolution design abstractions hand-selected by the artist. Considered “a painting that evolves” as opposed to a video, HiFiDreams is driven by software art that offers an infinite, continuously morphing playback of thousands of sheep.
Scott’s real time video will be accompanied by live music by Zach Layton, Shelley Burgon and Michael Evans
This event made possible, in part, through funding from:
Samita Sinha
Samita Sinha - Photo: Paula Court
Vocalist and sound artist Samita Sinha creates her sound from a palette of Hindustani music, electronics, and text in several languages (Hindi, Urdu, Brajh, Mandarin, Spanish, English, recombinations therein, and imaginary language). After intensive vocal study with Alka Deo Marulkar and Shiv Shankar Pandey in India, she developed a unique sound with her group Kaash (documented on their record, Seep), toured internationally with performance poet Sekou Sundiata’s the 51st (dream) state, and performed with jazz ensembles including Marc Cary’s FOCUS and Sunny Jain Collective. She also performs and records with ANATOMY, an electronic music project with Marc Cary. She has received awards from the Fulbright Foundation, Urban Artists Initiative, Queens Council on the Arts, and Millay Colony for the Arts. She studied Literature and Cultural Criticism at Yale, and is currently enrolled in the MFA program at Bard College.
Tony Conrad and Branden W Joseph: a reading, discussion and performance
ISSUE Project Room is pleased to present:
Tony Conrad and Brandon W Joseph in a reading and discussion followed by a performance by Tony Conrad.
Branden W. Joseph is Frank Gallipoli Professor of Modern and Contemporary art in the Department of Art History and Archaeology at Columbia University. He is the author of Random Order: Robert Rauschenberg and the Neo-Avant-Garde (MIT Press 2003), Anthony McCall: The Solid Light Films and Related Works (ed. Christopher Eamon; Northwestern University Press/Steidl, 2005) and, most recently, Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (Zone Books, 2008). His writings have also appeared in Artforum, Bookforum, Art Journal, Critical Inquiry, October, Texte zur Kunst, Parkett, and Les Cahiers du Musée national d’art moderne, as well as in such catalogues as CTRL [SPACE]: Rhetorics of Surveillance from Bentham to Big Brother (2002), X-Screen: Film Installations and Actions in the 1960s and 1970s (2003), andRobert Rauschenberg: Combines (2005). He is also a founding editor of Grey Room, a journal of architecture, art, media, and politics, published quarterly by MIT Press since 2000.
Lets Paint TV! with John Kilduff!
ISSUE Project Room is thrilled to present, live, the legendary John Kilduff of Los Angeles’
“For those who haven’t seen it yet, Let’s Paint TV is a Los Angeles cable access television show on how to paint. But host John Kilduff doesn’t just paint. He paints while jogging on a treadmill, cooking food, mixing drinks, taking calls from the public and hosting a TV show. Add psychedelic visuals, abusive phonecalls from Mexicans and fat naked life models, and you’ve got the ultimate A.D.D. TV.”
- Vice
FEATURING LIVE MUSICAL ACCOMPANIMENT BY: Sam Kulik (bass trombone), Dan Peck (Tuba), Michael E vans (percussion), Zach Layton (guitar/banjo)
SHAPESHIFTER – curated by Michelle Handelman
Paper Collection by Shannon Plumb
SHAPESHIFTER
works that investigate revolutions of exchange both political and sexual, transfiguration, transmutation and radical distortions of psychological entropy.
a night of film, video and performance
curated by Michelle Handelman
Featuring work by:
Robert Appleton and Brandon Olson
Torsten Zenas Burns and Darrin Martin
Jillian Mcdonald
Bjorn Melhus
Shannon Plumb
Reynold Reynolds and Patrick Jolley
Abbey Williams
Tara Matiek
Tonight is the finale of Issue Project Room’s Fall Film/Video Series
Curator for SHAPESHIFTER:
Michelle Handelman makes confrontational works that explore the sublime in it’s various forms of excess and nothingness. Her recent project DORIAN, a cinematic 4-screen installation premiered at Participant, Inc., NYC and will be featured in the exhibition Virtuoso Illusion, curated by Michael Rush at The MIT List Center for Visual Art (winter 2010). Her videos, performances, and publicworks have shown at Pompidou Centre, Paris; ICA, London; Performa 05; American Film Institute, SF MOMA; and Aldrich Museum of Contemporary Art. She directed the feature documentary BloodSisters and collaborated for several years with Monte Cazazza, pioneer of the Industrial music scene. Her writing appears in Inappropriate Behaviour (Serpents Tail, London), Apocalypse Culture (Feral House Press, Los Angeles) and Herotica 3 edited by Susie Bright (Plume Books, SF). She lives in New York and is an assistant professor in Film/video dept at Massachusetts College of Art and Design, Boston. www.michellehandelman.com
This event made possible, in part, through funding from:
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,...