Frank Bretschneider

Yannick Franck (b. 1981, Liège, Belgium) is a sound and visual artist. He lives and works in Gent, Belgium. He runs the independent label Idiosyncratics Records. He is the founder of electroacoustic project Y.E.R.M.O. (Venice Biennial 2009, Pavilion of Luxembourg) in which he’s active since 2005 with guitarist Xavier Dubois and drummer Jason Van Gulick.

Frank Bretschneider works as a musician, composer and video artist in Berlin. His work is known for precise sound placement, complex, interwoven rhythmic structures and its minimal, flowing approach. Described as abstract analogue pointillism, ambience for spaceports, or hypnotic echochamber pulsebeat, Bretschneider’s subtle and detailed music is echoed by his visuals: perfectly translated realizations of the qualities found in music within visual phenomena.

After studying fine arts and publishing several graphic editions, he began to satisfy his obsession for electronic music in 1984 by starting his first tape experiments and running a cassette label. With the founding of AG Geige in 1986, a successful and influential band of East Germany‘s musical underground, he began to explore the possibilities of an exchange between visual art and music by various means such as film, video or computer graphics. After the fall of the wall and the split of the band Bretschneider continued producing music and in 1996 he and Olaf Bender founded the record label Rastermusic which finally merged with Carsten Nicolai’s Noton to form raster-noton in 1999. Since then he has been releasing his work through several record labels including 12k and Mille Plateaux and contributed to some well-known compilations like „Clicks & Cuts“ on Mille Plateaux or Raster-Noton‘s „20′ To 2000“ series. As a remixer he has worked for artists like Jan Jelinek, Hauschka, Rechenzentrum, Meat Beat Manifesto, Richard Chartier to name just a few. He has performed at music and new media festivals such as Ars Electronica, Mutek, Sonar, Transmediale, SonicActs, Ultima, Transart etc. In addition to his solo work he has cooperated with Taylor Deupree, Olafur Eliasson, Steve Roden and Ralph Steinbrüchel. With Olaf Bender and Carsten Nicolai he runs Signal, another Raster-Noton project.

Yannick Franck (b. 1981, Liège, Belgium) is a sound and visual artist. He lives and works in Gent, Belgium. He runs the independent label Idiosyncratics Records. He is the founder of electroacoustic project Y.E.R.M.O. (Venice Biennial 2009, Pavilion of Luxembourg) in which he’s active since 2005 with guitarist Xavier Dubois and drummer Jason Van Gulick. He has collaborated with Gast Bouschet & Nadine Hilbert, Craig Hilton and currently works on several projects with Pietro Riparbelli / K11, Esther Venrooy, Jean-Marie Matoul, Philippe Petit, Steve Kaspar, Stuart Dahlquist, Christian Renou, alone or together with Y.E.R.M.O. He works as a composer and sound designer for the National Theater of the French Community in Brussels and with companies Artara and Trotz Ensemble. He has exibited his artworks and performed in many countries, including Russia, United States and most of European countries.

Barbara Hammer was born on May 15, 1939 in Hollywood, California. She is a visual artist working primarily in film and video and has made over 80 works in a career that spans 40 years. She is considered a pioneer of queer cinema. She has received numerous awards, most recently the Teddy for the best LGBT film at the 2009 International Berlin Film Festival. Her first book on queer cinema, HAMMER! Making Movies Out of Sex and Life launched at The Elizabeth Sackler Center at The Brooklyn Museum of Art on March 6, 2010 and is published by The Feminist Press of City University of New York. For one month in fall of 2010 Hammer was honored with her first US retrospective at the Museum of Modern Art in New York City to be followed by The Tate Modern in London in fall 2011.

A.L. Steiner uses constructions of photography, video, installation, collage, collaboration, performance and curatorial work as seductive tropes channeled through the sensibility of a cynical queer eco-feminist androgyne. Based in Brooklyn, NY, Steiner is a collective member of Chicks on Speed, the co-curator of Ridykeulous, a founding member of W.A.G.E. (Working Artists and the Greater Economy) and collaborates with numerous visual and performing artists. Her work has been recently featured in Greater New York 2010, P.S. 1, New York and has been subject to solo exhibitions at the Institute of Contemporary Art, Sofia, Bulgaria, the Portland Institute of Contemporary Art and the New Museum, New York. She is a visiting instructor at the School of Visual Arts and University of California Los Angeles, and is represented by Taxter & Spengemann, NY.

A.K. Burns lives and works in Brooklyn, NY. A.K. uses sculpture, video, collage and performed social actions to pervert and exploit interpretations and implications of form. A.K. is a founding member W.A.G.E. (Working Artists and the Greater Economy), and co-editor of RANDY, a biannual transfeminist arts magazine. During 2010 the feature length video Community Action Center, created in collaboration with A.L. Steiner was released consecutively at Taxter & Spengemann, NY and Horton Gallery, Berlin. A.K. was also the artist-in-residence at Recess Activites Inc., NY, with her partner Katherine Hubbard. She received a BFA from Rhode Island School of Design and an MFA from Bard College, Milton Avery Graduate School of the Arts.

Kelly Dennis is Associate Professor of Modern and Contemporary Art History and the History of Photography at the University of Connecticut, Storrs. She is the author of Art / Porn: A History of Seeing and Touching (Berg, 2009), on the role of touch in the reception of the nude from Plato to the Internet. She has published on fetishism and masturbation in art and wrote the definitive essay on beaver shots. She appears, along with Dr. Jocelyn Elders, Betty Dodson, and Scarlot Harlot, in the forthcoming feature-length documentary on masturbation, Sticky. Her work on photography, performance art, and pornography appears in A Cultural History of Sexuality (Berg, 2011), Photography: Theoretical Snapshots (Routledge, 2008), Strategies for Theory: From Marx to Madonna (SUNY, 2003), and in such journals as Art Journal, History of Photography, and n.paradoxa. She has lectured on pornography throughout North America, the United Kingdom, and Australia. She also has been a consultant for documentary films and theater productions on sexuality and cultural representation in photography. She is currently at work on a history of the political aesthetics of Western regional landscape photography.

Since 1987, MIX NYC has presented the latest in queer experimental film and previously unseen works from legendary figures in avant-garde cinema. In addition to our vanguard screenings, exciting interactive installations, and infamous parties, MIX NYC also provides year-round community screenings, a summer media workshop for queer youth, film preservation projects, and the groundbreaking ACT UP Oral History Project, documenting how collective action transformed AIDS activism, queer identity and health care in America.

The Experimental Television Center’s Presentation Funds program is supported by the New York State Council on the Arts.

ISSUE’s Littoral Series is made possible, in part, through generous support from The Casement Fund and the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York’s 62 counties.

Martha Colburn

Martha Colburn’s work utilizes the language and materials of filmmaking to comment on popular culture, consumerism, politics and sexuality. Through a collage of live action (paint-on-glass) animations, found footage, and documentary filmmaking techniques, she addresses contemporary topics to express her personal anxieties and passions.  Martha’s films are a disturbing and at times humorous take on popular and political culture.  She creates elaborately layered collages, paintings, and installations that incorporate transparencies, recordings, and live performances. As her conceptual process grows, so follows advances in an already detailed and labor-intensive animating process.  Martha is expanding her technique into working with multi-plane glass animation, which represents a physical manifestation of her conceptually layered ideas.

Currently, Martha is 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), her work demonstrates an awareness of the repository of the guilt haunted twisted history of the American soul. Martha’s current work draws from this perspective and personal experience to address issues such as Methamphetamine use, environmental catastrophes, and man’s relationship to nature.

http://www.marthacolburn.com

Thollem McDonas

Thollem McDonas is a pianist and composer of Irish and Cherokee descent, born and raised in the San Francisco Bay Area. Not long after birth, he began studying the keyboard repertoire from the Medieval era to the 20th century. After graduating with degrees in both piano performance and composition, he dedicated his time to grassroots political movements and ecological restoration projects, before returning to music with his full focus. Currently on tour, his extensive travels as a performer and teacher have covered much of the North American continent and Europe (he often leads listening and group improvisation workshops). He is a founding member of several innovative ensembles, all of varying and disparate musics. In the past 6 years, he has added 20 albums to his discography on 9 different vanguard labels in 4 different countries.

http://www.thollem.com

As the founder and Artistic Director of Estamos Ensemble, Thollem McDonas is the recipient of the 2009 US Artists International Award,  as well as a 2010 CAP grant from the American Music Center. He was commissioned by The Limon Dance Company for a large-scale commemorative piece for their 50th year anniversary. In September 2008, he was invited to perform the late works of Claude Debussy on the piano on which they were written, as well as his own comprovisations with Stefano Scodanibbio. On Debussy’s Piano And…(Die Schachtel, Fall 2010) is the first album ever recorded on Debussy’s piano.

“Thollem’s keyboard flights unleash cascades of notes of seemingly impossible velocity and no matter where he goes tonally, it always seems right, fresh and satisfying.  He should be on everyone’s listening list who appreciates great piano music.  As an improviser, he inhabits a world uniquely his own, rhythmically, harmonically and formally.  A true original.” - Terry Riley

A collage of sights and sounds from the eternal never-ending collage that is INDIA. A trip through the Southern Indian state of Tamil Nadu featuring Hindu trance ceremonies, nagaswaram improvisations, impossibly loud cities, processions, devotion, blessings, color, abstractions, detail, music and more. India is impossible to know: it is too vast, too rich and too much of a dream. Offered here is one perspective, one dream, subjective and flawed, hanging by a thread. Robert Millis is a musician and artist, a founding member of Climax Golden Twins and AFCGT and a frequent contributor to the Sublime Frequencies and Dust-to-Digital record labels. His previous films include Phi Ta Khon: Ghosts of Isan and My Friend Rain and was the co-author of Victrola Favorites released on Dust to Digital in 2008.

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 featured guests are Jeff Carey & Myo. They will perform two mini-solo-sets as a part of their CD release tour.

Jeff Carey (b. 1972) is an electronic music composer and performer focussing on real-time multichannel electro-instrumental music. Since the early 90′s Carey has been working with electronic music in experimental, improvised and composed contexts, has performed and presented his music in clubs, art galleries, festivals, and squats in Europe, Scandinavia and the US, and has been involved in several critically acclaimed performance groups such as 87 Central (NoTV/Universal, Staalplaat, JDK Productions, ERS Records), Jeff Carey’s MoHa! (Rune Grammofon), Office-R(6) (Lampse, +3DB, Unsounds), SKIF++ (12k/LINE, Fridgesounds), Ultralyd w/ N-Ensemble (Rune Gramofon), Jeff Carey (Sonig), and N-Collective (X-OR).
http://jeffcarey.foundation-one.org <http://jeffcarey.foundation-one.org/>

“Jeff wrote a great piece for the Noiseroom, a 5.1 listening project. His piece uses the surround spatialization set up to the full extent and draws the listener into a fascinating world of microscopic yet blasting manipulation of sound. A master of granular synthesis, the idea of an intense listening space seemed to be just right for Jeff’s radical approach on sound.” — Jan St. Werner, ‘Noise Room’ Curator, Microstoria, Mouse on Mars

“The sounds produced are an extremist hybrid between free Improv, gutter electronics and darkwave scuzz. [...] like a beautifully evil cartoon score – fractured and malevolent and funny, all at the same time.” — Byron Coley, The Wire Magazine, on Jeff Carey’s MoHa!

“Using devices such as joysticks to exacerbate the chance, improvised nature of this music, this is musique concrete that has torn away from its formal, academic origins. […] Deconstruction and reassembly in nasty extremis.” — David Stubbs, The Wire, on SKIF++’s CD ‘SK++[01,02,03,04,00]‘

Myo is the solo project of Cory O’Brien, a self taught hacker, computer musician and electro-acoustic improviser. Contact mics on polycarbonate sheets and feedback networks programmed in Max/MSP are the preferred tools. His music has been described by Vital Weekly as “louder, dirtier, gritty and angular, but still with ingredients of microsound”. Other projects and collaborations include Never Work (with Kenneth Yates of Harm Stryker, Insects with Tits), Makioki Sisters (with Jeff Surak / Violet) and Clouds-Out (with video artist Jesse Hartgraves). He currently lives and works in Washington, DC.

http://myosound.com/

———

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://facebook.com/sharenyc

http://issueprojectroom.org

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:

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.

The Parasitic Fantasy Band:

Live ephemeral expanded cinema and ecstatic 16mm/8mm film and sound performances

All the way from New Zealand, deep down in the South Pacific Ocean.

www.parasiticfantasyband.org.nz

Between multiple film projectors, bending mirrors, light fracturing objects, organic materials, gongs, electronics, field recordings, resonating strings and space’s emerges an ecstatic engagement of the senses. An activation of the space around you and the inhabitants sharing that space with you with light and sound, that and the possibility of stepping into a new ephemeral territory of existence and explorative perception, exotically alien yet fundamentally familiar.

The Parasitic Fantasy Band have performed their modified multi-screen 16mm works, structuralist light refractions, phasing optical illusions, ecstatic colour tapestries, pseudo-anthropologic mystic fictional direct film story telling, kinetic alchemical rhythms, hypnotic flicker dreams, trapeze interventions with narratives blueprinted from the life cycles of migrating sea birds…. At venues as diverse as cinema houses to scummy city service alleyways, art galleries and museums to outside in the Outback desert of Australia.
They have recently produced a short experimental 35mm film (Blue Tide, Black Water) that has successfully toured multiple film festivals in the states having received a couple of awards.

But its without a doubt their live performances and dynamic live screens that are were its at for the Parasitic Fantast Band where they try to open up the possibilities of cinema as an active, energetic and truly experiential platform for engaging with people, minds and imaginations with live instrumentation, activations and interventions, droning resonating strings on projectors, textural electronics, computational story telling and forest field recordings hand collected from the Amazon jungles of South America.

“like cannibalism sanctioned by the highest authority”

They have also exhibited installations in galleries and have had various singular film works screened around the world in film festivals, galleries and film programs.

Also active organisers and curators of contemporary and some historic experimental film activity in Auckland they curate the New Zealand International Film Festival’s only experimental film and live cinema program “FPS” and a grass roots independent experimental film and performance festival The Cinema Ascension Festival. Having close ties to the New Zealand Film Archives, The Screen Innovation Production Fund, Creative New Zealand, the Starving Artists Fund, and plenty of other independent experimental film and music people, artists and communities throughout New Zealand, Australia and parts of the US and Europe such as San Francisco, Boston, New York, LA, Chicago, France, Italy, Spain, London, Berlin and Tokyo.

……………………..

Andrea Williams

Andrea Williams, a Brooklyn based sound and installation artist, utilizes site-specific elements and perceptual cues to reveal connections between people and their immediate environment. Her live performances involve the manipulation of found objects, processed instruments, and field recordings that are inspired by the act of listening, sense memory, alternative energy and incredible flying dreams. Andrea’s work has been presented at the Whitney Museum, The National Arts Club, Ear to the Earth Festival, Fountain Miami Art Fair, and at the MamoriArtLab in the Amazon rainforest. Sound works can be found on releases by Enterruption, free103point9′s Audio Dispatch series, and Vibrofiles. With the electro-acoustic improv group, the Glass Bees, she has performed at venues such as Diapason Gallery, Barbes, and Monkeytown. As a founding member of the New York Society for Acoustic Ecology, she performs, lectures, and co-curates NYSAE’s Giant Ear))) radio show on

free103point9. Additionally, Andrea leads meditative soundwalks around NYC and beyond.