NewIdeas MusicSeries 8
Sunday 4.17.11
9PM @ Pianos
(158 Ludlow / Stanton)

Mario Diaz de León

David Galbraith

M.V. Waller – HIGHLAND (for the afterlife)
for bagpipe duo + tape
with:
Matthew Welch
David Watson

Wolfgang Gil + Alfredo Marin

—————————

HIGHLAND (for the afterlife) is a new composition written for Matthew Welch and David Watson: a bagpipe duo in Just-Intonation Mixolydian. The exploration of specific tunings and spectral phenomenon actualize the process of expanding and collapsing harmonic space. The resonant harmonics are layered in an “out-of-sync multiplicity” as the enveloping rhizomic-form magnifies the superimposed partials and sonic experience.

MUSIC / DANCE / INTERMEDIA

SUN MOON & STARS

by Elaine Summers and Pauline Oliveros

09 APR 2011 (Sat), 19h00 – Auditorium

Sun Moon & Stars at St. Marks Church/Danspace on March 18th, 2010 for Platform 2010, curated by Juliette Mapp.

Choreography, video: Elaine Summers; Music composition, V accordion: Pauline Oliveros; Spoken word, voice: Ione; Video, production design: Taketo Shimada; Violin: Jason Huang; Dance: Kiori Kawai; Dance (via skype from Rotterdam): Thomas Körtvélyessy; Live camera images from Rotterdam: Adolfo (Gatto Estrada); Coordination in Rotterdam: Marina Breton.

The opportunity is rare to come across a project that brings together such exponents of feminine contemporary culture as Pauline Oliveros, Elaine Summers and Ione. Oliveros and Summers, and Oliveros and Ione, have collaborated in the past, but it is nevertheless a special privilege to welcome the trio in ‘Sun Moon & Stars’, a show that is a milestone reference of the trans-disciplinary creativity born out of the experimental burst of the 1960s. Each one of these outstanding artists has created their own concept, namely those of Deep Listening

(developed by the composer and improviser/accordionist), Kinetic Awareness (developed by the choreographer and filmmaker), and Dream Community (developed by the poet, playwright, performer and director). Two factors unite them and override everything else that may set them apart: the same belief in social and political feminism and the marked spirituality of their respective attitudes, as they combine magic paganism, Christian ecumenism and pan-African mythology.

Rui Eduardo Paes

WORKSHOPS

INFORMAL PUBLIC PRESENTATIONS

Free Admission

Elaine Summers

10 ABR 2011 (Sun), 19h30

Participants: Eva Ângelo, Filipe Moreira, Isabel Pinto Ferreira, Joclécio Azevedo, Manuela Campos, Manuela São Simão, Né Barros, Rute Esteves, Teresa Prima, Vera Mota.

Serralves Auditorium

Deep Listening Intensive by Pauline Oliveros

11 ABR 2011 (Mon), 19h30

Participants: André Abel, António Augusto Aguiar, Dimitris Andrikopoulos, Fábio Videira, Gustavo Costa, Hugo Carvalhais, Igor Silva, Isabel Azevedo, Isabel da Rocha, Joana da Conceição, João Alves, João Ferreira, João Pedro Coimbra, João Ricardo, Jonathan Saldanha, Marta Ângela, Miguel Carvalhais, Nuno Costa, Pedro Tudela, Telmo Marques.

ESMAE (R.da Alegria, 503, Porto)

Cultivating the Individual Improviser by  Jason Hwang

11 ABR 2011 (Mon), 22h00

Participants: Eleonor Picas, Filipe Silva, João Martins, Jorge Queijo, José Miguel Pereira, José Miguel Pinto, José Valente, Tiago Morgado.

Passos Manuel (R. Passos Manuel, 137, Porto)

CINEMA

12 ABR 2011 (Tue), 21h30

Serralves Auditorium

Free Admission

Cine-dance: the films of  Elaine Summers

presented by the director

Judson Fragments, 1964

Another Pilgrim, 1968

Absence and Presence, 1968

Ford Foundation Garden, 1971

Iowa Blizard, 1973

Two Girls Downtown Iowa, 1973

Windows in the Kitchen, 1976

———————————————————————–

Elaine Summers – Coreografia, vídeo; Pauline Oliveros – Composição musical, acordeão V; Ione – Spoken word, voz; Taketo Shimada – Vídeo; Jason Huang – Violino; Kiori Kawai – Dança; Thomas Körtvélyessy – Dança (participação via Skype a partir de Roterdão)

Poucas vezes há a oportunidade de encontrar num mesmo projecto figuras tão exponenciais da cultura contemporânea como Pauline Oliveros, Elaine Summers e Ione. Já antes Oliveros e Summers e Oliveros e Ione haviam colaborado, mas é um especial privilégio recebê-las às três neste “Sun Moon & Stars”, um espectáculo que ficará para a história como uma referência da criatividade transdisciplinar nascida com a explosão experimental da década de 1960.
Rui Eduardo Paes

Adquira já o seu bilhete para o espectáculo Sun Moon & Stars aqui.
Bilhetes também disponíveis na recepção de Serralves.

ProgramaÇÃo associada:

ApresentaÇÕes pÚblicas informais do resultados dos
Workshops Sun Moon & Stars
10 e 11 ABR 2011 (Dom e Seg) – Serralves/ESMAE/Bar Passos Manuel

Por Elaine Summers, Pauline Oliveros e Jason Hwang
Entrada gratuita

Cinema
12 ABR 2011 (Ter), 21h30 – Auditório de Serralves
Programação: Ricardo Matos Cabo

Filmes de Elaine Summers, apresentados pela realizadora.
Judson Fragments, 1964
Another Pilgrim, 1968
Absence and Presence, 1968
Ford Foundation Garden, 1971
Iowa Blizard, 1973
Two Girls Downtown Iowa, 1973
Windows in the Kitchen, 1976

-

Entrada gratuita mediante levantamento de bilhete na recepção de Serralves.

Sarah Frost
Arsenal

 
April 14 – May 14, 2011
Opening Reception: April 14, 6-8pm

P·P·O·W

535 West 22nd Street
3rd Floor
New York, NY 10011

P·P·O·W is pleased to present our first solo exhibition with Sarah Frost, Arsenal. Frost recently discovered and focused her attention on a community of boys who self-publish instructional YouTube videos for making paper guns. Learning this craft, Frost has amassed a comprehensive arsenal – from handguns to elaborate Halo-inspired assault rifles – to create a monumental installation.  In its variety of form and configuration, including suspended objects, floor works, ammunition piles and other accessories, Arsenal reveals the intensity of the boys’ pursuit, Frost’s curiosity about it and her obsessive fascination with object-making.
 
Shown only once before at the Great Rivers Biennial 2010 exhibition at the Contemporary Art Museum Saint Louis, Arsenal extends Frost’s interest in constructing immersive environments.  She has said “…my recent works rely on scale to create a sense that the viewer is within a larger framework.  I often employ hundreds or thousands of similar units in an installation; together these units create a space that contains the viewer.” Interested in the history of objects, Frost collects found or discarded objects and repurposes them into built environments. She chooses objects for visible evidence of their use, social value and what they imply about the people who used them; in the past she has worked with materials as diverse as telephone cords, appliances and keys taken from computer keyboards, referencing a desire for the personal in the masses of forgotten objects. Arsenal combines this interest in the readymade with a passion for the well-crafted, as she methodically created hundreds of provocative gun forms found online.
 
Initially, Frost was attracted to the ingenuity of the homemade videos and guns but simultaneously stunned by the knowledge the boys had about the workings of the guns. She responded to the idiosyncrasy of the videos, such as an account of shooting Grandpa’s snub-nosed revolver or using 1,400 sheets of paper to make a M134 Vulcan with tripod, and to the inventiveness of the gun forms. Their simple materials – paper and tape – belied their sophistication, as most shot paper darts through blowtubes, and many had moving parts: spinning chambers, folding or extendable stocks, pump-action barrels etc. For Frost, this simultaneous attraction to the workmanship and discomfort with the subject matter was fascinating. Like an anthropologist, in Arsenal she re-presents found forms; because they are found, they are inherently reflective of their context and society. While the installation evokes questions  – of meaning, politics, fragility, the need to communicate and so forth – above all it is a distillation of form, construction and the placement of objects within a space.
 
Sarah Frost was born in 1967 in Detroit and lives and works in St. Louis.  She received a Master of Fine Arts degree in sculpture and painting from Southern Illinois University-Edwardsville and a Bachelor of Fine Arts degree in painting from Washington University in St. Louis. Frost has exhibited her work regionally, including at Laumeier Sculpture Park and Museum, St. Louis; Regional Arts Commission, St. Louis; and Cedarhurst Center for the Arts, Mt. Vernon, IL and nationally in New York, Miami and Palm Springs, California. She has also received numerous awards and grants, including the inaugural Riverfront Times Visual Arts Mastermind Award, St. Louis in 2008 and grants from Arts in Transit, St. Louis and the Missouri Arts Council. Most recently she won the Great Rivers Biennial 2010, a grant funded by the Gateway Foundation and solo exhibition at Contemporary Art Museum Saint Louis. She previously exhibited QWERTY in the group exhibition, Debris, at P·P·O·W in 2010.

一天悠長 ONE LONG DAY: La Monte Young’s The Well-Tuned Piano

Soundpocket

Hong Kong

Jasper Johns Oval Office by Jon Rafman

PEPSI THROWBACK LABEL ON A NEW COKE CAN

f/ works by: AARON GRAHAM, HammerLord, CHRISTIAN MEGAZORD OLDHAM, JON RAFMAN, TABOR ROBAK, SHAWN C. SMITH, & Themaxleydog

curated by Edward Shenk

@ Reference Art Gallery:  2/18/11 – 3/11/11

There was once a code I found for GameShark that would allow you to play multiplayer in Nintendo 64’s GoldenEye 007 as Frasier and Niles Crane, characters from NBC’s hit show Frasier.  I have since lost this code and cannot find it anywhere.
This show is curated around the idea of game modding, of seeing familiar characters, vehicles, objects, in a platform not originally made for them, and the slight off-ness that accompanies this.
In the works of Aaron Graham and Shawn C. Smith, Photoshop is used not because it must be, but rather to compose very possible, near-mundane scenarios in both found and taken photos.  There are no explosions or aliens, but rather a Snickers is inserted onto a table, a snake is placed in a field, the viewer tipped off only by a drop-shadow or an awkward angle.  The results are beautiful.  In The Mona Lisa Is Replaced By A Thomas Kinkade Painting Hanging The Wrong Way by Christian Megazord Oldham, this is now the slightly tweaked scene in front of which Eminem is getting his cellphone picture taken.
Jon Rafman’s Brand New Paint Job’s feature famous works of art now understood as textures or wallpapers on vehicles or people or other 3D model scenarios.  Already established images now blanket the entire scene in each of these new moments.  A flat image finds space to exist as a Starbucks counter or a miner’s pickaxe.  The Paint Job’s culminate in the beautiful realm that is BNPJ.exe, an interactive game world made by Rafman and Tabor Robak, available for download here.  Also included in the show is a specifically made BNPJ of a work by Aaron Graham.  The original work by Graham is also featured in PEPSI THROWBACK.
Alongside these works are two YouTube videos of mods for real video games.  In one a baffled Ernest P. Worrell wanders into a wrestling ring.  In the other, a Jurassic Park Ford Explorer drives around Grand Theft Auto: San Andreas accompanied by Plain White T’s’s “Hey There Delilah.”  These works are by HammerLord and Themaxleydog, respectively.
-Edward Shenk

LIVE FEED from ARTSPACE, AUCKLAND
Contact Performance
Part one, Computer Dance Saturday 5 March 2011, 6pm
Part two, Parangole Capes Saturday 12 March 2011, 6pm
Part three, Body Articulation/Imprint Saturday 19 March 2011, 6pm
Main lecture theatre, Architecture School of Art and Design, 139 Vivian Street, Te Aro, Wellington.

In 1974 Jim Allen presented the performance Contact at the Auckland City Art Gallery. Famed for its dramatic focus on live action rather than the static object, Contact is acknowledged as a pivotal work in the development of post-object art in New Zealand. The work elaborates a release from social alienation through collective activity whereby performers move within a structured framework, shifting from tentative interaction to cooperation to possible transcendence. Re-performed at ARTSPACE in Auckland as part of the Auckland Festival over three weekends in March 2011, Contact will be simultaneously re-presented as a ‘live feed’ in Wellington via the capabilities of the internet.

FORTHCOMING EXHIBITION
Points of Contact: Jim Allen, Len Lye, Hélio Oiticica is an exhibition that traces the historical and conceptual connections between New Zealand artist Jim Allen (b.1922), a significant figure in the development of post-object art in New Zealand, and two of his key contemporaries: expatriate experimental filmmaker and kinetic sculptor Len Lye (1901-1980) and Brazilian artist Hélio Oiticica (1937–1980).

Organised and toured by the Govett-Brewster Art Gallery with assistance from Creative New Zealand and Michael Lett and curated by Tyler Cann and Mercedes Vicente, Points of Contact draws together bodies of work which share certain material and conceptual qualities, most especially their engagement with light, movement, colour, and the body.

Central to this exhibition is the reconstruction of Allen’s pivotal 1969 Small Worlds exhibition at Barry Lett Galleries in Auckland, one of the earliest instances of environmental sculpture to be presented in New Zealand.

These installations are joined by other works by all three artists that are variously originals, reconstructions and photographic documentation. This re-staging enables viewers to dwell on the challenges and possibilities posed by the re-presentation of ephemeral or conceptual works of art, and therefore to explore the complex legacy of the ‘post-object’.

This exhibition presents Hélio Oiticica’s work for the first time in New Zealand.

Points of Contact joins a number of recent surveys that challenge the European and North American art historical paradigm, proposing and examining instead parallel and specific art historical trajectories outside these centres, in both their local and global dimensions.

The exhibition will be presented at the Adam Art Gallery 19 March – 22 May 2011.

A public programme of artist talks, discussion and ‘live feed’ performances has been designed to provide a platform for critical discussion and to enhance engagement with the exhibition.
Check http://www.adamartgallery.org.nz/calendar

Save The World (performance by Yan Jun and Mian Mian aka Kika)
 
 
 
Yan Jun Interview on Afterall Online
 
 
White Fungus Editor Rudolph Hudsucker has interviewed Beijing artist Yan Jun for Afterall Online. Yan talks about the development of the Chinese experimental music scene. You can read the interview here. http://www.afterall.org/
 
Yan has just arrived in New York for a three-month residency. You can see his US concert schedule here. http://mu.subjam.org/yanjun/archives/2515

Michael Vincent Waller + Dan Joseph Ensemble + Morton Feldman’s Palais de Mari @ ISSUE Project Room Next Friday

-

2/25 8PM
ISSUE Project Room
232 3rd St. Brooklyn

-

Program (from first to last):

Michael Vincent Waller – Guitar Quartet No. 432, CRITICAL CHORD

Morton Feldman – Palais de Mari (performed by David Broome)

Marc Chan – Repeated Measures (performed by David Broome)

Dan Joseph – Tonalization (for the afterlife)

Dan Joseph – Percussion and Strings

-
Michael Waller’s Guitar Quartet No. 432, CRITICAL CHORD is new composition that explores just-intonation, spectral phenomenon, and ecstatic binaural immersion: where the harmonic series based tuning has a fundamental of 432 Hz, a pitch deeply intertwined in nature, with cosmic proportion to the universal constant speed of light. The piece slowly unfolds the harmonic seventh chord (7/4): introducing beating tones which massage the original harmonic skin of the “critical chord”.

He will be performing this work with John P. Hastings, James Ross, Alex Carpenter, and Chris Morda.

Michael Vincent Waller is a New York City based composer and visual artist, studying vocal raga and composition with La Monte Young and Marian Zazeela. This has provided a beautiful inspiration to his focus on modal, drone, and electronic means. The deep intrinsic experience of involving overtones is the essence of his canvas of acousmatic and spectral composition. Michael endorses the phenomenologist approach to sound as his “central attitude” and manual for being. He has performed/collaborated with Sean G. Meehan, Tom Chiu, Alex Waterman, Ha-Yang Kim, Daniel Panner, Yvonne Troxler, Gregor Kitzis, Sabir Mateen, Christine Bard, Erica Dicker, Michael Seltzer, Benjamin Herrington, Elizabeth Hoffman, and Andrew Lafkas – performing ensemble works at venues ISSUE Project Room, Tenri Cultural Institute, Diapason Sound Gallery, Paris London West Nile, Port d’ Or, Glasslands, and The Living Theatre.
-

———
-

David Broome plays Morton Feldman’s Palais de Mari & Marc Chan’s “Repeated Measures”

A diverse pianist/composer of great imagination, David Broome’s curiosity for music has led him to create new possibilities for the concert stage. His recitals have been appreciated in America and across Europe and he has been described in the New York Times as a “deft and focused performer,” and as an artist who composes “juicily atmospheric music.” David regularly performs with and writes music for EnsemblePamplemousse, as well as more theatrical, performance art groups – Tall Brown Bootsand Corky Has a Band. David holds a Master’s of Music from the Manhattan School of Music and a Bachelor’s of Music from Towson University where he studied with Phillip Kawin and Reynaldo Reyes.

-
———-

-

The Dan Joseph Ensemble was founded by New York-based composer Dan Joseph as a vehicle for his growing body of post-minimal compositions. With a unique instrumentation anchored by hammer dulcimer and harpsichord, a mix of winds, strings and percussion, the ensemble sound is harmonically rich and deeply resonant, evoking a musical world both old and new; ancient and modern.

Tonight’s program will include an encore performance of Tonalization (for the afterlife) and the 2004 quintet Percussion and Strings.

Described as ”one part classical minimalism, one part rustic European mountain music. . . and maybe one part sunshine” (Time Out New York), and “hypnotic webs of sound reminiscent of early minimalism and psychedelia” (Newmusicbox.org), the ensemble has been active in New York City’s lofts, galleries and concert stages since 2002. The group’s first CD, Archaea (Mutable Music, 2006) helped find an international audience for the composer’s work.

Following three New York performances in spring 2010 of Dan’s newest work for the ensemble, Tonalization (for the Afterlife), an expansive 35-minute multi-movement work that takes the ensemble deeper into the composer’s ecstatic realms of rhythm and color, a second Mutable Music CD release is scheduled for Spring 2011.

Also during the first half of 2011, Joseph will be an artist-in-residence at The Vaults at 14 Wall Street through the Lower Manhattan Cultural Council’s Swing Space program where he will workshop and perform new works for the ensemble. The current lineup features Tom Chiu (violin), Loren Dempster (cello), Maria Ilic (harpsichord), Leah Paul (flute), Danny Tunick (percussion) and the composer on hammer dulcimer.

-
http://www.issueprojectroom.org/music/dan-joseph-ensemble/

-

Alvin Lucier
Almost New York

Out now on Pogus Productions

Pogus is extremely delighted to release this 2 CD set of recordings of works by Alvin Lucier. He is one of the key experimental artists of the 20th and 21st centuries, and is one of my favorite composers. A unique and individual artist: No one sounds quite like Alvin Lucier.

Lucier writes about the genesis of the works on this release:

“Since the early 1980′s I have made a series of works for conventional musical instruments. Before that time I had been mainly occupied with the exploration of such phenomena as echoloca-tion, brain waves, room acoustics and the visual representation of sound. Often these works required special equipment-hand held pulse wave oscillators (Vespers), differential amplifiers (Music for Solo Performer), horseshoe magnets (Music on a Long Thin Wire). Then players began asking me for pieces. Now I needed to find a way of achieving the same poetry with acoustic instruments as I did with electronic means.

“One of the things I discovered was that players could create rhythmic patterns by closely tuning with electronically generated pure waves or with each other, producing audible beats. Often, to get continuous motion, I have one or more voices sweep up or down at various speeds against fixed sustained pitches. As a wave approaches a sustained pitch the audible beating slows down to zero when it reaches unison, then speeds up again as the wave leaves the pitch. Almost New York employs slow sweep pure wave oscillators, Broken Line, flute glissandi. In Twonings two different tuning systems collide and in Coda Variations slight variations in pitch are heard chronologically.”

Recorded by Charles Curtis, Joseph Kubera, Robert Dick, Danny Tunick, and Robin Hayward – some of the leading new music performers of our era, these works are essential additions to the Alvin Lucier oeuvre, as well as satisfying anyone interested in great experimental music.