Wednesday 6 June 2018, 7.30pm
Judith Hamann is a cellist from Melbourne, Australia. Her performance practice stretches across various genres encompassing elements of improvised, art, experimental, and popular music. Currently her work is focused on expressions of immersion and saturation: explored through durational, spatialised and electroacoustic approaches to sound, as well as an examination of psycho-physical materials and manifestation of 'shaking'.
Tonight she performs solo before a very special duo set with Irish artist, composer and performer, Áine O'Dwyer.
Áine O’Dwyer whose recent double album of improvised organ music, Music for Church Cleaners vol. I & II, is a modern minimalist magnum opus of the highest order. With a background that combines Irish traditional music and contemporary performance, she has created a multi-layered, exploratory, and experiential work that begs questions of historicism and the social proximities of the everyday, as well as the presumed nature of records themselves.” – BOMB Magazine – BOMB Magazine
Judith Hamann is a cellist and performer/composer from Narrm/Melbourne. They have “long been recognised as one of Australia’s foremost contemporary-music cellists” (RealTime Arts), and as a composer who “destroys the fiction of the musician who lives and works outside conventional parameters and puts in its place a series of compositions that are fundamentally humane” (WIRE). Their work encompasses performance, improvisation, electro-acoustic composition, site specific generative work, and micro-tonal systems in a process based creative practice.
In their recent research, Hamann examines the acts of shaking and humming as formal and intimate encounters; interrogates ‘collapse’ as a generative imaginary surface; and considers the ‘de-mastering’ of bodies, both human and non-human, in settler-colonial heritage instrumental practice and pedagogy. Their process-driven and embodied practice, considers the ways sound operates as a subject, object, and actant. Trained in contemporary classical performance, they frequently challenge the boundaries of their instruments, whether the cello, voice, or body, considering how sonic thresholds offer generative sites of instability and movement.
Judith likes working with and thinking-with other artists which has sometimes included people like Marja Ahti, Oren Ambarchi, Joshua Bonnetta, Dennis Cooper, Charles Curtis, Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, Alvin Lucier, Éliane Radigue, and La Monte Young. Judith’s work has previously been published by labels including Blank Forms, Black Truffle, Another Timbre, and Longform Editions. Judith is currently a fellow at the Akademie Schloss Solitude, Stuttgart 2021-22 and holds a Doctor of Musical Arts from UC San Diego.
Áine O'Dwyer, (b. Co.Limerick, Ireland) who lives and works between Ireland and the UK. She graduated from the Limerick School of Art and Design in 2006 and the Slade School of Art in 2011. She creates live and recorded events which embrace the broader aesthetics of sound and its relationship to environment, time, audience and structure. The notion of a holding space as-extension-of-instrument is a cornerstone of her artistic investigation and the crux of her live performances.
https://aineodwyer.bandcamp.com/
