Tuesday 7 November 2017, 7.30pm
“Spacious and fluid” - Giovanni Russanello, The New York Times
“Very Boss” – Byron Coley, The Wire
Lea Bertucci is an American composer and performer whose work describes relationships between acoustic phenomena and biological resonance. In addition to her instrumental practice, (alto saxophone and bass clarinet), her work often incorporates multi-channel speaker arrays, electroacoustic feedback, extended instrumental technique and tape collage. Deeply experimental, her work is unafraid to subvert musical expectation.
Her discography includes a number of solo and collaborative releases on independent labels in the US and Europe, including I Dischi Del Barone, Obsolete Units, Telegraph Harp and Clandestine Compositions. In 2017, she will release All That is Solid Melts Into Air: Works for Strings, on NNA Tapes.
She has performed extensively across the US and Europe at venues such as The Kitchen, PS1 MoMA, The Drawing Center, Anthology Film Archives, Abrons Arts, The Walker Museum, Madison Square Park,The Reniassance Society, Chicago, ISSUE Project Room, Pioneer Works, The Queens Museum, Roulette, Artists’ Space, Caramoor, The High Zero Festival, and Experimental Intermedia, among many others. She is a 2016 MacDowell Fellow in composition and a 2015 ISSUE Project Room Artist-in-Residence.
SUN COLOR is the project of Julio Cesar Palacio, Experimental Music Composer, Sound & Visual Artist and Architect . (SC started in 2010).
Born in Venezuela but settled in Barcelona, this artist uses a mixture of analog sound, field recordings and digital processing to compose abstract music, arrhythmic, micro-tonal composition, otoacoustic emissions, intense frequencies and sound reflections and a dedicated use of sound spatialization.
Patrick Ward is an artist working within moving image, sound and music in various modes of exhibition, performance and installation. In their music the environment of the sound source, the materiality of recording devices, and the apparatus through which music is shared and heard feature as active sonic figurations. Using iPhone recordings, low-res YouTube rips, warped mixtapes and weak wifi signals Ward embraces the technical limitations of the everyday. Grounded in the sonic explorations of their youth in Sheffield – where they learned to mix jungle records on old belt-drive turntables, obsessively rewatched Fantazia and Rave Nation on static riven VHS tape, and sampled pirate radio using cheap Tandy cassette players – their approach to musique concrète evades the strictures of its institutional heritage by embracing the socio-technics of bass music and sound system culture.
Ward’s music is part of a wider audio-visual practice that explores the human relation to technology. Operating between the gallery, auditorium, stage and club, the work is reassembled and reconstructed: often transcribing audio compositions into visual forms, condensing multi-channel gallery installations to single-screen live performances, or presenting audio works by withholding the image-track of a film. Ward’s recent work focuses on the object and formation of the screen itself as a sonic register through which its more opaque qualities might be articulated. Screens appear as thresholds, frames that mark and delineate space; they capture overlapping and contesting states between waking and sleeping, interior and exterior, attention and distraction.
Ward’s work has been exhibited at galleries including Museum Of Modern Art, Ljubljana; Site Gallery, Sheffield; Centre des arts actuels Skol, Montreal; and Hollybush Gardens, London. Their music has been published by Café Oto as Taku Roku and Otoroku releases and their self-released album Enthusiasm (2020) was described by filmmaker Mike Hoolboom as "like nothing else on Bandcamp. Filled with meticulously detailed cinematic scenes that are forever shifting, it rewards close attention.”
www.patrickward.art
https://patrickward.bandcamp.com
