| EI
MARCH 2018 PERFORMANCE SERIES The Forty-fifth Anniversary of EI performances at 224 Centre Street, The Fiftieth Anniversary of the Founding of Experimental Intermedia, the Fiftieth Anniversary of the 224 Centre Street loft, and, not least, The Twenty-eighth Annual Festival with no fancy name, Part Two (or B) Phill Niblock, curator |
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| Jim Denley
(Australia) |
Friday 2
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| The
Ditch: David Watson (guitar and bagpipes) and Mij
Yelned (Australia, prepared bass flute and alto sax) and
Chris Mann (voice and text); Chris and Mij formed
Machine for Making Sense in the late 1980’s, Chris in Melbourne and
Mij in Sydney; Mij and David first played together in Sydney in the
1990s — making “Bit Part Actor” (Braille Records) together with
Mij’s other Machine for Making Sense colleagues and Ikue Mori; David
has resided in NYC since 1987 and often playing with Chris; Mij and
David have occasionally met on David’s trips downunder, when he
crosses The Ditch (Tasman Sea) to perform in Sydney; they’ve only
played all together once – NYC sometime in the early
2000s? http://theuse.info/ https://www.australianmusiccentre.com.au/artist/denley-jim https://xirecords.bandcamp.com/album/fingering-an-idea www.splitrec.com |
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Nate Wooley (New York) and NL Hein (Berlin) |
Sunday 4 |
| The trumpet
player and guitarist will follow a philosophical question and play a conceptual composition - What is skeptic improvisation? The question of what it means to be skeptical about improvisation and to be an improvising skeptic will be followed; it is the scepticism of the musicians regarding destiny, habitus, certainties, playing and the sense-games of musical action; the composition serves to irritate the players and their certainties; it is about the challenge of thinking, the aesthetic thinking about thinking with the means of improvised music,, playing around and with the limits of musical thought; revolving around the impossibility of an hyperbolic skepsis, watching the certainties arise on their own, which Nietzsche and Wittgenstein understood as an inherent feature of (musical) grammar; the aim is the idiosyncratic aesthetics of the sceptic musical act |
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Abigail Child (New York) A Video Event |
Thursday 15 |
| “A BRACE OF SHAKES”—A
selection of short films (16mm and digital) from across three
decades, exhibiting "a playful musicality and poetic and
rigorous compression…working against the manufactured ambush that
images have in store;” Child has long created a subtle
form of agitprop, exploring issues of gender and class through
montage, with a fearless sense of structure
and unself-conscious delight in the visual; she has worked with
downtown musicians including John Zorn, Sylvie Courvoisier,
Mark Feldman, Andrea Parkins and Marty Ehrlich, all of whose music
will befeatured in the films shown tonight www.abigailchild.com |
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Perry Bard (New York) A Video Event |
Friday 16 |
| A program of
timely political shorts from 1997 to the present dealing with Nazis,
heightened security, immigration, and war; No
Flak, a recent text animation in collaboration with
Richard Sullivan, links the attitudes of Dada and Theatre of
the Absurd to the current administration referencing the despotic
King Ubu, 1984, and Jonathan Crary's 24/7: Capitalism and the
End of Sleep; followed by a crowdsourced version of Dziga Vertov's
1929 masterpiece, Man With A Movie Camera: The Global
Remake www.perrybard.net
dziga.perrybard.net
archived at rhizome.org/art/artbase/artwork/man-with-a-movie-camerathe-global-remake/ |
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Pierre Marietan (Paris) A Video Event |
Sunday 18 |
| This is an
invitation for you to use your power of ubiquity; it is proposed
here with the transfer of a distant world to the moment of your
listening and gaze onto the present; I have traveled the World and
captured 32 short visual sequences and recorded and retained 37
audio situations; with these elements I have composed a set
juxtaposing/superimposing images and music independently from each
other, leaving the freedom of interpretation between sight and sound
up to the spectator; it is by this perceptible process that the gift
of ubiquity is acquired pierremarietan.wordpress.com/ RencontreArchitecturemusiqueecologie.co |
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Screen Compositions 14, curated by Katherine Liberovskaya A Video Event |
Monday 19 |
| For the 14th year, Screen
Compositions brings you, as every time, a collection of
intersections of moving image with sonic art; a program
of screen works representing dynamic two-way
collaborations between video/film artists and sound/music artists
specifically intended for single-channel projection with no live or
performance component; featuring collaborations by: Charlotte
Clermont / Alain Lefebvre ; Katherine Liberovskaya / Ranjit
Bhatnagar ; Francesca Llopis / Barbara Held ; Milosz Luczynski
/ Marek Choloniewski ; Noriko Nakano / Akio Mokuno with Hitomi Honda
; Rob Parrish / Richard Chartier ; Emily Pelstring / Katherine Kline
; Lorenzo Sanjuan / Bob Bellerue ; Jorge Simonet / Francisco Lopez ;
Beth Warshafsky / Gerry Hemingway |
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Bettina Wenzel (Germany) |
Wednesday
21 |
| Elastic
materials are stretchable, over-stretchable and mostly unbreakable;
a vocal research based on that principle leads to fall-out
frequencies and wanted side effects that provide the main sound
material for an ongoing research; unadulterated and therefore
natural, the resonating body generates extreme - minimal and maximal
- sound vibrations instantly shaped into musical structures; this
can be done in the way of a sculptor and by accepting the
uncontrollable part; one of the most recent results is "head
oscillator", a serie of productive voice
glitches soundcloud.com/bettina-wenzel
www.wenzelvoice.de |
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Guy De Bievre (Brussels) |
Thursday
22 |
| Drone
Shyness, version for trombone and lap steel guitar; is a study
of the becoming or not becoming of drone, investigating how
much change and interruption "drone music" can tolerate before it
becomes something else; with Peter Zummo, trombone www.guydebievre.org en.wikipedia.org/wiki/Peter_Zummo |
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Clarence Barlow (Santa Barbara, Barcelona) |
Friday
23 |
| Since about thirty years ago, the composer
has been making films to accompany or illustrate his music; the
video component is either based on the compositional principle of
the music, or based on visual material by other artists, from film
archives, or recorded on site www.clarlow.org |
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Ricardo Arias (Colombia) and Judy Dunaway (US) |
Sunday
25 |
| Both have separately specialized in
free improvisation and experimental music on the latex balloon for
decades, making it their main instrument; Arias’ background as a
percussionist led him to develop the "balloon kit"("batería
global”), and Dunaway’s background as a guitarist led her to
approach each size and shape of balloon as a solo instrument; they
will combine their expertise to expand and explore the details of
their shared world and present heretofore unimagined sonic
landscapes; this concert marks the first meeting of these two
avant-garde virtuosi www.judydunaway.com/judy-dunaway-and-ricardo-arias-duets.html |
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Our programs are supported by
The David & Sylvia Teitelbaum Fund, Inc, the Aaron
Copland Fund for Music, the Phaedrus Foundation, and the New
York State Council on the Arts with the support of Governor
Andrew Cuomo and the New York State Legislature  |
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224
Centre
Street at Grand, Third Floor, N Y 10013
9pm |
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