Summer has struck early for a moment in London so windows are open, jackets off and skirts are shorter, so finally I will be able to improve my studio tan by getting outside! It’s been another month of extreme culture consumption, from celebrating a birthday which began with cheesecake and ended with an amazing Michael Gira and The Angels of Light performance at ULU, London, to experiencing some magnificent live shows from Tortoise, Jamie Lidell, UVA, Soldout, Akron/Family, Jaga Jazzist and gallery shows by Robert Crumb, Joseph Beuys, Gregory Crewdson, Urs Fischer, Andrew Grassie and others.
As always I’ve kept myself busy. I’ve been working on recordings towards projects later this year, in particular re-arrangements of the history of Masses in classical music for performance in Leipzig in October, as well as preparing materials for my re-interpretations of Bach Cantatas at the Holland Festival this month, to follow performances by singer Lorraine Hunt, directed by Peter Sellars, magical illuminating pieces to create a highly emotionally charged experience.
June doesn’t seem to allow much time to brush my teeth, let alone work and correspond but it will be an entertaining web of travel and greetings and meetings. I’m performing with Philip Selway of Radiohead and composer Steve Montague at the Barbican in London to illustrate the choreography of Merce Cunningham for a series entitled EVENT. It’s a celebration of Cunningham’s visionary collaborations with guest visual and musical artists and every night will contain different choreography, different décor and different musical accompaniment, all conceived specifically for the Barbican stage. Directly then to the Holland Festival, then to the opening of the Cartier Fondation in Paris where I’ve assisted in curating a celebration of twenty years in the gallery by choosing young artists to represent the UK.
Over to Leipzig in Germany to present my work at The Academy of Arts / Hochschule für Grafik und Buchkunst and perform a modest show at Galerie für Zeitgenössische Kunst and then directly to Geneva Switzerland where I have allowed myself a day off, then a performance at L’Usine, a converted gold treatment factory (I’ll check the cellars for any remaining gold of course) and the opening of my installation work at the Centre d’Art Contemporain. A leisurely train journey will then zoom me over to Paris to play a grand Githead show alongside legendary leather rock hero Alain Bashung at La Villette.
Speaking of which, our debut album, Profile, emerges globally this month, available across the world. In line with this we’ve completely updated the website (http://www.githead.com), elegantly designed by Craig Grannell for Snub Communications ( http://www.snubcommunications.com). Alongside a lot more written content you can now find a superb & detailed gallery of band, solo, live & memorabilia shots many of which can be downloaded in hi res versions as well as linked preview audio files from each track on every Githead release and even FREE MP3 tracks (one from each release + an ever changing "gallery" of exclusive live recordings from both gigs and studio). And if that was not enough you can keep up with what the media are saying about us, follow a time line of the history of Githead, and see what each member has chosen for their selective discography. Most distracting.
Free downloads eh? Well, now’s the time to point you to the places you’ve been waiting for. I recently remixed Wibutee, one of Norway’s most noted electrojazz groups, who have been receiving an expanding international audience, and rightly so for their forthright and damn groovy sound. Point your browser to:
Curious to hear a recent performance and lecture? Then go to http://www.rixc.lv/projects/scanner/en.html and you can hear the results of my visit to Riga, Latvia last month, when I spoke and performed as part of ‘Waves:Scanning,’ focusing on experiments with electromagnetic waves. This is the introductory project towards the 10th anniversary of International festival "Art + Communications", will reveal the rich traditions of the use of waves as a material and media in art and on the phenomena of waves as universal principle.
I also recently contributed to the Roots of Sine project at http://www.audiobulb.com/ Click under ‘projects’ and you can hear my exploration of how far you can compose simply using a single 440 Hz sine wave tone, which is arguably the embodiment of audio-purity and strength as it presents an unchanging tonal quality.
And as if all this music wasn’t distracting enough, this month will also feature several visual arts projects I’ve developed. ‘Echo Days,’ my work with Austrian artist Katarina Matiasek, goes on display at SonarMática, Sónar’s multimedia area, in Barcelona Spain. Randonnée (A Walk Through 21st Century Landscaping) analyzes the margins of actual possibility of landscape through new media, showing different expressions of the visual landscaping of the 21 st Century from architecture to data, from reality to virtuality.
What Sound Does A Color Make? Exhibition opened last week in New York City too, so any summer visitors would be welcome to enjoy the delights of Light Turned Down in installation.
I’m exhausted now and the month has barely begun!
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02& 03 June- ‘N’oublie pas ce que tu devines’:Nouveau Theatre d’Angers France
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What Sound Does A Color Make?
The premiere of What Sound Does a Color Make? features contemporary and historical works by an internationally diverse group of artists who manipulate sound with image and image with sound. Curated by Kathleen Forde and organized by ICI, What Sound Does a Color Make? includes artists who likewise use technology to inspire a renewed consciousness of highly un-technological experiences — physicality, human cognition, and perception. Featuring work by Scott Arford, Jim Campbell, D-Fuse with Scanner, Granular Synthesis, Gary Hill, Atau Tanaka, Stephen Vitiello, Nam June Paik and others.
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