So the clocks moved backwards in the UK and the days seem shorter, breakfast in the dark and afternoon tea with the lights on.
It’s far removed from my recent trip to Monterrey Mexico for the ‘Festival Mediarte’ where much of my time was occupied by exposing myself to temperatures of 40 degrees centigrade whilst window-shopping in the market streets and foolishly working out in the hotel gym and swimming pool each day. With a performance of 52 Spaces to a very attentive crowd, the trip was a summery escape from the blustery experiences around Europe recently.
Messe: Macht des Klangs, my collaboration with the Leipzig Opera House in Germany and their ballet company, in association with Kunstraume Leipzig, a dynamic arts group, premiered in the last month at the extraordinary former Soviet Pavilion in the city. The abandoned letters of the former glorious USSR lay outside on the ground, dwarfing everyone, as grass and weeds grew inside them. The performances were extremely successful, selling out for a 4 night duration. For those interested there’s a very limited edition CD edition of the original soundtrack, 70 minutes of new music, soon to be available at posteverything.com. The composition explores moods related to church masses and religious music, whilst cutting and pasting absurdly accelerated beats into a liturgical mass.
And dance was the flavour of this month past, with premieres of Efficiency by Jane Jerardi in Washington DC, Plexus/Praxis with Lionel Hoche in Paris, and Les mots blancs by choreographer Christine Bastin in France, all with independent and original Scanner soundtracks.
The rest of the month has been spent in North Wales creating work commissioned by the Festival of Creative Technology in Cardiff, traveling around with the portable studio on the Hysbys and creating works for free download at:
At the time of writing there are already almost a dozen broadcasts, exploring personal relationships to the Welsh language, children singing their favourite songs and environmental recordings made in the areas. Feel free to download and distribute as you wish. In association with this I also want to thanks the countless people who have contributed to the favourite objects part of this residency. More on this once it’s edited and ready for public consumption.
The Parallax Beat Brothers, my collaboration with percussionist Pete Lockett begins its first tour this month, travelling around the UK. As hyperactive as I am, Pete has worked in virtually every field of music conceivable, both live and in the studio, from pop and rock, to free jazz and the classical avant garde, from traditional North and South Indian to Japanese taiko. You may have heard his playing on the recent James Bond movies Die Another Day, Tomorrow Never Dies and The World is Not Enough, along with Hollywood blockbusters, City of Angels, The Bone Collector, and Moulin Rouge. His projects have taken him all over the globe, and he has worked with Björk, Peter Gabriel, Zakir Hussain, Nitin Sawhney, Bill Bruford, Texas, The Verve, amongst many others. So it’s amazing that we managed to find calendar time to work and play together.
Never offering myself a moment to rest, November will also bring the London premiere of Track & Trace, a choral piece for a choir as part of the Deptford X festival, using the street names of London as the libretto for a series of performances at St Nicholas’ Church. My new Blindscape project with Italian artist TeZ will premiere in Rome, and Flower Echoes, a major new commission for the Guangzhou Triennial in China in collaboration with the British Council will be launched, where I’ll also be performing it live at the opening of the exhibition. Now, back to work…
Until next time
::: listen :::
::: read :::
::: diary dates :::
::: exhibitions :::
What Sound Does A Color Make?
Centre for Art & Visual Culture
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. The show 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.
What Sound Does a Color Make? is a travelling exhibition (2005-2007) organised & circulated by iCi, curated by Kathleen Forde.
Produced at Eyebeam, the annual presentation of new work created in Eyebeam studios presents a range of projects including installations, talks, workshops and live performances. Works from artists Brian Alfred, D-Fuse, Julia Loktev, LoVid, Christian Marclay, Anthony McCall, Chihcheng Peng and Robot Clothes use technology to explore creative practice with themes of performance and algorithms pervading much of the work.
Small Global is a multi-screened immersive environment that explores environmental issues, with audio by D-Fuse [Matthias Kispert], with contributions by Scanner in collaboration with Eyebeam Artists in Residence. The 1st module focuses on the growth of McDonald’s against the destruction of the rainforests. The 2nd module contrasts the mining of Coltan [mineral used in phone chips] in the Congo, against the Human & Gorilla death toll.