Sunday 10 March 2019, 7.30pm
Please note that doors are at 7:30pm and the programme will start at 8pm.
Taking its cue from the phrase “diffuse, embody, occupy” this special evening brings together a rare bill of works by Beatriz Ferreyra, Eliane Radigue and Alison Knowles. Beatriz Ferreyra will perform three pieces live using Café OTO’s new multi-speaker set up: Senderos Abismales, L’autre Rive ou le chant des Marecages (2017), Senderos del Olvido (1987). A trio of Angharad Davies (violin), Rhodri Davies (harp), Dominic Lash (bass) will perform acoustic from Eliane Radigue’s new Occam Delta series Occam XXI, Occam River XV, and the world premier of Occam Delta XIV, as well as the rarely performed Proposition IV (Squid) (1970) by Alison Knowles.
Throughout the evening there will be an exhibition in the project space. Holly Antrum will present a new double carousel-based, slow-metered pair of films alongside Keira Greene’s single-channel audio-visual piece, x comme x (2017). There will be specially-printed programme notes written for the evening by Louise Gray. Organised by Jo Langton and Irene Revell with funding from TECHNE AHRC.
Angharad Davies is a Welsh violinist, based in London, working with free-improvisation, compositions and performance.
Much of her work involves collaboration. She has long standing duos with Tisha Mukarji, Dominic Lash and Lina Lapelyte and plays with Apartment House, Cranc, Common Objects, Richard Dawson's band and Skogen. She has been involved in projects with Tarek Atui, Tony Conrad, Laura Cannell, Jack McNamara, Rie Nakajima, Eliane Radigue, Roberta Jean and J.G.Thirlwell.
She has released records on Absinth Records, Another Timbre, Potlatch and Confrontrecords.
Her album Ffansion | Fancies was voted in the top 12 albums for Radio 3's Late Junction.
Rhodri Davies plays harp, electric harp, live-electronics and builds wind, water and fire harp installations. His regular groups include: a duo with John Butcher, The Sealed Knot, a trio with David Toop and Lee Patterson, Common Objects, Cranc, a trio with John Tilbury and Michael Duch, SLW and Apartment House. In 2008 he collaborated with the visual artist Gustav Metzger on ‘Self-cancellation’, a large- scale audio-visual collaboration in London and Glasgow. He also performs and researches contemporary music. New pieces for harp have been composed for him by: Eliane Radigue, Christian Wolff, Ben Patterson, Alison Knowles, Michael Pisaro, Carole Finer, Mieko Shiomi, Radu Malfatti and Yasunao Tone.
Worked at O.R.T.F. (French National Television), as a member of the Group of Musical Researches (G.R.M), under the leadership of Pierre Schaeffer (1963-70), contributed to Pierre Schaeffer’s book « Traité des Objets Musicaux » (1966), participated to the records realisation from « Solfège de l’Objet Sonore » by Pierre Schaeffer (1967) (one of two assistant composers allocated for the composition of the audio files). Since 1970 she is a free composer.. En 1975, Ferreyra is a member of the « Collège des Compositors » created by the G.M.E.B. Since 1967 she had commissions for concerts, festivals, film’s and TV music, theatre, video, write articles and gives seminaries and lectures, and had prizes till 1975. In 2014 she was elected as an Honour Member of the CIME/ICEM.
Alison Knowles (b. 1933, New York, NY) is a visual artist whose work encompasses participatory installations, performance, sound, poetry, publications and tactile objects. Knowles graduated with an honors degree in Fine Arts from Pratt Institute in 1956, where she was was awarded an honorary doctorate in 2015. A founding member of Fluxus, Knowles began using Cagean compositional devices, such as indeterminate performance and chance operations in the early 1960s. For Something Else Press, Knowles collaborated with Marcel Duchamp on a screen reprint of his Coeurs Volants and designed and co-edited John Cage's Notations (1968), a book of visual music scores. Knowles created one of the earliest book objects, Bean Rolls (1963), a can of text and beans, beginning her more than 30-year experimentation with the sculptural potential of the book. Among her Fluxus performance scores are Make a Salad (1962), Shoes of Choice (1963), The Identical Lunch (1969), and later sound installations, like Bean Garden (1971), enacted in galleries and on radio broadcasts. In 1967, Knowles’s The House of Dust, produced with James Tenney, was among the earliest computerized >poems, winning her a Guggenheim Fellowship in 1968. She brought this work to CalArts, where she taught from 1970-1972. Recent solo exhibitions and performances include the Drawing Center, New York (2001), Tate Long Weekend, London (2008), Solomon R. Guggenheim Museum, New York (2009), Carnegie Museum of Art (2016) and ongoing international touring project The House of Dust by Alison Knowles (2016-18). Knowles lives and works in New York City.
Bassist Dominic Lash is based in Bristol and has performed with musicians such as Tony Conrad (in duo and quartet formations), Joe Morris (trio and quartet), Evan Parker (duo, quartet and large ensemble) and the late Steve Reid. His main projects include The Dominic Lash Quartet, The Set Ensemble (an experimental music group focused on the work of the Wandelweiser collective) and The Convergence Quartet.
Eliane Radigue’s whole composing career has centred around one instrument, the ARP synthesiser. Now in her 87th year her focus has shifted to acoustic chamber and orchestral instruments. Her music is characterised by layering and blending sustained tones in pieces sometimes as long as two hours, in which she explores the way in which tiny alterations to timbre or pitch are perceived as dramatic changes to the music’s direction. She has always paid great attention to the arrangement of loudspeakers, and thus the listener’s spatial perception of her music, seeking to ensure that each individual listener has an optimum experience of the movement of sound around the listening space.
Keira Greene works across moving image and performance. Her practice questions embodied research as a methodology, often explored through the moving body and writing, often becoming a film.
She is concerned with deconstructing language and the translation of text and image as scores; she works closely with dance and dancers to develop her research.
She has exhibited and screened her work widely with recent exhibitions and screenings including Jerwood Space, Whitechapel Gallery, Tate, The Commons Bolinas CA. She regularly collaborates with Susannah Haslam, Jess Bunch and Tash Cox as the collective Co—.
She is performance curator for Whitstable Biennale and a founding trustee of the Stuart Croft Foundation.
Holly Antrum (b. London 1983) is an artist filmmaker based in London working with the haptics of the lens in film, writing, print installation and archives. She is in the first year of a full time TECHNE-funded PhD by practice at Kingston School of Art with the BFI. Through her work on 16mm, on paper and digital mediums, she has been consistently interested in auditory encounters with creative and spontaneous language, as a texture or layer to the visual, the work of the eye within fragmentary embodied narratives. EIDOLON (2017), is a recent commission, premiered with selected works from Cinenova collection, Cinenova Now Showing: Holly Antrum, Robina Rose, Clara van Gool, The Showroom, London (2018). Solo exhibitions have accompanied her films, including Catalogue, Edinburgh Sculpture Workshop, Edinburgh (2016) and A Diffuse Citizen at Grand Union, Birmingham(2014). Her film Catalogue with Jennifer Pike Cobbing (funded by the Elephant Trust) was the focus of an edition of the Flat Time House / Electra curated events series Someone else can clean up this mess at Flat Time House, London (2014). Major group exhibitions in the UK include The London Open 2015, Whitechapel Gallery and internationally, In the House of Mr and Mrs X, Temporary Gallery, Cologne (2013). Studio residencies include the Acme Fire Station, Bromley-by-Bow (work/live award 2015-2020), and Grand Union, Birmingham, UK (2014). Her moving image work is distributed by LUX.org.uk