Monday 24 February 2020, 7.30pm
CAST-ON, coordinated by Ilana Blumberg and Tom Wheatley, is about the building of music and clothing.
Featuring contributions from Pierre-Alexandre Fillaire, La Marquesa de Helada con Dulce de Leche (Omaima Salem), Joel Grip, Billy Steiger and a machine-knitters consort.
Working with the act of clothing, building, specific technology and machinery, manual work, anacrusis, group endeavour and obedience, how forces act upon fabric and threads, tropes of the industry of fashion, the relationship between a person and their machine.
Please note that this performance contains nudity.
La Marquesa de Helada con Dulce de Leche also known as Marquesa de Dulce is living her first life on earth, at least that is what a polish psychic she met in Warsaw told her a couple of years ago. In her long and first life on this planet she hasn't achieved much. She writes poetry for herself, make stains for her friends, knit scarves for her dog and sings in her bathtub. She lives a rather happy and optimist life because she figured out it wasn't much use to be anything else. She is pre-destined to be first minister of the kingdom of Faraoula and is working hard on that matter. The 24th of February will be her first appearance on stage since the school-play she performed at age 9 in Cairo city. She has appeared in Cannes non-awarded movies but who cares? Certainly not her. Her fellow non awarded magician friend Daniel Blumberg refers to her as "Egyptian Goddess" and that she does care about.
Pierre started to style as a way of expression and quickly decided to challenge the body and its limit within styling. With the strong support of close artists and friends, they decided to style onto themselves. Behind shapes and masks, within a world of total annihilation of their own self, they have tried to push the boundaries of presence and absence in order to reappropriate a sense of identity.
‘the absurd of our civilisation at the edge of its fall’ is what Pierre tends to illustrate within their work - a documentation of the performative aspect of our existence.
Throughout their body of work, Pierre enhanced a world of unknown individuals lost into the absurd wasteland of our civilisation without any hope or belief for themselves or the world. For Pierre, the performance is the action of bringing imaginary into the real, while the final result (photography) is its pure form of documentation.
Tom Wheatley (b. 1991, London) is a composer and improviser, operating in the fractious and fertile interfaces of acoustic and digital sound, extending instruments via technique and technology. Beginning with the double bass, he also works with synthetic sound and processing, and plays a wide selection of instruments in collaboration with a broad range of performers and instrumentalists, from long-standing duos to one-off improvisations.
“The relationship between acoustic instruments and technology is historically awkward - everything is compromise or imitation. I want to turn that upside down. Instead of reproduction or expansion of a notional acoustic ideal, I’m interested in what happens when the parts are viewed as equals, and serve each other's potential.”
His score as composer for Giulio Bertelli’s striking debut feature film Agon (2025) was released in 2026 on PAN records. Winner of the FIPRESCI Prize (International Federation of Film Critics), the film is a triptych of three female athletes preparing for a fictional Olympic games. Straddling fiction and documentary, the score reflects the film’s hyper-focus on the gesture of sports performances, each protagonist mirrored by an instrumentalist: fencing with cellist Ute Kanngiesser; rifle shooting with saxophonist Jean-Luc Guionnet, and judo with percussionist Seijiro Murayama, with his bandmate Grundik Kasyansky on electronics and Harry Gorskí-Brown on bagpipes completing the chamber group.
Prior to Agon he worked on scores with award-winning composer Daniel Blumberg, including the Oscar and BAFTA winning score for Brady Corbet’s The Brutalist (2024), as well as director Mona Fastvold’s The World to Come (2020), and The Testament of Ann Lee (2025), for which he played viola da gamba and other early European string instruments.
His active projects as a musician centre around the duo Tennota with Grundik Kasyansky, formed in 2019. Once described as ‘half techno, half free jazz’, the project is about the generative friction between physical and digital arenas. They take primary materials – gut strings, sine waves, tree sap, feedback – and engage them with contemporary technologies, towards a taut and nebulous rhythmic language. They have released albums on Accidental Meetings, Cafe Oto’s TakuRoku, and most recently a collaboration with artist and musician Rosa Anschútz on Meakusma.
Other projects include an ongoing collaboration with Italian fashion project GR10K. Among their collaborations was Stringent Manners, a performance at Auditorium San Fedele for the launch of GR10K SS25: Nine Pounds of Dead Landscape. Wheatley worked on musical direction, performance, and co-composition with Andrea Slaviero, choreographing students from the Milan Conservatory as both models and instrumentalists for this ambitious six hour piece, which harnessed the students boredom and frustration to shape the performance. He has also worked with fashion designer Charles Jeffrey’s Loverboy label, and in Cast-On with Ilana Blumberg, a duo that collaborated with a revolving cast of practitioners across music, fashion, set design, photography and theatre to build critical environments. Their last project was Dresser Music, a film for Cafe Oto. Set at the margins of a photoshoot for Blumberg’s 2021 knitwear collection, it investigates both the unseen layers of performance that make a photograph, and the unheard undercarriage of background music, a piano rambling through incomplete references.
He also works with Sarah Hartnett (Ghostlore of Britain), as Vesta Payne. They released mlybdmncy on Doyenne Books in 2023, a project that manifested as an EP and a limited run of metal objects. Molten pewter was cast directly into water, and the process was meticulously recorded. The sounds were then gathered and “recast” into the accompanying EP.
Growing up in a multi-generational family of musicians, he is a seasoned instrumentalist. Over the years, he has collaborated and performed with stalwarts and luminaries of contemporary music, including Eddie Prévost, Billy Steiger, Ute Kanngiesser, Adam Christensen, Jim White, Okkyung Lee, Evan Parker, Ilan Volkov, Steve Noble, Sachiko M, and John Edwards, with releases on OtoRoku, Matchless and Earshots.
knitted installation and live interaction and hats
For a number of years now, energetic double bassist, filmmaker and producer Grip has played an important role for the new scenes of improvised music in Europe. As founder of Umlaut Records, he opened up for creative forms of organizing collectives of musicians and promoting their music internationally. Since 2003 he has been one of the main organizers of Hagenfesten in Dala-Floda, Sweden, a stand-alone festival, and quite frankly possibly the most pleasant venue for free improvised music not only in Sweden but in the whole of Europe. Few other places offer quite the same endearing combination of sophisticated musical risk-taking, and up-beat, social get-together. Grip’s musicianship is informed by a similar knack for welding musical sophistication with social communication, often with an analog film camera at hand. With a handful of short films Joel Grip met mexican filmmaker Mauricio Hernández and shortly the film production company Umlicht was established. They are right now working on their second feature film together.
www.joelgrip.com / www.umlicht.com
Billy Steiger was born in Howth on the 16th December, 1986. Now he plays the violin.
“Then he sat down by a pond and began to play a tune. As he played, the most extraordinary thing happened. One by one the fish in the pond began to jump out and fly about in the air. And what is more, they were all different colours and they were singing to the music.”
Patrick, Quentin Blake.
https://billysteiger.bandcamp.com/
