26–27 October 2017

Photo by Julia Grossi

Elysia Crampton – Two Day Residency with Donna Huanca

“Although it’s possible to contextualise Crampton’s work among that of her contemporaries, hers is a truly singular style…she’s able to synthesize numerous musical forms, crashing timbres, dense percussion, mauled samples, pretty synth lines, club music structures dismantled from within, and much more, into bold music rich with purpose and feeling.” – THE WIRE

Elysia Crampton’s eclectic and unrestrained electronic music is the flashpoint of a myriad influences opening upon the complexity and multifacetedness of Aymara becoming. Underscored by radical and queer politics, Crampton’s experimental work gives sonorous form to contemporary expressions of Aymara resistance and survival: a project of “becoming-with,” in the shades given this term by Donna Haraway via prison abolitionist Che Gossett.

This residency marks the first fruits of a new collaboration between Elysia and multi-disciplinary Bolivian-American artist Donna Huanca

Crampton's album Demon City, composed in honour of the revolutionary Bartolina Sisa and her yungueña grandmother, was deemed a “masterwork” by Rolling Stone and was one of Pitchfork’s 20 best experimental albums of 2016. Her latest release, Spots y Escupitajo, leads the listener into “a dizzying, hyper-conceptual collection of miniatures.

“With her oblique and politically-charged productions, this Virginia-based artist is striking a new prescence in electronic music.” – RESIDENT ADVISOR

Donna Huanca

“I want the experience of my work to create a surreal moment similar to a hallucination,” says Donna Huanca about her immersive sculptures, installations, and performances. At the center of her work is clothing, which she scrounges from second-hand and local shops on her worldwide travels. For her, clothes serve as powerful stand-ins for the human body, as she has described: “Garments evoke bodies and carry their form and spirit.” Since 2012, she has also incorporated live models into her pieces, who she invites to improvise and interact with her surrounding sculptures and installations. These include abstract assemblages comprised of various arrangements of dyed and altered clothing; canvases marked with makeup; and objects recalling glass boxes and mirrors. References to origins, memory, time, and identity run throughout Huanca’s work, which evokes the complexity of influences that shape who we are.”

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