Sunday 20 October 2019, 7.30pm
JG Thirlwell is a composer/producer/performer based in Brooklyn, NY. Born in Melbourne, he moved to London in 1978, then relocated to NYC in 1983, where he has been based ever since. As well as working under his own name, his major musical projects include Foetus, Manorexia, Steroid Maximus as well as his new electronic project Xordox, and many more.
He has released over thirty albums. Thirlwell has also featured as producer, remixer, collaborator or arranger for a wide variety of artists including Karen O, Zola Jesus, Melvins, Swans, Nine Inch Nails, Lydia Lunch, Coil, John Carpenter, Z’s, The The, Noveller, Hal Wilner, Excepter, Simon Hanes, Pantera, Nick Cave and many more.
JG has completed commissions for Kronos Quartet, Bang On A Can, String Orchestra of Brooklyn, Experiments in Opera, Zephyr Quartet, Great Learning Orchestra, Jeffrey Zeigler, League of Electronic Musical Urban Robots and more, and is a member of the“freq_out” sound-art collective, curated by CM Von Hausswolff, who create on-site sound and light installations. He is also an acclaimed graphic artist. In 2010, he received a fellowship from New York Foundation of the Arts in sound / composition.
He has created solo sound installations which have exhibited in Santarcangelo, Italy and Kaliningrad, Russia. He performs live with a chamber ensemble version of his Manorexia project, as JG Thirlwell with his new electro-acoustic “Silver Mantis" project and with his electronic project Xordox.
JG also creates the musical score for the Emmy-winning FX show Archer, and for Adult Swim / Cartoon Network show The Venture Bros, for which he was nominated for an Annie Award. JG has also created several motion picture scores. He also scored Tony Oursler's film installation, Imponderable, which was on exhibit at the Museum of Modern Art in New York in 2017.
Sally Golding is a British-Australian artist whose work considers participation and liveness in audiovisual art as a mechanism for shared experiences and dialogues within technological contexts. Golding’s audiovisual performances are edgy and intense in nature– unravelling in the style of a ‘happening’ to incorporate aspects of the performance space, blending discordant sonics and harsh lighting to investigate the social potential of opto-sonics. She has performed for forums including Tate Britain, Serralves Museum (PT), Digital Culture Centre (MX), Whitstable Biennale (UK), Centro de Arte Dos de Mayo – CAM2 (ES), Sound of Stockholm, Australian Centre For the Moving Image, KRAAK (BE), International Film Festival Rotterdam, Abandon Normal Devices (UK), SONICA (SI), Cafe OTO (UK) and Contemporary Art Centre (LT). Golding’s participatory installations, shown at the Institute of Modern Art (AU), Contemporary Art Tasmania and South London Gallery, are audiovisual compositions which spatialise the viewer’s presence via reflection and image capture, questioning states of perception across contemporary portraiture. Golding has collaborated with Joel Stern (AU) as the punk film/sound duo Abject Leader, and with electronic music producer and creative technologist Spatial (UK). Golding has been featured by The Wire, Millennium Film Journal, Tate Modern and Palgrave Macmillan, and received an Oram Award 2017 (New BBC Radiophonic Workshop/PRS Foundation) for innovation in sound and creative technologies, and is part of the innovative SHAPE platform 2019 dedicated to promoting and exchange for musicians and interdisciplinary artists in Europe. Golding is also the curator of the event and festival platform Unconscious Archives (UK), and previously OtherFilm (AU). She has written on audiovisual culture and digital art for the San Francisco Cinematheque (USA) and Austrian Cultural Forum London (Parsing Digital, 2018).
“The British born, London based Australian artist has created dozens of installations and performances in recent years, stradling lines between expanded cinema and sound art. She ceremonially piles dizzying sensations onto audiences, from the trembling light of multiple projectors to the serrated noise pulsations of the scores”. – Tristan Bath (The Wire, June 2016, issue 388)
“...[Golding’s] performances resemble a nineteenth century séance, careering between elegance and precarious awkwardness as noisy awe-inspiring spectacle.” – Steven Ball (Senses of Cinema, 2016)