Wednesday 6 June 2018, 7.30pm
Judith Hamann is a cellist from Melbourne, Australia. Her performance practice stretches across various genres encompassing elements of improvised, art, experimental, and popular music. Currently her work is focused on expressions of immersion and saturation: explored through durational, spatialised and electroacoustic approaches to sound, as well as an examination of psycho-physical materials and manifestation of 'shaking'.
Tonight she performs solo before a very special duo set with Irish artist, composer and performer, Áine O'Dwyer.
Áine O’Dwyer whose recent double album of improvised organ music, Music for Church Cleaners vol. I & II, is a modern minimalist magnum opus of the highest order. With a background that combines Irish traditional music and contemporary performance, she has created a multi-layered, exploratory, and experiential work that begs questions of historicism and the social proximities of the everyday, as well as the presumed nature of records themselves.” – BOMB Magazine – BOMB Magazine
Judith has studied contemporary repertoire with cellists including Charles Curtis and Séverine Ballon, as well as developing a strong practice in improvisation and sonic arts through collaborative projects both in Australia and internationally. She has worked with artists and ensembles including Oren Ambarchi, ELISION ensemble, Dennis Cooper, Arnold Dreyblatt, Maya Dunietz, Jürg Frey, Graham Lambkin, Alvin Lucier, Sejiro Murayama, Toshimaru Nakamura, The Necks, NYID, Michael Pisaro, Ilan Volkov, Tashi Wada, and La Monte Young. Judith is a member of Golden Fur, Hammers Lake, SYSTEM (with Anthea Caddy), The Argonaut String Quartet, and a duo project with Rosalind Hall.
She has performed widely with festivals including Tectonics (Glasgow, Adelaide, Tel Aviv, Athens), UnSound (NYC), Musikprotocol (Graz), The Now Now (Sydney), BIFEM (Bendigo), Dark Mofo (Hobart), Tokyo Experimental Festival, SiDance Festival (Seoul), and Liquid Architecture (AU). Other performance highlights include improvised or repertoire presentations at Cafe Oto (London), Issue Project Room (NYC), Dia Art Foundation (NYC), Steim Institute (Amsterdam), Logos Foundation (Ghent), LaSalle University (Singapore), SuperDeluxe (Tokyo), O’ Gallery (Milan) and Tempo Reale (Florence).
She is a champion of new and rarely performed music, immersive approaches to sound, and engages with a range of interdisciplinary and experimental projects including collaborative work with visual artists Rachel Yezbick, Keith Deverell and Sabina Marselli. She has been an artist in residence at Tokyo Wondersite Aoyama, The Recollets (Paris), Q-02 (Brussels), Cité Internationale des Arts (Paris), and Syros Sound Residency (Syros).
Áine O’Dwyer's role lies somewhere between the roles of vocalist, musician, improviser, composer, performer, listener, sonic Stalker and audience member. In recent years, the pipe organ has become an integral site for her experimentation, culminating in her new albums 'Locusts' and 'Gegenschein'. Her forthcoming 'Gallarais' experiments with acoustic decay, and was developed during her self made residency at the Brunel tunnel shaft, London. All three releases celebrate her interests in found and forgotten spaces, chance choreographies, acoustic phenomena, the act of listening and the search for alternative scorings through a combined performativity of instruments, drawings, space, time, memory and the body. Past solo releases include 'Anything Bright or Startling? and 'Music for Church Cleaners'.