Saturday 6 April 2019, 7.30pm
EVOL, Three hundred grams of latex and steel in one day, 2011
CRiSAP students, balloons, hex nuts
Chiyoko Szlavnics, This Is Only Here, 2010 and HC91, 2010
Evie Hilyer, violin
Amalia Young, violin
Annea Lockwood, RSCS, 2001 and Red Mesa, 1993
Xenia Pestova Bennett, piano
Curated by Jennifer Lucy Allan
Annea Lockwood’s compositions range from sound art and environmental sound installations to concert music. Recent works include bayou-borne, for Pauline, for 6 improvising musicians based on a map of the bayous in Houston, TX; Streaming, Swirling, Converging, an electroacoustic collaboration with Christina Kubisch for the 2018 Kubisch/Lockwood release on the Gruenrekorder label (The secret life of the inaudible), and Wild Energy, with Bob Bielecki – a multi-channel outdoor installation focused on geophysical, atmospheric and mammalian infra and ultra sound sources, commissioned by the Caramoor Festival of the Arts.
Her music has been presented in many venues and festivals including the Tectonics/BBC Festival Glasgow, the Henry Moore Institute Leeds, the Lab, San Francisco, the Israeli Center for Digital Arts, Holon Israel, Issue Project Room, Brooklyn and the London Contemporary Music Festival 2018. Her works have been issued on CD, vinyl and online by Gruenrekorder, Black Truffle, Superior Viaduct, Lovely Music, New World, 3Leaves, XI, EM and other labels.
Chiyoko Szlavnics was born and raised in Toronto, Canada, and has lived in Berlin, Germany, since 1998.
She studied music at the University of Toronto, and privately with the composer James Tenney.
She composes for a wide variety of instruments and ensembles, often combining them with sinewaves. A central aspect of her work is the audible phenomenon called “beating”, which is highlighted through her particular use of extended sustains, glissandi, tuning systems, and her way of combining acoustic instruments with electronics.
Drawings became the starting point for her compositional process around the year 2003. But in 2009 & 2010, several drawings series suddenly emerged, which distinctly belonged to the field of visual art. Szlavnics now practices in both disciplines, and not only are her drawings heard in concert, but her music is sometimes also seen in exhibitions in Europe and North America.
Yoshi Wada is a composer and artist associated with the downtown New York experimental art scene of the last fifty years. Wada was born in 1943 in Kyoto, Japan. He studied sculpture at the Kyoto University of Fine Arts, and then moved to New York in the late 1960s. In the early 1970s, Wada began building homemade musical instruments and writing compositions for them based on his personal research in timbre, resonance, and improvisation with the overtone series. He studied music composition with La Monte Young, North Indian singing with Pandit Pran Nath, and Scottish bagpipe with James McIntosh and Nancy Crutcher. Wada's recorded works are published by Japanese record labels EM Records and Edition Omega Point.
Jennifer Lucy Allan is a writer and researcher. She is currently working on a PhD at CRiSAP (UAL) on the social and cultural history of the foghorn, and is also a freelance music journalist specialising in underground and experimental music. Previously she was online editor for The Wire, and now freelances for The Wire, The Quietus, The Guardian and others. She runs the reissues label Arc Light Editions with James Ginzburg, and is a core member of Laura Cannell’s Modern Ritual Collective. She has recently guested on BBC3’s Late Junction, and written a series on life living in a lighthouse for Caught By The River.