Tuesday 5 March 2019, 8pm
Angharad Davies, Solo Violin and Four Bass Amps, 2018
Angharad Davies, violin
Sebastian Lexer, electronics
Tim Hand, sound
Phoebe Collings-James & Last Yearz Interesting Negro, Sounds 4 Survival, 2018
Curated by Lucy Railton
Phoebe Collings James’ work often eludes linear retellings of stories. Instead, her works function as what she calls “emotional detritus”: they speak of knowledges of feelings, the debris of violence, language and desire which are inherent to living and surviving within hostile environments. Recent works have been dealing with the object as subject, giving life and tension to ceramic forms. As young nettle, a musical alias, she loves sound that totally envelopes her. Drawn to high octane sensual emotional sound, with heavy bass and wild lyrical flows. She has played in clubs, museums, house parties and has developed original productions for live performance. Including Sounds 4 Survival, an undulating performance work created with SERAFINE1369, which asks the question of what an anti-assimilationist practice might look and sound like.
Last Yearz Interesting Negro is the solo project of Jamila Johnson-Small, she makes shows, working with in-between spaces – things that exist in and through cracks in time/memory/attention – with syncopation, trance states, internal narratives, intensities, electronic music, and a love of dancing on the spot. In her performances, bodies of public and performer(s) are navigated as object, animal, human, machine, environment, energy, to build atmospheric landscapes created by the live unfolding of the tensions between things that produce meaning.
Her practice affects/disrupts/deflects/distorts/reflects the gaze(s) directed towards her body and the resultant choreographies are a stage or dreamspace or battleground for working through questions of presence, visibility, responsibility and pleasure, for situating and expanding (or dismantling) her ‘identity’ and turning it into theatre. She moves with an awareness that her dances will always be a lament for the histories her body represents, carries and conjures. Her current research is exploring surrender as a strategy for destruction and producing states of alienation as part of this resistance. The enemy is also within and the dances are driven by these strategies as internal processes.
Not interested in invention or innovation she uses things that are already there and rearranges them in an effort to encounter some unholy combination that resonates with the horror, discomfort, cringe, confusion and sensuality of this contemporary moment and her position within it, opening up spaces in thinking, feeling, reading and dancing.The landscapes she creates for her dancing body to inhabit with a public, seek to access and utilise her own power for her own ends, disentangling from – or entangling herself further with – the isms that instrumentalise her existence on a daily without her consent.
Of Caribbean descent, born and based in London she has formed long term collaborations with other artists including Project O with Alexandrina Hemsley and previously immigrants and animals with Mira Kautto.
Angharad Davies is a Welsh violinist based in London working with free-improvisation, compositions and performance.
Her approach to sound involves attentive listening and exploring beyond the sonic confines of her instrument, her classical training and performance expectation.
Much of her work involves collaboration. She has long standing duos with Tisha Mukarji, Dominic Lash and Lina Lapelyte and plays with Common Objects, Cranc and Skogen. She has been involved in projects with Tarek Atui, Tony Conrad, Richard Dawson, Gwenno, Roberta Jean, Jack McNamara, Rie Nakajima, Tim Parkinson, Eliane Radigue, Georgia Ruth and J.G.Thirlwell.
Most of her records are released on Another Timbre but she also has releases on Absinth Records, Confrontrecords, Emanem, Potlatch and winds measure recordings.Her first orchestral piece was commissioned by LCMF in 2019.
Sebastian Lexer rewires the ultimate nineteenth-century drawing room mechanism with twenty-first-century technology to create a music that hovers inbetween times, exploiting the tension between the automatic and the intentional, making any firm sense of space thrillingly uncertain.
Lucy Railton is a British cellist and composer living between London and Berlin. Since 2007 she has been active as a curator, a performer of contemporary music and as a solo artist. Over the years she has performed and recorded with creators from a range of disciplines including Kit Downes, Catherine Lamb, Rebecca Salvadori, Peter Zinovieff, Beatrice Dillon, Phillippe Parreno, Kali Malone, Sofia Jernberg, Christian Lillinger, Rhodri Davies, Angharad Davies, Laura Grace Ford, Akram Khan, Nicolas Becker, Alex Hills, Alison Knowles, the Tate Modern, Blank Forms, the ICA, the Harmonic Space Orchestra and the Ever Present Orchestra. She has been commissioned by Somerset House, Borealis Festival and INA GRM, Paris and has been a resident at EMS, Sweden and Dark Ecologies/Sonic Acts Norway, and has been involved in presentations of work by Maryanne Amacher and Henning Christiansen amongst many other productions during her time as co-director at London Contemporary Music Festival and Kammer Klang. She has previously released solo and collaborative albums on Modern Love, PAN, ECM, Confront Recordings, Ftarri and SN Variations, with an upcoming split side release with Max Eilbacher on GRM / Editions Mego Portrait Series. She studied at the Royal Academy of Music, London and the New England Conservatory, Boston and holds a Bachelor’s degree.