Wednesday 13 April 2016, 8pm
Three-day residency curated by Basque artist, Mattin. Working mostly with noise and improvisation, Mattin has over 70 releases on numerous international labels and has collaborated with the likes of Tony Conrad, Taku Sugimoto, Oren Ambarchi, Junko and Bruce Russell. He has also written about improvisation, free software and against the notion of intellectual property.
TUESDAY 12 APRIL
LANGUAGE, VOICE AND CRISIS
Ray Brassier (via Skype) and Mattin: conversation on alienation
Seymour Wright and Sally Golding
Social Realist Score (Working Draft) post-workshop performance
Seymour Wright – saxophonist, investigator, artist – lives in London. His practice is about the saxophone – music, history and technique – actual and potential; an on-going, rigorous and exhaustive exploration of the instrument. The energy of this learning is applied to various collaborations and contexts to access/share what he has called the ‘awkward wealth of investigation’. His work is documented on three widely acclaimed self-released collections Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).
As well as XT, his current collaborations include lll人 (with Daichi Yoshikawa and Paul Abbott), abaria (with Ute Kanngiesser), [Ahmed] (with Antonin Gerbal, Joel Grip and Pat Thomas), GUO (with Daniel Blumberg), S.T.E.P.S. (with Evie Ward), an on-going ‘quartet’ collaboration with Paul Abbott, Cara Tolmie and Will Holder, and, a trans-atlantic collaboration with Anne Guthrie.
Sally Golding is a multimedia artist combining film projection, lighting and sonic composition to create expanded cinema performances and participatory installations. Golding’s audiovisual performance work focuses on the experience of the audience, pushing the boundaries of visual and auditory perception through the breakdown of the cinematic system into flicker, waveforms and colour fields; while her installations have harnessed the presence of the audience themselves by incorporating their reflected image into projections within immersive spaces.
Known internationally for her expanded cinema performances, Golding’s live sets are edgy and intense, driven by a minimalist approach to horror aesthetics leading her to explore science and superstition, philosophy and pulp. Her sonic work revolves around a custom system of printing complex optical sound compositions onto 16mm film, and performing with light sensitive audio devices and amplified lighting. Cacophonic in form and content, Golding’s performances transcend chaos and enter a hypnotic zone, while her installation work evokes acts of self-perceiving leading to meditative and transgressive states.
Through the curatorial outlets of Unconscious Archives (London) and OtherFilm (Australia), Golding presents live audiovisual and sound art performance as a means of examining: ‘liveness’; the synaesthetic concerns of audiovisual art; and the contemporary role of the audience.
“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)