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 lives in London. His practice is about the creative, situated friction of learning, ideas, people and the saxophone – music, history and technique – actual and potential. This is an on-going, rigorous and exhaustive exploration of imaginations, instrument, spaces and strucutures. 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 solo work is documented on three widely acclaimed self-released collections Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).
His current collaborations include: abaria with Ute Kanngiesser; a duet with Crystabel Riley; [Ahmed] with Antonin Gerbal, Joel Grip and Pat Thomas; GUO with Daniel Blumberg; The Experimental Library with Evie Ward; XT with Paul Abbott; lll人 with Daichi Yoshikawa and Paul Abbott, a 'new jazz' trio with John Chantler and Steve Noble; an on-going inter-textual quartet with Paul Abbott, Cara Tolmie and Will Holder; a trans-atlantic duet with Anne Guthrie, and, with Jean-luc Guionnet a project addressing an imaginary lacunae in Aby Warburg's Atlas Mnemosyne. Bits of his writing has been published in C//A, Sound American and The Wire.
Sally Golding is a British-Australian artist combining lighting and sonic composition to create immersive audiovisual performances, sound art releases and participatory installations which push the boundaries of visual and auditory perception through the breakdown of technological systems into flicker, waveforms and colour fields. Golding blends discordant sonics and harsh lighting through innovative ‘darkroom compositions’ reminiscent of tape cut-ups created by reworking the optical soundtrack area of the industrial film-sound-system as a site for psychoacoustic radio play; inscribing recordings with the sound of the substrate as lathe cut objects; and live interference and generative feedback systems using amplified lighting and light sensitive audio including instrumentation with LDR sensors, repurposed camera flash units and PA shattering laboratory strobe lights. Known internationally for her film and sound performances Golding’s live sets are edgy and intense, driven by a minimalist approach to horror and noise aesthetics. Cacophonic in form and content, Golding’s performances transcend chaos and enter a hypnotic zone invading the physical performance space to inhabit happening, chance and chaos. Golding received an Oram Award 2017 (New BBC Radiophonic Workshop/PRS Foundation) for women innovating in sound and creative technologies.
Golding is the director of Unconscious Archives - a festival and event series presenting artists at the forefront of experimentation exploring materiality and embodied liveness across sound art and electronic music, experimental media and audiovisual art.
“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)