Friday 22 November 2019, 7.30pm
Keira Greene, Ute Kanngiesser, Vasco Alves, Rui Leal, Micael Speers, Seymour Wright, and Paul Abbott explore 'wolf ecologies' with moving image, bagpipes, cello, drums, saxophone, and bass.
Keira Greene will show a film in the making, a speculative fiction about the primal relationship of humans and wolves.
Ute Kanngiesser (cello) performs 'wolf notes'.
yPLO (Paul Abbott and Michael Speers, imaginary drums) are joined by Rui Leal (bass) to develop an imaginary 'trap' for this event.
Seymour Wright (alto saxophone) and Vasco Alves (bagpipes) perform for the first time as a duo.
Music and Other Living Creatures is a series at Cafe OTO (curated by OTO Projects) dedicated to music about, with, or by other living creatures. Birds, tigers, chickens, insects and many other living creatures are explored through sound-walks, listening sessions, commissioned performances, live responses and discussions.
Keira Greene is a London based artist who works across moving image and performance. Her practice is critically engaged with the filmed image of dance and the moving body on screen. She also works with language, exploring how text, speech and images can be turned into scores for movement, music and script; to build fictions and develop narrative. She collaborates closely with dance artists and musicians to develop this research.
She has exhibited and screened her work widely with recent exhibitions and screenings including Cubitt, London, Jerwood Space, London, Whitechapel Gallery, London, Tate, London, The Commons Bolinas, San Francisco, CA.
She is performance curator for Whitstable Biennale 2018 and a founding trustee of the Stuart Croft Foundation.
Ute Kanngiesser is a London based in musician from Germany. She has played classical cello since early childhood and turned to improvisation and experimental music while training in physical theatre and dance in Berlin. Since then, she has radically deconstructed her classical roots and focussed on the immediate material of her instrument - its limitless resonance and pulse, its potential for an elemental music that dissolves conventional notions of rhythm and pitch and what it means to be lyrical. Along this journey she has worked with some of the most influential players of free music and experimental composition, as well as artist film makers, writers and architects.
Most recent collaborations have been with John Tilbury, Seymour Wright, Paul Abbott, Billy Steiger, Angharad Davies, Steve Noble, Crystabel Riley, Rie Nakajima, Daniel Blumberg, Jim White, Eddie Prevost, John Butcher, Evie Ward, Tom Wheatley, Jennifer Allum, Marjolaine Charbin, Dimitra Lazaridou Chatzigoga, Keiko Yamamoto, Phil Minton, Pak Yan Lau, Assemble, and Keira Greene.
Her music has been released on Otoroku, Matchless, Earshots, Another Timbre and Mute. www.utekanngiesser.com
Words about Ute Kanngiesser's solo release Geäder (Earshots):
"Automatic writing almost, or a fugue state. Arriving at an end point is an exhaustion, almost like waking from a dream. You look back at what has been created with bafflement. Footprints on a beach you can’t remember. You marvel: what have I done?" – We Need No Swords
"[...] environmental sounds captured in Hackney as a spur for improvisation; nasal bowing sounds, percussive fanfares, unspooling loops of harmonics that crack upon impact – whole sides to the cello normally shut down by conventional technique." - The Guardian
Michael Speers is a musician from Northern Ireland, currently based in London. Feedback is the basis of most of his practice, using the limitations of himself and electronic / acoustic equipment—namely percussion, no-input mixer, sampled media, test equipment and field recordings—to depict his engagement with reality through sound phenomena. The resultant soundscape is generally dense and abrasive, focussing on texture and spatial / material resonance, which is formed live in improvised performances, installations and electronic compositional work.
Collaborating with Paul Abbott as yPLO—the duo uses real/synthetic drums/electronics towards realising a speculative drum kit. A solo record is scheduled for release in 2019 with C.A.N.V.A.S.
Seymour Wright’s work is about the creative, situated friction of learning, ideas, people and the saxophone – music, history and technique – actual and potential.
His solo work is documented on three widely-acclaimed collections - Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).
Current projects include: abaria with Ute Kanngiesser; [Ahmed] with Antonin Gerbal, Joel Grip and Pat Thomas; @xcrswx with Crystabel Riley; GUO with Daniel Blumberg; The Experimental Library with Evie Ward; XT with Paul Abbott; a trans-atlantic duet with Anne Guthrie, and, with Jean-luc Guionnet a project addressing an imaginary lacunae in Aby Warburg's Atlas Mnemosyne.
His writing has been published in C//A, Sound American and The Wire.
Paul Abbott is an artist and musician based in London, working through questions and feelings connecting music and language: using real and imaginary drums, synthetic sounds, performance and writing.
His current collaborations include XT & lll人 with Seymour Wright and Daichi Yoshikawa, Falls with Keira Greene, ULAPAARC with Cara Tolmie and an ongoing project with Will Holder. A series of solo performances in Cafe OTO’s project space are documented here. Recent releases include solo's Sphuzo, qno, & Vagus and Pah' (XT), and vjerhanxsk (lll人). He is one of the co-editor’s of Cesura//Acceso and was one of the Sound and Music “Embedded” resident artists at Cafe Oto 2015-2016.
In addition Abbott has collaborated and performed with numerous other artists and musicians, including: Benedict Drew, Pat Thomas, Ute Kanngiesser, Billy Steiger, Bill Orcutt, Danny Haywood, Joel Grip, Brandon La Belle, Eddie Prevost, Steve Noble, Sebastian Lexer, Evan Parker and Otomo Yoshihide.
Vasco Alves' work investigates the materiality of sound through the use of unstable electronics, synthesis and amplification systems. These processes are often of volatile nature and their outcome subjected to strict live processing techniques.
With his bagpipes (Gaita de Fole in Portuguese) the focus lies in the interaction between its acoustic output against electronic generated audio (or other instruments). Aiming towards a musical interaction that explores repetition, improvisation and psychoacoustics.