Tuesday 7 August 2018, 7.30pm
In 2000, Kawaguchi started thinking about field recordings. His interest lies not in the kind of field recordings that focus on sound tones obtained in the field, but on the configuration of sound in a specific space. He creates recorded works using sound-making objects, presents installations, and is active in the field of improvised music.
For live performances, he uses instruments and implements for playing and composing, which he makes by everyday materials.
He plays solo performance, installations, and the member of The Great Triangle with Makoto Oshiro and Satoshi Yashiro.
The objects used in Kawaguchi’s performances and installations apparently seems strange, but most of them are the emsemble of phenomena which surface by liberating the daily goods from their uses or definition. Kawaguchi uses things anyone can get; converted everyday materials, and so on, but the effects are far more extended from their original potencial ones. Works made of them are shown with it’s most suitable formats; performances, installations, and CDs. All of them are site-specific, and makes the audience realize the time strongly. He focuses not only playing sound, but on composing the whole space by arranging sound and light.
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.
David is a musician, author, professor and Chair of Audio Culture and Improvisation at London College of Communication.
He has published five books including Ocean of Sound, Rap Attack and Sinister Resonance. His first album, ‘New and Rediscovered Musical Instruments’, was released on Brian Eno’s Obscure label in 1975 and he has collaborated with artists ranging from John Latham, Bob Cobbing, Carlyle Reedy and Ivor Cutler to Rie Nakajima, Evan Parker, Max Eastley and Akio Suzuki.
He has recently completed part one of Into the Maelstrom: Music, Improvisation and the Dream of Freedom, a two-volume work on free improvisation. Exhibitions and events he has curated include Music/Context Festival of Environmental Music for the LMC (1978), Sonic Boom for the Hayward Gallery (2000), sound curation for Radical Fashion at the V&A (2000-2001), Playing John Cage at the Arnolfini (2005) and Blow Up at Flat Time House (2010).
Lia lives and works in London since 2011. Her work encompasses sound, text, and performance. She is the founder of Silver Road, a non-profit arts organisation devoted to site-specific and interdisciplinary performance and music. In her musical practice she uses cello, whip, text and other tangible objects.