Tag Archives: music

Walter Benjamin Opera: Port Bou by Elliott Sharp

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Performance: December 7, 2016 | 8pm

Tickets (sold at the door): $20

 

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The opera PORT BOU by Elliott Sharp presents the last moments in the life of philosopher Walter Benjamin at Port-Bou in 1940 as he was fleeing Nazi-occupied France. The work features the astounding Nicholas Isherwood, bass/baritone, the virtuosi Jenny Lin, piano, and William Schimmel, accordion, as well as Sharp’s recorded electroacoustic sound files and the video sets and settings of Janene Higgins.

In his spoken introduction to the Berlin performance of PORT BOU, Volker Schlörndorf, director of The Tin Drum stated:  “Anybody’s agony, the night before closing the door on the world, is hard to transcribe in musical notes, I thought, even more so a philosopher’s Angst. Yet, it can be done, and his voice, this particular voice, roaming a hotel room in exile, is proof of it. A metaphysical achievement.”

The Final Moments in Benjamin’s Life

What might we surmise about the internal state of a man deciding that life is no longer livable, especially when that man is Walter Benjamin in 1940 in the border town of Port Bou, attempting escape? As the Second World War was increasing in magnitude it was not uncommon for Jewish writers, artists, and professionals to carry the means of suicide with them, believing it to be preferable to internment and torture at the hands of the Nazis. This was a time of desperation and götterdämmerung was in the air, whether global or personal.

Benjamin was unafraid to delve into the myriad philosophies and modes of living presented to him but never would fully give himself to any of them. Whether it was domestic tranquility, mysteries of the Kabbala, political Zionism, the erotic, pure Communism, or academic abstraction, all offered seductions and enticements but never enough for a complete commitment. Benjamin was solipsistic and sybaritic, sufficiently fulfilled by his solitary obsessions and interests to remain an autonomous free-agent. His strengths were of the esthetic, the cerebral, not those of a man who might suffer and fight for his ideals.

While attempting to reach Lisbon and from there, ship’s passage to America, Benjamin attained a realization that the obstacles to his salvation were insurmountable. Then and there, he chose to submit by the obvious means at hand to remove himself from conflicts both internal and external. We might see this as an act of exhaustion, not a willful exit but a collapse of will, the loss of inner reserve.

In PORT BOU, Sharp attempts to manifest this state, all taking place in the last few minutes of real-time for Benjamin. As composer and author, he acts as an antenna for the imagined emanations of Benjamin’s distress and translate them to the frequencies of music and drama. Benjamin was heroic in his thoughts but PORT BOU does not attempt to make a hero of the man. He is yet another innocent casualty of a great tragedy, one in which he might never have imagined himself a protagonist.


ELLIOTT SHARP is a central figure in the avant-garde music scene in New York City for over thirty years, Elliott Sharp leads the projects Orchestra Carbon, SysOrk, Tectonics and Terraplane, and has pioneered the application of fractal geometry, chaos theory, and genetic metaphors to musical composition. Winner of the 2015 Berlin Prize in Music and a 2014 Guggenheim Fellowship, Sharp has has been featured in the Darmstadt and Donaueschingen festivals, New Music Stockholm, Au Printemps-Paris, Hessischer Rundfunk Klangbiennale, and the Venice Biennale. His Storm of the Eye, composed for Hilary Hahn, appeared on her Grammy-winning album In 27 Pieces. His opera Port Bou premiered in NYC in 2014 and in Berlin in 2015. Sharp’s range of collaborators have included Qawwali singer Nusrat Fateh Ali Khan; Ensemble Modern; Debbie Harry; blues legends Hubert Sumlin and Pops Staples; RadioSinfonie Frankfurt; jazz greats Jack Dejohnette and Sonny Sharrock; JACK Quartet; turntable innovator Christian Marclay; and Bachir Attar, leader of the Master Musicians Of Jahjouka, Morocco. His work is the subject of the documentary Doing The Don’t and he has been featured on NPR’s “All Things Considered”. Installations include Foliage, Fluvial, Chromatine, and Tag. His Cryptid Fragments was included in the Bitstreams show at the Whitney Museum. 

JANENE HIGGINS is a graphic designer and video artist based in NYC. Her short videos have been presented in festivals and galleries internationally. In the realm of video performance, she has collaborated with many of New York’s preeminent composers and improvisors of New Music. Her work as a graphic artist and designer of motion graphics has been featured in major magazines, CD covers, and the windows of Saks Fifth Avenue.

NICHOLAS ISHERWOOD is a US-born bass singer, who specialises in contemporary and baroque music. Notable roles include “Lucifer” in the world premieres of Stockhausen’s Montag, Dienstag, and Freitag from Licht at La Scala and the Leipzig Opera, and in Donnerstag aus Licht at Covent Garden. Isherwood has worked with Joel Cohen, William Christie, Peter Eötvös, Paul McCreesh, Nicholas McGegan, Kent Nagano, Zubin Mehta and Gennadi Rozhdestvensky as well as composers Sylvano Bussotti, Elliott Carter, George Crumb, Hans Werner Henze, Mauricio Kagel, György Kurtág, Olivier Messiaen, Giacinto Scelsi, Karlheinz Stockhausen, and Iannis Xenakis in venues such as La Scala, Covent Garden, the Théatre des Champs Elysées, Salzburg Festival, Concertgebouw, Berlin Staatsoper, Vienna Konzerthaus, Tanglewood).  His operatic roles include: “Antinoo” in Monteverdi’s Il Ritorno di Ulisse in Patria with Boston Baroque; “Claudio” in Händel’s Agrippina with Nicholas McGegan; “Satiro” in Rossi’s Orfeo and “Pan” in Marais’ Alcione with Les Arts Florissants; “Joas” in Porpora’s Il Gedeone with Martin Haselböck; “Frère Léon” in Saint François d’Assise in the last composer supervised production; “Der Tod” in the two productions of Ullmann’s Der Kaiser von Atlantis with the Internationale Bachakademie Stuttgart and 2e2m, “Roméo” in Dusapin’s Roméo et Juliette at the Avignon Festival; “Lear” in Hosokawa’s Vision of Lear for the Munich Biennale; “Il Testimone” in Bussotti’s Tieste at the Rome Opera, and “Micromégas” in Mefano’s Micromégas. Recent performances include works by Sylvano Bussotti at the Stockholm New Music Festival in 2008.

JENNY LIN was born in Taiwan and raised in Austria and the USA. She began her piano studies at the age of 4. She received an Artist Diploma from Peabody Conservatory and also holds a bachelor’s degree in German Literature from Johns Hopkins University. She has worked with Richard Goode and Blanca Uribe in New York, and with Leon Fleisher, Dimitri Bashkirov and Andreas Staier at the Fondazione Internazionale per il Pianoforte in Cadenabbia, Italy. Jenny Lin’s concerts have taken her to Carnegie Hall, Avery Fisher Hall, Kennedy Center, MoMA, Whitney Museum, National Gallery of Art, Corcoran Gallery, and to festivals worldwide including the Chopin Festival in Austria, Ars Musica Festivals in Belgium, Shanghai New Music Festival, Divonne Festival in France, Schleswig-Holstein, Potsdam and Husum Festivals in Germany, Millennium Festival in Spain, and Festival Archipel in Switzerland.

WILLIAM SCHIMMEL, accordion, is one of the principal architects in the resurgence of the accordion, the revival of the Tango in America and the philosphy of Musical Reality (composition with pre-existing music). He has performed with most major symphony orchestras in the United States as well as virtually every chamber and new music group in New York. He is the founder of the Tango Project and worked with John Cale, Sting and Tom Waits, who made the legendary statement: “Bill Schimmel doesn’t play the accordion, he is an accordion”.

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WhiteBoxLab>>SoundLounge : Binibon by Elliott Sharp

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WhiteBoxLab >> SoundLounge presents

Binibon

October 11 – 16, 2016

Composed and Directed by Elliott Sharp

Text by Jack Womack

Projection design by Janene Higgins
Featuring Jedadiah Schultz, Ryan Quinn, Julie Brown, Jack Womack

Open rehearsals | October 11th – 13rd | 11am-6pm

Theatric performance | October 14th & 15th | 8pm

Matinee performance & Panel | October 16th | 3pm

BUY NOW

New York City – WhiteBox is pleased to present the work of composer and opera creator Elliott Sharp and writer Jack Womack as part of WhiteBoxLab>>SoundLounge. For one week, WhiteBox’s main exhibition space will act as a laboratory hosting the work of Elliott Sharp, culminating in three theatrical performances of Binibon, an Opera portraying an off-beat, milestone tale transpiring in a distinctly Downtown New York City cultural moment. Binibon premiered at the iconic venue The Kitchen in May 2009.

WhiteBox and Elliott Sharp are jointly responding to and coloring a pervasive, dual changing landscape in NYC, namely the opera scene—stagnant— and real estate gentrification—enlarging. Staging this work in an untraditional, street-bound, enduring alternative art venue allows for the hosting of an intricate, essential panel discussion on the affinities and aspects of divergence between what the multifarious Bohemian East Village neighborhood art-scene represented culturally, and what today’s acutely ‘professionalized’ art district Lower East Side stands for. Discussions will be open to the general art audiences as well as to the local, variegated LES/Chinatown communities.

As a laboratory, WhiteBoxLab>>SoundLounge is delighted to open all musical and staging rehearsals free and open to the public, from October 9 th to the 13 th , preceding the final performances on October 14 th and 15 th at 7pm, and Matinee Sunday, October 16 th at 3pm. A talk with Elliott Sharp and special guests, moderated by Juan Puntes will be held after the performance on the 16 th .

Binibon is a work of both, musical theater, literature and alternative history based on the 1981 murder of Richard Adan by author Jack Henry Abbott. Richard was a waiter and the night manager at the Binibon, a cafe and 24-hour hangout on 2 nd Avenue at East 5th Street in the East Village, a nexus for artists, musicians, neighborhood characters and bohemians true and faux. Abbott was a talented writer, as well as an imprisoned killer who became the protégé of famed author Norman Mailer (Mailer sponsored his release into a halfway house on 3rd Street.) The killing was an important cusp-point in the history of the neighborhood, its culture, its daily life, its real estate, and its future. Elliot Sharp’s music draws upon his own compositional and performance innovations that he developed during the time of these events with ties to punk, No Wave, noise, dance, industrial and exotic sounds. Jack Womack is famed for his “Dryco Series” of novels portraying a post-Apocalypse NYC.

Elliott Sharp A central figure in the avant-garde music scene in New York City for over thirty years, Elliott Sharp leads the projects Orchestra Carbon, SysOrk, Tectonics and Terraplane, and has pioneered the application of fractal geometry, chaos theory, and genetic metaphors to musical composition. Winner of the 2015 Berlin Prize in Music and a 2014 Guggenheim Fellowship, Sharp has has been featured in the Darmstadt and Donaueschingen festivals, New Music Stockholm, Au Printemps-Paris, Hessischer Rundfunk Klangbiennale, and the Venice Biennale. His Storm of the Eye, composed for Hilary Hahn, appeared on her Grammy-winning album In 27 Pieces. His opera Port Bou premiered in NYC in 2014 and in Berlin in 2015. Sharp’s range of collaborators have included Qawwali singer Nusrat Fateh Ali Khan; Ensemble Modern; Debbie Harry; blues legends Hubert Sumlin and Pops Staples; RadioSinfonie Frankfurt; jazz greats Jack Dejohnette and Sonny Sharrock; JACK Quartet; turntable innovator Christian Marclay; and Bachir Attar, leader of the Master Musicians Of Jahjouka, Morocco. His work is the subject of the documentary Doing The Don’t and he has been featured on NPR’s All Things Considered. Installation include Foliage, Fluvial, Chromatine, and Tag. His Cryptid Fragments was included in the Bitstreams show at the Whitney Museum.

Jack Womack is an American playwright and author of fiction and speculative fiction. He moved to New York City in 1977 where he lives with his wife and daughter. His oeuvre consists of Random Acts of Senseless Violence (1993), Heathern (1990), Ambient (1987), Terraplane (1988), Elvissey (1993, Going, Going, Gone (2000), Let’s Put the Future Behind Us (1996), Lying to Children (2004) “Womack’s fiction may be determinedly non-cyber, but, with its commitment to using Science Fiction as a vehicle for social critique, it definitely has a punky edge.” – William Gibson

 The programs of WhiteBox  are made possible in part by the New York City Department of Cultural Affairs.

Press Contact: press@whiteboxny.org

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Whitebox Art Center DCA sponsor

 

EAR TO THE EARTH – GET TOGETHER #4 | CROSSING BRIDGES

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 Ear to the Earth presents

Get Together #4 | Crossing bridges

 

…from one idea to the next

WEDNESDAY, OCTOBER 5TH | 8PM

This is a party and presentations. We’ll drink, talk, look, celebrate and listen to sound and all kinds of artists who will share their works with us.

  Joseph Bertolozzi | Tower Music

Lorin Roser | Architura
Aviva Rahmani | The Blued Trees Symphony
David Rothenberg | My Big Night Out

 

 

 

Psychlotron*

Psycholotron

PSYCHLOTRON*

PERFORMANCES

Tomchess & Daniel Carter | Thomas Albrecht

Houston Bower | Storyboard P

Saturday, October 1

8 – 11:30 pm

“Where passive imprints and involuntary social conditioning can be dissolved; where human elements can be freed and accelerated to higher states of intensity and recorded”.

A term borrowed from Timothy Leary which he borrowed from quantum particle physics. In a partial collider the final area of contact has a spiral of magnets called a cyclotron. In this case, the experiment is the performing arts and we- the attendees are the particles colliding together. One never knows exactly what will happen.
John Bonafede has made and produced performance events in NYC for 20 years including his Psychlotron* series. Happenings at art galleries and alternative art spaces in Manhattan, Brooklyn and overseas make each event unique.

Psycholotron

Having known and played music with each other in multiple settings over the last 18 years, American free jazz saxophone, flute, clarinet, and trumpet player Daniel Carter and NYC based Multi-instrumentalist/improviser/composer Tomchess, here playing Oud, Neyand Morsing, bring their deep love and extensive experience with the art of improvised musics wherever they play. Here in a quartet setting filled out by Percussionist Dan Kurfirst and Upright bassist Zachary Swanson, the musical journey is certain to be unique and highly engaging.

NYC based Multi-instrumentalist/improviser/composer Tomchess has played and recorded with some of the heaviest players in the improvisational scene (Dewey Redman, Butch Morris, Pharoah Sanders, Drew Gress, Ronald Shannon Jackson), as well as Morrocan Sintarist Hassan Hakmoun. Having deeply studied the Near Eastern, and North African traditions his sound encompasses the tonal palette, rhythms, and forms of these traditional musics while never losing sight of his American roots and the importance and freedom of improvising. He has performed in Africa, Canada, Holland, India and Italy. He has performed at Lincoln Center, The David Rubinstein Atrium, The Turkish Embassy, The Pakastani Embassy, the Asian Society, The Natural History Museum, The Metropolitan Museum, The Himalayan Museum of Art and The United Nations among countless other venues in NYC and the United States. He has performed on NPR and PBS. He has played on Grammy Nominated recordings. He has been awarded grants from the Turkish American Society and The Maryland Council For The Arts. He was nominated for an 2012 Independent Music Award.

Daniel Carter is an American free jazz saxophone, flute, clarinet, and trumpet player active mainly in New York City since the early 1970s. Daniel is a prolific performer and has recorded or performed with William Parker, Federico Ughi, DJ Logic, The Negatones, Thurston Moore, Yo La Tengo, Soul-Junk, Anne Waldman, Cooper-Moore, Matthew Shipp and scientist/musician Matthew Putman among others. He is a member of the cooperative free jazz groups Test, Other Dimensions In Music, odon and Ghost Moth.

Thomas Albrecht’s performance projects have explored ritual and language in public spaces, galleries, and museums, prodding cultural beliefs and individual doubts. Current interests involve duration and elements of Absurdist Theatre, laying bare contingency in human constructions and slippage between truth and fiction. Albrecht has performed throughout the United States and internationally, notably at Grace Exhibition Space (New York), Defibrillator Performance Art Gallery (Chicago), Panoply Performance Laboratory (New York), Dimanche Rouge Paris, and during festivals such as the Brooklyn International Performing Arts Festival, Month of Performance Art Berlin, and Performatorio IV in the Dominican Republic. He received his BFA from the Rhode Island School of Design, a Master of Arts in Religion from Yale University where he served as the Menil Scholar in residence, and his MFA from the University of Washington. He serves as Assistant Dean in the School of Fine and Performing Arts, and Associate Professor in the Art Department, at the State University of New York at New Paltz.

Houston Bowery (aka Alexcalibur) is a tectonic force of nature. At once both flamboyant and understated, he brings a physicality to his musical performances with a certainty that is undeniable. Whether with a music band or solo, the surreal lyrics are given wings with a baritone range turning in an aerial dogfight.

26 years old, Storyboard P is a new state-of-the-art model of performance art. Dubbed the Basquiat of street dance by The New Yorker, he’s elevating the genre and conversation while creating a new lexicon along the way.

$ 15 Suggested Donation

The programs of WhiteBox are made possible in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council

http://www.nyc.gov/html/dcla/html/home/home.shtml

 

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Sergio Krakowski : Exclusive Performance for WhiteboxLab | Aug 11 @ 9:30 PM

Sergio

WhiteBoxLab>>SoundLounge
Critical Thursdays

Sergio Krakowski
Exclusive Performance for WhiteboxLab

Thursday, August 11 | 9:30 pm

Followed by conversation with Sergio Krakowski & Lara Pan

About the artist:
Born on December 18th 1979, Sergio dedicated his whole life to the Pandeiro, also known as the Brazilian Tambourine. A complete “hand drum kit”, this instrument has always been considered a symbol of Brazilian Music and Culture. Crossing whatever national and cultural barrier, Sergio made this instrument a possible tool in various musical genres, from the Choro, the fundament of Brazilian Music, to Jazz, Contemporary and Electronic Music.

In his twenty year career, Sergio Krakowski has shared the stage with artists such as Maria Bethânia, Gonzalo Rubalcaba, Lionel Loueke, Donny McCaslin, Anat Cohen, David Binney, Edmar Castañeda, Cyro Baptista, Gregoire Maret, Tigran Hamasyan, Dan Weiss, Miles Okazaki, John Escreet, Nate Wood, Lenine, Chico César, David Linx, Chano Domínguez, Maria João, Mario Laginha, Nelson Veras, Yamandú Costa and Hamilton de Holanda.

In June 2013, Sergio moved to New York and got involved in many musical projects, recorded on the album “Anacapa” by David Binney, joined Edmar Castañeda’s World Music Ensemble, created a duo project with Cyro Baptista that played at the legendary experimental music headquarter, The Stone, and joined the Choro Aventuroso, Anat Cohen’s Brazilian music band that performed in NYC’s most prestigious venues such as the Jazz at Lincoln Center, the 54 Below, and outside the US, at the Umbria Winter Jazz Festival.  He also performed as part of the exhibition Ernesto Neto: el cuerpo que me lleva at the Guggenheim Museum, Bilbao.


 

The artist will discuss his art practice and most recent album, “Pássaros: The Foundation of the Island” released by Ruweh Records on June 2nd at National Sawdust.

Link to artist’s website: http://www.skrako.com/

Conceived by Lara Pan

Contact: press@whiteboxny.org

Presented by WhiteBox
@WhiteBoxny
#WhiteBoxLab

 

The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs
and New York State Council for the Arts

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Department of Cultural Affairs NYC

WhiteBoxLab>>Critical Thursdays

The Art Markets Are Present Carla Gannis, Brian L. Frye,Dmitry “Dima” Strakovsky & Tim Schneider Thursday, August 25 | 7 pm Special presentation discussing the intersection between art, technology, and business.  Followed by a panel discussion with the artists and… Continue reading

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WhiteBoxLab >> SoundLounge : Operatic Series : Mysterium Novum

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WhiteBoxLab >> SoundLounge : Operatic Series presents

in collaboration with The Nouveau Classical Project

Mysterium Novum

 

Live Performances (Click here for tickets; free for kids under 18):
June 25th at 8pm
June 26th at 6pm & 8pm

Open House Installation (free admission):
On June 26 from 12pm-5pm, the visual installation portion of Mysterium Novum will be free and open to the public and feature recorded music (no live musicians)

WhiteBox
329 Broome Street
New York, NY 10002

The Nouveau Classical Project (NCP) presents Mysterium Novum, an immersive art installation and concert experience inspired by synesthesia, a neurological phenomenon where stimulation of one sense involuntarily triggers another.  Synesthetic artists often find their condition to be a natural source of inspiration in their work, such as composer Alexander Scriabin, who related colors to music and believed his synesthesia heightened his intake and creation of art.  Mysterium Novum is a new interpretation of Scriabin’s Mysterium, an unrealized production that was designed to simulate the synesthetic experience.

Mysterium Novum features a forest of lush ribbons by the synesthetic artist Anne Patterson (2013 Artist-in-Residence at Grace Cathedral) embedded with 10 instrumentalists performing a new piece with electronics by Paul Haas (“Visionary”-Time Out New York), scents and costumes by Atelier de Geste (Art and Olfaction Award nominee), and lighting by Jeanette Oi-Suk Yew (MET Museum, BAM, St. Ann’s Warehouse, The Kitchen).  Audience members can freely roam around this forest and touch reactive flowers created by Joel Mellin (Head of Technology at Sudden Industries).

Installation Anne Patterson
Music Paul Haas (World Premiere), performed by The Nouveau Classical Project
Scents and Costumes Atelier de Geste
Interactive Technology Joel Mellin
Lighting Design Jeanette Oi-Suk Yew

The Nouveau Classical Project
Marina Kifferstein, violin
Frederique Gnaman, violin
Hannah Levinson, viola
Jillian Bloom, cello
Shawn Lovato, bass
Laura Cocks, flute
Stuart Breczinski, oboe
Isabel Kim, clarinet
Mara Mayer, clarinet
Sugar Vendil, piano

ARTIST BIOS

The Nouveau Classical Project is a contemporary classical music ensemble and production hub where music intersects with fashion and art.  Led by Artistic Director and Pianist Sugar Vendil, we create compelling concerts through dynamic collaborations.  Our roots in working with fashion designers evolved into commissioning a variety of artists in our continual exploration of imaginative ways to present and experience new music.

NCP has performed at exciting venues such as (le) poisson rouge, Galapagos Art Space, Korea Gallery, Symphony Space, The Center for Fiction, and Issue Project Room as part of MATA’s Interval series.  Fashion collaborations include CFDA winner Pamela Love, Project Runway winner Gretchen Jones, Kempner Collection, Ecco Domani winner Novis, Tanya Taylor, and more.  Our projects are supported by the National Endowment for the Arts (NEA), and other generous foundations and individual donors. nouveauclassical.org

Anne Patterson, has created incredibly varied works; from technologically advanced performances such as Mercury Soul at New World Symphony, to productions of Cabaret at Arena Stage, to large scale installations. Her theatrical and symphonic partnerships have included major venues across the United States: Avery Fisher Hall, Arena Stage, The Wilma Theater, The Kennedy Center, Alliance Theater, and prestigious symphonies throughout the country (San Francisco, Atlanta, Philadelphia, Chicago). Anne’s music–inspired installation, Graced With Light, created as the 2013 Artist-in-Residence at Grace Cathedral in San Francisco was extremely popular and featured nearly 20 miles of multi-colored  ribbons cascading from the church’s vaulted ceiling arches. She has exhibited her paintings and sculptures at Dillon Gallery, Denise Bibro, and Wallspace in New York City; The Shaw Room and Gallery 112 in Atlanta, GA; and the Cade Tompkins Projects in Providence, RI. BA Architecture, Yale University; MFA Set and Costume Design, Slade School of Art, London UK.

According to The New York TimesPaul Haas (www.paulhaas.com) “is surely on the brink of a noteworthy career.” Time Out New York calls him a “visionary.” The world premiere of his 80-minute concert event ARCO took place on the opening night of the Park Avenue Armory’s Tune-In Music Festival, ranked by New York’s WQXR as The Top New Music Event of 2011. Haas is the founder and Artistic Director of the critically-acclaimed Sympho, a groundbreaking ensemble that creates live orchestral experiences for the 21st century by placing classical music in new contexts (www.symphoconcerts.org). In October 2013, Haas was commissioned by San Francisco’s Grace Cathedral to create a 70-minute musical installation, which was presented in collaboration with artist Anne Patterson’s stunning visual textures. And after his first installation (2012) in the Oliver Ranch Foundation’s Tower (a monolithic eight-story, 80-foot tall sculpture and performance venue designed by Ann Hamilton in California’s wine country that has hosted concerts by such artistic luminaries as Meredith Monk and the Kronos Quartet), Haas has been singled out as the only artist ever to be re-commissioned by the ORF, creating yet another immersive, site-specific concert experience at the Tower in September 2014.

Beau Rhee (Atelier de Geste) is a Designer, Artist, and Choreographer. Her work stems from choreographic ideas that are expressed in gestural, colorist and geometric themes. Objects and garments, scents, and wearable art pieces are often created for her performances. These pieces are the origin for Atelier de Geste, her design studio & brand. Rhee’s first scent and design work was shown at her MFA thesis exhibition at the Haute école d’art et de design de Genève (University of Art & Design Geneva) in Foundation Kugler in 2012, and have since been exhibited as works of art alongside her performances at Hammer Museum LA, Baryshnikov Art Center, Musée d’art et d’histoire, and la Maison Blanche de le Corbusier among others. Her work has been featured in British Vogue, Coolhunting, Elle, and the Art & Olfaction Awards. Rhee completed her BA at Barnard College, Columbia University in Art History & Dance in 2007. She currently lives and works in NYC. www.atelierdegeste.com

Joel Mellin is a Brooklyn-based multidisciplinary artist whose exploratory career has taken him from NASA space science engineering to studying with the musicians in the remote villages of Bali, Indonesia.  He is a visual artist/composer/musician/sound artist/instrument builder. His work has been performed in the US at the Metropolitan Museum of Art (NY), The Smithsonian Institute (DC), the Princeton Festival (NJ), the Chocolate Factory Theater, The Kitchen, Ronald Feldman Gallery, Hartwick College, Adelphi University, and the Gershwin Hotel (NY). Internationally, his work has been featured in the Dublin Fringe and Dance Festivals and with the indie-pop-friendly London-based music label Where It’s At Is Where You Are. In 2009, Oakland-based Kolourmeim Press published a limited edition book and companion CD entitled, Compositions For Computer: Volume 1. He is currently the Head of Technology at the NYC-based digital agency Sudden Industries (www.suddenindustries.com). Find out more information about Joel and his various projects at www.joelmellin.com.

Jeanette Oi-Suk Yew is a NYC based lighting designer in opera, theater, dance, and installation.  Her work was described as “…contains the vibrant richness of a Caravaggio painted in neon.” Her designs have been seen in venues such as the Metropolitan Museum of Art, Brooklyn Academy of Music (BAM), Rose Theater Jazz at Lincoln Center, Baryshnikov Arts Center (BAC), HERE Arts Center, St. Ann’s Warehouse, La Mama ETC, The Kitchen, ArtsEmerson, Manhattan School of Music, Joyce SOHO, Bard Music Festival, REDCAT, Highways Performance Space, and internationally at Havana, Prague, Lima, Graz and Edinburgh. Recent: Tan Dun’s Water Passion and Lang Lang In Concert at MET Museum, Sam Falls’September Spring, Debussy’s Pelleas and Melisande at the Waterfront Barge Museum, the premiere of Stephan Weisman’s Scarlet Ibis and Kamala Sankaram’s Thumbprint with Prototype, HK Gruber’s Gloria – A Pig Tale with Alan Gilbert and Doug Fitch, Schubert’s Fierrabras with Leon Botstein, Gotham Opera’s Orientale, Jonathan Dawe’s Cosi Faran Tutti, Aaron Siegel’s Brother Brother, and Don Quijote de la Mancha: Romances y Musicias with Jordi Savall. Recipient of the NEA/TCG Career Development Program. www.jeanetteyew.com

NYSCA     Department of Cultural Affairs NYC

On View Now | 585,000 m2 – History of the Jewish Quarter of Budapest A Mixed Media Exhibition

WhiteBox Presents In association with The Balassi Institute- Hungarian Cultural Center 585,000 m2 History of the Jewish Quarter of Budapest A Mixed Media Exhibition April 7-21, 2016 Wednesday through Sunday 11am – 6pm Participating Artists Zsuzsi Flóhr, Zsófia Szemző, Márton Szirmai,… Continue reading

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Ear to the Earth – GetTogether #1 “Jungle-Ized”

Date: Thursday March 31, at 7:30 Location: WhiteBox 329 Broome St Opening event of the new Ear to the Earth – GetTogether #1. Soundwalk Collective discusses Jungle-Ized, their upcoming project in Times Square and Francisco Lopez’s sound recording in South… Continue reading

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JOHN CAGE: MAN AND MYTH (1990) SCREENING PREMIERE – LIVE MUSIC & FILM & PANEL

DATE: Sat. April 2 at 6-9pm LOCATION: WhiteBox 329 Broome Street Suggested donation $10, students/seniors $5 Director Mitch Corber’s “John Cage: Man and Myth”—the rarely seen 1990 cult documentary classic capturing Cage, the zen genius, in his twilight years yet… Continue reading

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CLOSING PARTY OF 585,000M2 – SOUNDS OF THE GHETTO

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WhiteBox Presents
In association with The Balassi Institute- Hungarian Cultural Center

585,000 m2
History of the Jewish Quarter of Budapest
A Mixed Media Exhibition

CLOSING – Thursday, April 21 | 7pm

“Electro-acoustic improvisations, compositions and manipulations creating sonic landscapes confronting the ideas of open and limited space.”

Guy Barash- laptop & electronics
Frank London – trumpet & electronics
Eyal Maoz – guitar & electronics

The Hungarian Cultural Center is presenting Sounds of the Ghetto, a special avantgarde musical endeavor as the finissage of the exhibition at WhiteBox. Grammy Award winner Frank London teams up with Guy Barash and Eyal Maoz to present a special musical program inspired by urban spaces that used to be Ghettos at a certain point of history. The improvisational program will reflect on the theme and also on the exhibits, created by young Hungarian Artists.

Trumpeter Frank London is a Grammy award winner, founding member of the Klezmatics, and leader of the Glass House Orchestra, presenting performances world wide. Guitarist Eyal Maoz is known internationally for his work in improvised and new Jewish music, with the group Abraxas and many cds on John Zorn’s Tzadik label. Composer/performer Guy Barash just released his first recording of chamber music. His first opera will be premiered this year.

585,000 m2 – History of the Jewish Quarter of Budapest A Mixed Media Exhibition

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WhiteBox Presents
In association with The Balassi Institute- Hungarian Cultural Center

585,000 m2
History of the Jewish Quarter of Budapest
A Mixed Media Exhibition

April 7-21, 2016

OPENING – Thursday, April 7 | 6-8pm

Participating Artists
Zsuzsi Flóhr, Zsófia Szemző, Márton Szirmai, Dániel Halász, István Illés, Levente Csordás in collaboration with Miklós Mendrei and Benjamin Kalászi, Balázs Varjú Tóth, Mátyás Csiszár along with Csaba Kalotás (music) and Éva Szombat (photo).

 

585,000 m2 examines the symbolic spaces and the inscriptions of history -from the pre-World War 2 period to the present-found in the Jewish Quarter in the 7th district of Budapest, through visual art statements. The title is a reference to the massive surface area of the Quarter, a dense urban neighborhood overflowing with signifiers.

The curators invited nine young Hungarian artists to reflect upon particular buildings and discover the stories behind them, in their own artistic tone, using mostly visual media to mediate between past and present, history and art, artist and society. The conceptual installations and mixed media works operate as visual manifestos to alert the audience to both the history-defying existence of the Quarter itself, where Jews and non-Jews now once more converge, and the revival of cultural, religious, and social life rooted in the history of cohabitation before and after the Shoah.

The diversity of the Quarter is mirrored by the variegated techniques of the participating artists. Coming from different fields of contemporary arts, the most important intersection of the contributors is the Quarter itself, the space that beyond a geographical location operates as an irreducible excess. This excess contains the survival and revival of those marked for death but also the unquantifiable violence unleashed on the area and its inhabitants during World War 2, as well as, more recently, of the co-existence of traditional and experimental cultural life. Through the past decade the Quarter transformed itself and became the place that it is today, forming the identity of another generation of young Hungarians, among them the artists who now propose their statements, drawing on both cultural and personal memory.

Mixing archival and present-day frames with individual video installations, the exhibition invites the audience to step into the Quarter, to experience its bustling religious and cultural life and the artists’ transformative vision of this life. The video installations focus on individual buildings, their functions today, and on how the stories that can be told about them give rise to a vision of the Quarter. They also document, without looking away, the radical interventions to which it was subjected by the perpetrators of the Shoah, leaving an indelible mark on private and public spaces alike. Each installation provides a unique and idiosyncratic portrait of the spaces, showing the effects of time and how the present faces, accepts, and adopts the past.

Curated by:
Andrea Ausztrics, Historian and Media Artist
Zita Mara Vadász, Curator, Balassi Institute – Hungarian Cultural Center, New York

Contact:
press@whiteboxny
Presented by Balassi Institute – Hungarian Cultural Center and WhiteBox, in association with Tom Lantos Institute, the Consulate General of Hungary in New York, the Ministry for Foreign Affairs and Trade of Hungary, the Hungarian National Tourist Office in New York.

The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs and New York State Council for the Arts

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JOHN CAGE: MAN AND MYTH (1990) Screening Premiere – Live Music & Film & Panel

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Suggested donation $10, students/seniors $5

Director Mitch Corber’s “John Cage: Man and Myth”—the rarely seen 1990
cult documentary classic capturing Cage, the zen genius, in his twilight years
yet at the height of his powers—is back, in a fresh, digitally-remastered
format to speak to a new generation.
A special multimedia evening this Sat. April 2 (info above) is slated
to fete Cage and the stellar reissue.
6:00 pm   Prelude
Live electronica music music from Cage devotee Lorin Roser and
surprise guests, along with Cage mesostic poetry video short by Corber.
6:45 pm   JOHN CAGE: MAN AND MYTH video-projection
8:00 pm   Panel Discussion “John Cage for a New Generation”
panelists include violist Hannah Levinson of ANDPLAY, composer
Nicholas Demaison, Roser, Corber, poet Tom Savage, artist/poet
Aliza Tucker, with moderator Adam Meyer

The doc is listed on WorldCat: “John Cage: Man and Myth” presents a spoken and musical tribute,
with comments by today’s foremost music, literary and artworld figures, and an absorbing
in-depth interview with Cage himself.” Interviewees in the cult classic doc are Cage experts
Philip Glass, Richard Kostelanetz, Alison Knowles, Jackson Mac Low, David Antin, Glenn Branca,
concert pianists Grete Sultan and Joshua Pierce, and microtonalists
Johnny Reinhard and Ivor Darreg. Dazzlingly performing his “Portrait of John Cage”
is surrealist Stuart Sherman.

“John Cage: Man and Myth” is a head-on authoritative portrait in the best tradition
of biographical documentaries. It’s also a formal tour de force as a cinematic
dialogue with the Cage esthetic itself, enshrining both charted and random elements
inside the film’s unreeling narrative.

An Evening with Archie Shepp

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Join New York Art Lovers March 29th in
celebration of Archie Shepp
before him being honored with an NEA
(National Endowment for the Arts’ Jazz Master’s award)
in Washington DC on April 2nd.

Evening starts at 7:30PM
with guided tour of the exhibition with
Archie Sheep, Nile Rodgers and Jean Pierre Muller

Dinner at 8PM
A culinary performance by Jon Tsoi
+ a signed limited edition serigraph by
Jean-Pierre Muller and Archie Shepp

Beer provided by Paulaner
Wines provided by Martin C. Liu, President of the Board

Live Jazz performance to follow dinner by Archie Shepp,
Amina Claudine Myers, Tom McClung, and special guests.

Location: WhiteBox @ 329 Broome St (Between Bowery & Chrystie)

Limited Dinner Seating
RSVP
admin@whiteboxny.org

$250 dinner, drinks + Ltd Ed print

Link to buy dinner tickets 

________________________________________________________________________

Link to donate for performance event @ 10pm – Suggested Donation $25 Students, $50 General Public, $100 w/ Signed Unlimited Print

JEAN PIERRE MULLER 7×7 : COLORBOX & A RED SHOW IN A

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7×7 with ROBERT WYATT | ARCHIE SHEPP | NILE RODGERS | TERRY RILEY | SEAN O’HAGAN | MULATU ASTATKE | KASSIN
EXHIBITION – FEBRUARY 29th TO M ARCH 29th 2016
OPENING RECEPTION – SUNDAY MARCH 6th | 4-8PM
Music Performance @ WhiteBox | Archie Shepp March 29th
Live transmission | Archie Shepp MARCH 6th

Press

Night Flight, “Colorbox” and “A Red Show in A”: Jean Pierre Muller’s “7×7″ art project continues at WhiteBox on NYC’s Lower East Side By Bryan
Le Soir, Rendre Hommage à un Islam Tolérant, by Philippe Manche (March 15, 2016)
The Armory Arts Show, JEAN PIERRE MULLER 7X7 : COLORBOX & A RED SHOW IN A

ColorBox and A Red Show in A are the latest works to emerge from Jean Pierre Muller’s innovative 7×7 project. 7×7 is an inter-disciplinary collaboration between Belgian artist Muller and seven musical luminaries from a variety of contemporary genres; Nile Rodgers, Robert Wyatt, Mulatu Astatke, Archie Shepp, Sean O’Hagan, Kassin and Terry Riley. 7×7 is based on the simple principle that the seven colors of the rainbow correspond to the seven notes of the scale, the seven days of the week (and deities and planets associated with those days) and the seven chakras. Seven sound altarpieces have been created, in an edition of seven, each housing an original music by one of the seven composers. A is Red is Monday, Day of the Moon and of Diana (Robert Wyatt), B is Orange is Tuesday, Day of Mars (Archie Shepp), and so on.

In the summer of 2012, Muller created a full site-specific set for 7×7 at Edinburgh’s Summerhall: 7x7th Street. As its name suggests, this was actually a real street with billboards, signs, small houses, …

A year later, Jean Pierre Muller and Nile Rodgers created An Indigo Night in F at the same venue, an amazing show combining music, live painting and theatre. This acclaimed event was inspired by their collaboration on the 7×7-F-Indigo sound altarpiece.

For WhiteBox, Jean Pierre Muller will present two original shows related to 7×7: ColorBox on the main level and A Red show in A on the lower level.

ColorBox

Isaac Newton divided his color wheel in seven parts: red, orange, yellow, green, blue, indigo and violet. White is in the central part of the diagram, because all colors of light mixed together produce white. 7×7  at WhiteBox makes complete sense.

How can we embrace diversity in a world torn by the conflict between standardization and obsession for identity? Muller wishes to pen the color box and celebrate the full spectrum of our lives in their many contradictions. Rather than taking the stance of the artist as a moralist, he embarks us on a journey through the seas of complexity and the skies of hybridity.

Sometimes taking a sound panoramic view on things – drawing lessons from past history, digging into the origins of words, the meaning of symbols – sometimes zooming into our most intimate obsessions, Muller utters a multi-layered cry for life, plural yet deeply personal.

As much a painter as a printmaker, Jean Pierre Muller also uses light, sound and interactivity to make us feel the beat of the world, the rhythm of life. The elements that Jean Pierre uses in his art reflect processes of urban evolution and the way people become connected to each other through common experiences and references. Like streets grown organically over time, these elements interact through juxtaposition and ever increasing layers of complexity and history. They also tell many intertwined stories, much like the intertwined stories of people in a street, who may not know each other but are linked through commonality of space and time.

A Red Show in A

Jean Pierre, together with Robert Wyatt, one of music’s greatest shamans, has expanded and deepened the rich material used for their 7×7-Red-A sound altarpiece. It is a nostalgic salute to Al-Andalusia, when Spain was under Moorish rule and religions coexisted peacefully (at least, this is the way one can dream of it today, when everything concurs to convince us we’re at war with the others). The most powerful symbol of this period is the Alhambra palace in Granada. This golden age ended in 1492 with the Alhambra Decree and the expulsion of all the Jews from Spain. Al-Hamra  means the Red one, in Arabic…

For WhiteBox, the artist has built his own Alhambra, a red temple to house the 7×7-Red-A sound altarpiece, with meaningful columns and whispering walls (with voices by Robert Wyatt, but also Terry Riley, Archie Shepp and Nile Rodgers). Muller has adapted Kazimir Malevich’s emblematic paintings of the Black Square, the Black Circle and the Black Cross into a Red Star of David, a Red Crescent and a Red Cross. These are powerful symbols to initiate a new reflection on hybridity, coexistence, expulsion… and the power of symbols.

Following on from the success of 7x7th Street  and An Indigo Night in F  with Nile Rodgers, Spectrum  and A Red Show in A represent the next stage in a truly international project of ever-growing artistic ambition and cultural resonance.

 

www.7x7project.com

www.jpmuller.be

Jean Pierre Muller is a Belgian Neo-pop artist who makes vibrant assemblages using high and low forms and techniques. In his work, photography, drawing, silk-screen and painting come together and gestural and mechanical interventions meet. His collaborations with musicians offer an interactivity to his paintings, giving his audience new participatory ways of entering his world. Jean Pierre is committed to both his art practice and his role as head of the Printmaking Department at La Cambre, one of Belgium’s leading schools of art and design. His work has been shown at the Museum of Contemporary Art in Saragossa, the Hanover World Fair, the Royal Festival Hall and, latterly, Summerhall as part of the Edinburgh Festival.

Robert Wyatt was a founding member of the Soft Machine, who along with Pink Floyd helped to transform the late sixties psychedelic scene in the UK into something more lasting. In his long and distinguished solo career, he has been mixing simple and effective keyboard melody lines with poignant lyrics, often filled with personal and political references. He’s simply the most beautiful voice in English music (5 to 6 octaves of range, each octave is of a totally different character), and the long list of his collaborators includes Jimi Hendrix, Mike Oldfield, Brian Eno, Björk, David Gilmour or Paul Weller.

NYSCA     Department of Cultural Affairs NYC

#makeamericagreatagain SATURDAY February 20th 8-10PM

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KID (Millenial) Installation, Wojtek Ulrich 2016

 

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Join us Saturday for the 2016
Presidential Caucuses
Live from South Carolina & Nevada

As seen in: Newsweek
6-8 PM Closed Doors –
Live radio web-stream of roundtable

PM On Trumpery Politics
“Donald Trump’s post-christian candidacy”

Transmitted live only VIA www.whiteboxny.org
www.criticalpractices.org

8:00 PM Project Space – Screening of
Boogie Man: The Lee Atwater Story
Film, 01h:26min by Stefan Forbes

9:00 PM Main Space – Poetry and Music
Steven Dalachinsky | Vyt Bakaitis + Nao Nishihara | Wolodymyr Starosolsky

9:30 PM Project Space – Screening of
Normal Es Bueno (I like America and America likes me)
HD Video, 28min: 47 sec by Yali Romagoza’s

SATURDAY February 20th 8-10PM
With lousy beer by COORS

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Trumps Wall, Khaled Jarrar 2016

Curated by Raul Zamudio and Juan Puntes / Co-curated by Blanca De La Torre

A group show and performances in response to the 2016 presidential election charade

Link to more information

Press on Masha Alyokhina introducing Balkans Women’s Museum in Montenegro @ WBX winter benefit event hosted by Artnet

Artnet Pussy Riot’s Maria Alyokhina on Her Plans for a Women’s Museum Independent Pussy Riot to open ‘women’s­only’ museum Агентство ФрансПресс Les Pussy Riot veulent créer un musée 100% féminin Rolling Stone Pussy Riot Plan to Open ‘Women­Only’ Museum in… Continue reading

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Satellite Art Fair – Miami FL – WhiteBox and Dukley European Art Community

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WhiteBox presents in collaboration with Dukley European Art Community

 

 
Recycling Religion
@
Satellite Art Fair
Miami  – Dec. 1st-6th
The Deauville Parking Garage
6625 Indian Creek Drive | Miami Beach, FL

 

 

PREVIEW AND OPENING
Tuesday, December 1 | 4:00pm to 10:00pm

 

GENERAL HOURS
Wednesday, December 2 | 12:00pm to 9:00pm
Thursday, December 3 | 12:00pm to 10:00pm
Friday, December 4 | 12:00pm to 10:00pm
Saturday, December 5 | 12:00pm to 10:00pm
Sunday, December 6 | 12:00pm to 6:00pm

 

Recycling Religion Artists

 

Vladimir Kozin, Pavel Brat, Pussy Riot, Oleg Kulik, Dmitri Gutov, Iija Soskic,
Jelena Tomasevic, Recycle Group, Alexander Kosolapov, Duke Riley + Mac Premo, Federico Solmi, Robert Priseman, ANVIL Collective, Electroboutique, Arsen Savadov

 

Curated by Marat Guelman and Juan Puntes

 

 

Satellite Art Fair Map

 

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Complimentary Art Fair Shuttle Service

 

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Press contact : press@whiteboxny.org

 

Recycling Religion  is supported in part by Dukely European Art Community and WhiteBox board members
The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs and New York State Council for the Arts
Special thanks to Postmasters Gallery, Richard Taittinger Gallery, and Magnan Metz Gallery
Special thanks to media sponsor artnet

 

                   

 

WhiteBoxLab>>Sound Lounge

Chartwell

WhiteBoxLab>>Sound Lounge presents

Another Realm
Quintet of the Americas with guests: Chartwell Dutiro, TIMBILA, Susan Jolles

Thursday, September 17th 2015 | 7:30pm
Donation ticketed seating $10 @ the door

Release – August 20th 2015
New York City – WhiteBoxLab>>Sound Lounge is pleased to present Chartwell Dutiro, Timbila Susan Jolles and Quintet of the Americas. WhiteBox hosts a special night of musical collaboration featuring Zimbabwean mbira sounds, Afrodelic Xylo-pop, harp and Western Woodwinds. WhiteBoxLab aims to create a laboratory approach to expose artists working in temporal mediums such as performance, sound art, and literary arts, while providing a platform for audiences to experience distinguished artists’ practices, often times within the realm of ongoing visual art exhibitions in the WhiteBox gallery spaces.

CHARTWELL DUTIRO – Zimbabwean mbira master
Chartwell Dutiro is one of Zimbabwe’s foremost mbira players. He has played the sacred instrument of the Shona people in traditional settings since childhood. He and his brother would often play mbira all night, calling the ancestral spirits for guidance, as has been done in Zimbabwe for many centuries. He toured the world from 1986-1994 with the legendary Thomas Mapfumo and the Blacks Unlimited. Since 1993, Chartwell has lived in the UK, pursuing both traditional and modern Zimbabwean music, and building bridges through his music.

TIMBILA – Afrodelic Xylo-pop
TIMBILA [tim-BEE-lah] reinvents some of the most beautiful music traditions of southern Africa, with an East Village edge. The surreal buzzing beauty of TIMBILA “blazing ecstatic African rock with an East Village edge” and hypnotic dream melodies of mbira soar with stinging guitar riffs and celestial vocals in grooves that are deeply funky, fierce and danceable. No other band sounds like TIMBILA. The band started in 1997 with Nora Balaban, Banning Eyre and Dirck Westervelt in Harare, Zimbabwe. Balaban, a veteran of CBGB’s punk and San Francisco’s “worldbeat” scene in the 1980s plays mbira (Shona thumb piano) and timbila (Chopi xylophone). Eyre, a writer and producer for public radio’s Afropop Worldwide, plays guitar, and Westervelt banjo and bass. Louisa Bradshaw, vocalist, has contributed to the band over eight years. Newer members Bill Ruyle, percussionist, and Rima Fand, violin, add extrodianary beats and rich vocal harmonies to the group.

SUSAN JOLLES – Harp
Susan Jolles is Harp faculty at Manhattan School of Music and Mannes College of Music. Jolles is a member of the American Composers Orchestra, Musica Viva (New York), the Little Orchestra Society, and is associate harpist with the Metropolitan Opera Orchestra. Past affiliations include the Contemporary Chamber Ensemble, The Group for Contemporary Music, The New York Chamber Symphony, and the Juilliard Ensemble. She also appears regularly with the Encores Orchestra and North/South Consonance. Jolles has been associated with contemporary music and collaborated with artists that span all musical styles, from Klezmer with Giora Feidman, jazz with Kenny Garrett, cabaret with Barbara Cook, to classical with Humbert Lucarelli and Laurel Zucker.

QUINTET OF THE AMERICAS – Folk and contemporary western woodwind
The Quintet has been recognized as leading interpreters of folk and contemporary wind quintet music of North and South America. Quintet of the Americas is one of the Western Hemisphere’s finest chamber ensembles. The Washington Post has called their performances, “Musical dialogue at the highest level” and Japan’s In Tune Magazine has written about them, “Their virtuosity, balances, articulation and intonation mark them as one of the world’s top wind quintets. I have never heard finer playing.” The Quintet develops inter-cultural appreciation and understanding by performing contemporary, classical and folk-derived music from the diverse cultural traditions of the Americas

Link to Chartwell Dutiro https://chartwellusa.wordpress.com
Link to TIMBILA http://www.sonicbids.com/band/timbila/
Link to Quintet of the Americas http://www.quintet.org/

 The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs and New York State Council for the arts.

DCA_Logo    NYSCA

WhiteBox Benefit and Art Auction: Buy Tickets/Preview and Bid

  WhiteBox Benefit Art Auction & WhiteBox and Richard J. Massey Foundation Arts and Humanities Award Honoring Karen Finley   Tuesday, June 23rd 2015 | 6:30-9pm   Your ticket purchase(s) will also be credited to your auction bidding and part… Continue reading

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Look and Listen Festival at Whitebox Art Center

 “This annual series, chock-full of edgy new music, builds on the longtime New York tradition of presenting contemporary concerts in art galleries. ” –  The New Yorker Saturday, May 2, Fred Sherry hosts the Daedalus Quartet, William Schimmel and Talujon,… Continue reading

Category Collaboration, News Tags , , , ,

Armory Arts Week – PSYCHLOTRON*

March 7 | 6-11pm Whitebox Art Center and curator Lara Pan are introducing a multi disciplinary performance platform, PSYCHLOTRON* conceived by artist John Bonafede. Based in NYC, Psychlotron* is an interdisciplinary art and performance event, the name comes from the… Continue reading

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WHITE VOX – The Resonance of Space

WhiteboxLab SoundLounge WhiteVox

WhiteboxLab > SoundLounge presents

WHITE VOX – The Resonance of Space
Multi-media sound and visual performance featuring NYU Steinhardt woodwind players

Saturday February 21st 2015 |  5:30pm to 7:30pm

This workshop and performance directed by NYU Faculty/Oboist, Matt Sullivan and painter, Ken Cro-Ken, will begin at sunset (5:34 PM EST) and end at “Astro Twilight Set” 7:06 PM.

NYU Steinhardt woodwind players will explore the sound of the unique urban-industrial architecture of Whitebox Art Center-street level space-utilizing the recorded sonic resonance of the planets in our solar system using as foil, a free improvisation to the works of Bach, Varese and other composers.

Following, there will be refreshments and a discussion and experimentation among participants and audience.

CAVELLINI 1914 – 2014 A SURVEY, EVENTS, AND MAIL ART SHOW

whitebox art center and Cavellini and Ray Johnson

Whitebox Art Center
presents

CAVELLINI 1914 – 2014 A SURVEY, EVENTS AND MAIL ART SHOW

Exhibition on view November 1 – 30, 2014
Tuesday through Saturday | 11am to 6pm

Opening, Performances, and Poetry Readings
Honoring GAC. (Guglielmo Achille Cavellini)
Saturday, November 15 | 6 to 10pm

A survey exhibition of Cavellini’s artworks alongside a Mail-Art show exploring the themes of GAC / Cavellini, Ego and Self-Historification. Culled from Archives + Contemporary

Mail Art. Curated by Mark Bloch.

Link to Press Release

Performances by
Mark Bloch
William Evertson from Easthampton, Connecticut
Britta Wheeler as Belinda Powell
Pasha Radetzki from the Republic of Belarus
Giovanni and Renatta Strada from Ravenna, Italy
Jon Tsoi, Father of Blindfold Performance Art Medicine

Poetry by
Steve Dalachinsky | Bonny Finberg | Allan Graubard | Ron Kolm | Valery Oisteanu | Yuko Otomo | Jeffrey Cyphers Wright

Music by
Antonello Parisi (piano rhodes) with Michael Gam (bass) and Julieta Eugenio (tenor sax)

Video by
Guglielmo Achille Cavellini | Richard Kostelanetz
Galeazzo Nardini and the Italian Museum | Jennifer Weigel | and others

Cavellini Festival-Parallel Events

From Self-Historification to Selfies: A  GAC fest in New York City-
A celebration of the centenary 1914-2014 of Guglielmo Achille Cavellini
November 14 to 16 2014

Friday, November 14 | 5:30 – 7:30PM
Museum of Modern Art
Analog Network: Mail Art, 1960-1999
An exhibition charting the course of the vast underground international DIY (do it yourself) art by mail movement 1960-1999.

Saturday, November 15 | 12 – 2PM
Richard L. Feigen and Company
“Ray Johnson’s Art World” exhibition on view Nov. 7, 2014 – Jan. 16, 2015.

Saturday, November 15 | 3 – 5PM
LYNCH THAM Gallery
GUGLIELMO ACHILLE CAVELLINI / Centennial Exhibition
Works by Cavellini, music and performances

Sunday, November 16 | 9:30AM – 12PM
Katz Deli
New York Correspondence Brunch Meeting
in honor of Cavellini and Ray Johnson, Buster Cleveland, John Evans
and our other late New York mail artists.

Link to Mark Bloch

The programs of Whitebox Art Center are made possible in part by the New York City Department of Cultural Affairs and New York State Council on the Arts.

Whitebox Art Center DCA sponsor

 

R. B. Schlather: Opera: Alcina

Photograph by Matthu Placek

WhiteboxLab>Sound Lounge
presents

R. B. SCHLATHER: OPERA: ALCINA George Frideric Handel, 1735

Open rehearsals | September 6-17th
Free and open to the public daily except for Thursdays | 11am-6pm

General Rehearsal | September 19th | 7pm
Performances | September 20th & 21st | 7pm
Talk back after performance on September 21st

SUGGESTED DONATION TICKETING FOR RESERVATIONS TO GENERAL REHEARSAL 9/19 AND FINAL PERFORMANCES 9/20-9/21

PRODUCTION TEAM

Music Director | Geoffrey McDonald
Stage Director | R. B. Schlather
Costume | Terese Wadden
Scenography | Paul Tate DePoo
Lighting Design | JAX Messenger
Hair and Makeup Design | Dave Bova
Titles | Steven Jude Tietjen
Stage Manager | Audrey Chait
Interactive Media Design | Igor Molochevski
Assistant Director | Emily Cuk

CAST
Alcina | Katharina Hagopian
Ruggiero | Jamie Van Eyck
Morgana | Anne- Carolyn Bird
Bradamante | Eve Gigliotti
Oronte | Samuel Levine
Melisso | David Adam Moore

ORCHESTRA
Harpsichord | Elliot Figg
Oboe | Ellen Hindson
Violin | Johanna Novom
Oboe | Kristin Olson
Cello | Katie Rietman
Viola | Elizabeth Weinfield
Bass | Wen Yang
Violin | Jude Ziliak

Press

New York Times, A Sorceress Stirs Up a Sense of Adventurousness by Zachary Woolfe

Huffington Post, The Rumors of Opera’s Death Have Been Greatly Exaggerated (Pt. 2) by Jennifer Rivera

Frankfurter Allfemeine Blog, Im weißen Zauberschuhkarton steckt die Zukunft der Oper by Patrick Bahners

Parterre Box, About Last Night by John Yohalem

IMBY (In My Backyard), Hudson’s Schlather Directs Handel’s “Alcina” in New York by John Issacs

IMBY (In My Backyard), Open house: Opera at Whitebox > SoundLounge by Whitebox Art Center

Press Release

New York City – Whitebox Art Center is pleased to present the work of opera director R. B. Schlather as part of WhiteboxLab>Sound Lounge, a series of unconventional works. For two weeks, Whitebox’s main exhibition space will be a laboratory for the rehearsal and performance of an operatic score, culminating in two performances of George Frideric Handel’s Alcina, an 18th century baroque opera. This theatric installation uses the opera seria, or “serious opera”, Alcina (1735) as source material. The libretto, L’Isola d’Alcina (1728) is by Riccardo Broschi, based off of Ludovico Ariosto’s epic poem Orlando Furioso. Alcina is a story of love and illusion that premiered during Handel’s remarkable hit season at the Covent Garden Theatre in London in 1735, and is regarded as one of his most inventive and melodic musical scores.

WhiteboxLab>Sound Lounge and R. B. Schlather respond to the changing landscape of operatic performance in New York City and around the world by staging this work in an untraditional opera venue. As a laboratory, WhiteboxLab>Sound Lounge is delighted to open all musical and staging rehearsals, September 6 – 17, prior to the General Rehearsal on September 19th at 7pm and the final productions on September 20th and 21st at 7pm, with a Talkback after the performance on the 21st moderated by Joseph Cermatori. This program will be free and open to the public daily, except for Thursdays, from 11am to 6pm. For the final performances, the opera will be enacted live with an orchestra, in Italian, utilizing new technologies with projected English subtitles.

The opera is set on the island of the enchantress Alcina, and explores themes of identity, illusion, and transformation. This island exists as a beautiful landscape in the middle of the ocean, where Alcina culls her powers to create a paradise, only to lure and seduce the knights that wash up on her shore, one of whom is the heroic Ruggiero. Alcina’s magic causes Ruggiero to fall under her spell and, in doing so, he forsakes his duty as a knight and forgets his fiancée, Bradamante. The opera develops as Bradamante disguises herself as a male warrior her brother “Ricciardo” and sets out on a mission to recover her love.

Accompanied by Alcina’s guardian, Melisso, the two are shipwrecked on Alcina’s island by fate. Imminent danger awaits Ruggiero, as Alcina possesses the power to transform her foes and lovers of whom she tires into rocks, trees, and wild beasts. The already heavily dramatized plot is further complicated by the integration of different characters who all, in their own right, act on emotions of love and jealousy. In portraying Alcina’s thickened plot, Schlather’s production brings to life a story of enchantment, folding into it classic operatic moments of romance, betrayal, violence, unrequited love, and magic.

R. B. Schlather is an opera director based in Manhattan, NY. Schlather’s recent credits include Werther for Opera Company Brooklyn, Treemonisha for New York City Opera, and Some Call Refuge at Vaudeville Park. Additionally, Schlather has directed The Arianna Project for lauded early music group Musica Nuova, a concert with Nico Muhly and Gotham Chamber Opera at the multimedia art cabaret (le) Poisson Rouge . He is also accredited for I. Were., a pastiche created with countertenor Anthony Roth Costanzo and dramaturge Joe Cermatori for the Salon/Sanctuary Concerts. He regularly assists Christopher Alden, most recently at the Los Angeles Philharmonic, Boston Lyric Opera, English National Opera salon and sanctuary concert, New York City Opera, and the Canadian Opera Company. He has assisted Kevin Newbury at Bard Summerscape and Central City Opera. In the near future, Schlather will be directing opera productions at Tanglewood Music Festival and at the Gran Teatre del Liceu, Barcelona.

R. B. Schlather’s production is part of Whitebox’s new program, WhiteboxLab>Sound Lounge, which aims to create sustained and in-depth exposure for artists working in temporal mediums such as performance, sound art, and literary arts, while providing a platform for audiences to experience artist practices.

Synopsis: The sorceress Alcina lives on an island in the ocean, and enchants the knights that arrive on her shores. When tired of her lovers she transforms them into rocks, trees and wild beasts. The heroic knight Ruggiero has fallen under her spell, and forgotten his fiancée, Bradamante. Bradamante, in male disguise as her brother “Ricciardo,” has set out with her guardian, Melisso, to recover Ruggiero, and the two are shipwrecked on Alcinaʼs island by fate. There they encounter Alcinaʼs flighty sorceress sister, Morgana, who instantly falls in love with “Ricciardo.” They discover Ruggiero in Alcinaʼs embrace, with no memory of his betrothal. He angrily rebukes “Ricciardo” as competing for Alcinaʼs affections. Alcinaʼs general, Oronte, in love with Morgana and stung by her sudden infatuation with “Riccairdo”, arrives to challenge “him” to a duel. This dramatic scenario of identities and transformations plays out until the source of Alcinaʼs magic power is broken, and all, including Alcinaʼs transfigured lovers, are returned to human shape and sanity.

R. B. Schlather 2014

This opera is made possible by Felicia Blum, Allen R. & Judy Brick Freedman, Stephanie French and Charles Klein, Sherwin M. Goldman, Nancy Henriksson, Graham and Susan McDonald, Roy Niederhoffer, Nowick Taylor Trust, The Alfred & Jane Ross Foundation and Karen R. Schlather

Press Contact: press@whiteboxny.org

Twitter: @davidadammoore @slevinesinger

The programs of Whitebox Art Center are made possible in part by the New York City Department of Cultural Affairs.

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Either/Or

Either/Or at Whitebox Art Center

Co-Produced by Whitebox Art Center, Either/Or and Issue Project Room

Either/Or : Ninth Annual Spring Festival of Contemporary Music

June 26th and 27th 2014 | 8pm

Tickets: $10 cash at the door
Whitebox Art Center
329 Broome Street
New York, NY 10002
PH: 212-714-2347

Either/Or performs their Ninth Annual Spring Festival of Contemporary Music for three nights of uncompromising and experimental new music. Either/Or is Aaron Baird (bass), Richard Carrick (electric guitar), Vasko Dukovski (clarinet), Russell Greenberg (percussion), Margaret Lancaster (flute), and co-director David Shively (percussion and electric guitar).

June 26th performance features soloists Aaron Baird, Vasko Dukovski, Margaret Lancaster, and co-director David Shively in a theatrical melange of works by iconic composers. Stockhausen’s flute solo will be performed in full body cat suit to Kagel and Druckman’s theatrical adventures and Lucier’s pure sound exploration of two slowly detuning electric guitars, this is a concert not to be missed.

Either/Or Program for June 26th:
Mauricio Kagel – Rigaudon (1982)
Toshio Hosokawa – Atem-Lied (1997)
Jacob Druckman – Valentine (1969)
Alvin Lucier – Criss-Cross (2013)
Wei-Chieh Lin – quivering (2014, WP)
Karlheinz Stockhausen – ZUNGENSPITZENTANZ (vom SAMSTAG aus LICHT, 1983)
Mauricio Kagel – Rigaudon / Ranz des vaches (1982)

June 27th performance is a CD release concert for co-director Richard Carrick’s upcoming CD Stone Guitars to be released by New Focus Recordings in early July. Stone Guitars multi-layered electric guitar music features Carrick (guitar) and Vasko Dukovski (clarinet) alongside special guests Gamin (Korean piri) and Chris Cochrane (guitar).

Link to Facebook Album

June 29th 2014 | 3pm

Tickets: $15 at the door or online: http://issueprojectroom.org
Issue Project Room
22 Boerum Place, Ground floor
Brooklyn, NY 11201
PH: 718-330-0313

The festival culminates on June 29th with a special event for Either/Or’s 10th Birthday: Morton Feldman’s rarely heard 4 1/2 hour epic, For Philip Guston, at Brooklyn’s Issue Project Room. Either/Or has championed Feldman’s music for the past decade and his late trios for flute, piano, and percussion are among the works closest to the heart of the Either/Or repertoire. This will be a rare performance of one of the true masterworks of late 20th century experimentalism, balancing the sheer timbral beauty of this unique ensemble with virtuosic interplay and Feldman’s inimitable sense of scale.

The ninth annual Either/Or Spring Festival is a co-production between Issue Project Room, Whitebox Art Center, and Either/Or. More event details can be found at www.eitherormusic.org and issueprojectroom.org

Check out a sample of the music at : https://soundcloud.com/rcrichardcarrickcom/dawn

Either/Or’s 2013-14 Concert Season is made possible by the generous support of the BMI Foundation, the New York State Council on the Arts (a New York State agency), Musik i Syd/Swedish Arts Council, and by our private donors. Either/Or is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.

Photograph by Julieta Cervantes

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Christopher Knowles

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Limited seating available, first come first served.

 

The Sundance Kid is Beautiful by Christopher Knowles

 

featuring Christopher Knowles
directed by Noah Khoshbin
produced by Andrew Gilchrist
dramaturgy by Lauren DiGiulio
designed by Eugene Tsai
lighting design by John Torres
sound design by Bryce Kretschmann
set construction by Stephen Crawford

costume design by Kevin Santos

Christopher Knowles’s incredibly diverse practice, which includes writing, painting, sculpture, and performance, exhibits a fascination with the aural and visual elements of language. Born in Brooklyn in 1959, Knowles first became widely known in the theatrical community as an early collaborator of Robert Wilson. While still a young teenager, Knowles provided the libretto for Robert Wilson and Philip Glass’s 1976 genre-changing opera Einstein on the Beach.

First exhibited as a solo artist in 1974, Knowles has continued to cultivate a prolific practice that explores themes surrounding communication and sign systems. Knowles’s works employ meticulous geometrical abstractions of text and pattern, and are broadly influential as both objects and performance-art constructions. His work has been exhibited in many solo and group showings internationally, and his poetry has been published in a variety of magazines and journals, including The New Yorker, The Village Voice, and Interview Magazine. His two and three-dimensional works are held in the permanent collections of the Museum of Modern Art, NY, the Brooklyn Museum, the Museum Boymans-van Beuningen, Rotterdam, and numerous other international institutions and private collections. His large typing Untitled (Christopher Knowles, Puevfgbcure Xabjyrf) was featured in MoMA’s 2012 exhibition Ecstatic Alphabets/Heaps of Language. Knowles is represented by Gavin Brown’s enterprise, New York.

The Sundance Kid is Beautiful with Christopher Knowles features the artist performing a selection of rarely-shown works, including The Sundance Kid is Beautiful and texts from Einstein on the Beach in a multimedia environment that incorporates recent poetry and sculpture.

The performance combines elements of a theatrical vocabulary with Knowles’s delicately patterned texts to create a scenography that extends the structured logic observed throughout his two and three-dimensional practice into a performative domain.

This very special event, which makes its New York premiere after opening at the Louvre Museum as part of Living Rooms, is made possible by the support of American Friends of the Louvre and Gavin Brown’s enterprise. It is staged by Noah Khoshbin and produced by Andrew Gilchrist, with dramaturgy by Lauren DiGiulio, design by Eugene Tsai, lighting design by John Torres, sound design by Bryce Kretschmann, costume design by Kevin Santos and set construction by Stephen Crawford.

Developed at The Watermill Center. Commissioned by the Byrd Hoffman Water Mill Foundation, Gavin Brown’s enterprise, New York, in association with The Martin E. Segal Theatre Center at The Graduate Center, CUNY, Change Performing Arts and Dissident Industries, made possible in part from a generous grant from WorldStage, with further support from the American Friends of the Louvre.

Press contact: Andrew Gilchrist at aggilchrist@gmail.com

Dieter Meier – YELLO Video Performances

Whitebox Art Center Dieter Meier

Whitebox Art Center at PERFORMA13
presents

Dieter Meier
YELLO Video Performances
Nov.3-21 | Daily 11-6pm

Dieter Meier in conversation with Anthony Haden-Guest

and ‘Tarock N.B.’ (2013) performed by Nin Brudermann
Nov. 21 | 6pm

Closing reception Nov.21 | 6-8pm

New York City – Since the 1960s Dieter Meier is an active film director, performance artist, conceptual artist and musician. Dieter Meier became known to the broader public as part of the influential Electro Pop duo YELLO, partnering with Boris Blank to produce eighteen albums. YELLO‘s 1985 single ‘Oh Yeah’ is featured on sound tracks to popular films and TV shows such as Ferris Bueller’s Day Off, The Secret to My Suce$s, South Park and The Simpsons. YELLO music videos shown during the 1980s emphatically defined early video performance genre on MTV and other dedicated programming.

“As an experimental filmmaker, I used the camera like a brush, creating moving frescoes. The drama was film as film. Using the same technique, 16mm films became animated stage designs, projected on high reflection scotch screens, in front of which YELLO performed.” Dieter Meier 2003

Out of the creation of these experimental films the first ‘music videos’ emerged. “I started to produce these little films for fun, because the music of Boris Blank was incredibly inspiring” says Dieter Meier. “We had quite a few of these YELLO films ready, and when MTV started to broadcast them, this new format was called music video.” As YELLO did not play live, these videos were the only format with which the band could present itself to an audience.

Dieter Meier with his YELLO video performances not only contributed to the stylistic development of video and film, but also created an ‘image’ culture in new media which made his experimental visuals accessible to a broad audience.

YELLO VIDEO PERFORMANCES, curated by Harald Falckenberg and Tony Guerrero, is a selection of music video performances produced from 1981 to 2009.

Dieter Meier in conversation with Anthony Haden-Guest at the closing reception Nov. 21st 6-8pm.

For more information, email press@whiteboxny.org

Unveiled | Music – Performance – Readings

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Whitebox Art Center will host a multi-media event generated in collaboration with KafLab. Unveiled will combine music, performance, technology and readings. This response to cultural and political complexities in the Middle East— will take place on the closing of Beyond the Cloth: The Kafiye Project.

Music

Starting with acoustic and traditional Arab musical forms of the oud (Hadi Eldebek) and acoustic guitar (Plus Aziz) juxtaposing with an exploration of improvised drawing and experimental sound (Kevork Mourad) raw interaction of words and music hip hop/spoken word/postmodernist African American youth culture (organized and led by Chris Carr).

Performance

Ferrán Martín’s performative use of fire and wood — highlighting destruction as a process inherent to civilization— is an experience of transformation in time informed by rituals native to the Western Mediterranean Basin.

Rosalinda González’s musical performance of an original composition — for electric violin, mattress needles and cymbals— is inspired by female protesters in Egypt. The two-channel video projection ties into iconoclastic suppression of Christianity in the region.

Pasha Radetzki’s HUEWOMANITY in conjunction with the U.N. MOM Committee and its Digitala sub-committee explores the possibility of progress in contemporary children’s rights today — particularly in Syria.

Interactive installation by Igor Molochevski and Ella Averbukh — The Silent Prayer of Magnetic Field, for which Ella will create — in real-time— a canvas of yarn embedded with magnetic components following geometric patterns related to the Kafiye. A real-time analysis of the magnetic field generated by her movements will create musical composition.

Readings

Music and performances will be punctuated with live readings by Anthony Hayden-Guest’s referent to his days covering for the British Press the Civil War in Lebanon in relation to today’s situation. Erum Naqvi will introduce the event while providing a framework extrapolated from her writings on globalization and contemporary aesthetics.

Beyond the Cloth : “The Kafiye Project”

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WHITE BOX presents in collaboration with KAFLAB

 

Beyond the Cloth :

“The Kafiye Project”

 

An exhibition curated by Hala A. Malak

Sept. 6 – Sept. 29, 2013

Opening reception Sept. 8th  | 6 – 8pm

White Box Projects (lower level)

 

The Kafiye Project Event Dates

Sept. 6: VIP Opening + Meet the Artists+ Cake book launch 5.30-8pm

Sept. 29: Closing and Pop up store + Performances 3-7pm

 

Kaflab Social Media

https://www.facebook.com/kaflabfoundation

https://twitter.com/kaflab

www.kaflab.org

The DownTown Ensemble

DownTown Ensemble

“In so many words…”

“This intrepid group of conceptualists cuts no aesthetic corners.” (The Village Voice)

On Wednesday, June 26, at 8pm, the DownTown Ensemble will perform a program emphasizing music featuring the spoken word. In this vein, the poet/musician George Quasha will present a specially created, new piece Axial Transmission, part of his series of Axial Music. Other new word/music works will be premieres by Daniel Goode, Co-Director of the DownTown Ensemble, and Ensemble member, Alex Waterman. Featured performer/reciter will be longtime Columbia County resident, Bill Hellermann. Also on the program will be a new composition by Leyna Marika Papach and a trio by the renowned composer, Jon Gibson.

Featured instrumental performers will be downtown stalwarts Alex Waterman and Daniel Goode, as well as guest artists Leyna Marike Papach and Charles Stein.

George Quasha, artist and poet, explores a principle (axiality/liminality/configuration) in language, sculpture, drawing, video, sound, installation and performance. Most recent of his 17 books are Axial Stones: An Art of Precarious Balance (2006, foreword Carter Ratcliff); An Art of Limina: Gary Hill’s Works and Writings (2009, with Charles Stein and foreword by Lynne Cooke); Verbal Paradise (2011, preverbs) and Scorned Beauty Comes Up From Behind (2011, preverbs). A 2006 Guggenheim Fellow in video art, his art is: Speaking Portraits recorded over 1,000 artists/poets/composers in 11 countries, which is available online at www.quasha.com. He often performs with Gary Hill, Charles Stein, David Arner and John Beaulieu.

Axial Transmission (approx. 10 min.) is a work of “axial music,” which follows a principle of spontaneous composition without reference to precedent or previous patterns. The music is guided instead by a radical following of actual sounds and languages generated. The emerging sound event is presumed to have an intelligent life independent of the musicians and hence may produce an altered state of listening. In addition to sound and language events, the performance has visual components and sometimes includes video or live axial drawing. In this performance poet/artist/musician Charles Stein contributes vocal-axial-abstract language in dialogue with George Quasha’s axial percussion.

Jon Gibson is a composer, multi-wind instrumentalist and visual artist who has been active in new music since the 1960’s. His output includes music for solo instruments, various ensembles, dance, music theater, film and opera. His music has been performed worldwide by his own groups and others, including the S.E.M. Ensemble, DownTown Ensemble, TILT Brass and Ne(x)tworks. He has performed and collaborated with a host of musicians, choreographers and artists, including Merce Cunningham, Nancy Topf, Nina Winthrop, Lucinda Childs, Harold Budd, Thomas Buckner, David Behrman, Petr Kotik, Alvin Curran, Terri Hanlon, and JoAnne Akalaitis. Gibson was involved in the early work of Steve Reich, Terry Riley, LaMonte Young and Philip Glass, and has been a member of the Philip Glass Ensemble since its beginnings. His work Chorales for Relative Calm has been extracted from a larger work, entitled Relative Calm (1981) that was commissioned by the Lucinda Childs Dance Co. as a part of an evening-length work of four pieces.  “Chorales” consists of a series of short, repeated stop-and-go pieces that is reminiscent of the chorale form (hence the title) in three-part harmony, for any combination of pitched instrument.

Daniel Goode, is Co-founder/Director of the DownTown Ensemble, formed in 1983. In 2004 he initiated the Flexible Orchestra, a rethinking of the symphony orchestra. In its 10th season, he has composed six works for the Flexible Orchestra in various orchestrations. A new CD on New World Records will have his work for the orchestra, Annbling. His innovative music for solo clarinet includes Circular Thoughts (Theodore Presser Co.) and Clarinet Songs on the XI label. His music has been in national and international festivals including New Music America and Bang on a Can, Sounds Like Now. His works are available at Frog Peak Music, www.frogpeak.org. His web site is www.danielsgoode.com

Goode’s new work Interpolating is the latest in a series of texts he has composed for Bill Hellermann to recite, with music accompaniment by the DownTown Ensemble. The text narrates the sometimes fantastical events in the life of the Ensemble. Most prominent is a “guerrilla” performance in the ground floor bar of the Trump Soho in the very neighborhood that gave rise to the group, some thirty years ago when Soho was the experimental laboratory of many groups in the arts. The music chosen to go with Bill Hellermann’s narration is taken from the last thirty years of the DownTown Ensemble’s repertoire.

Leyna Marika Papach, when writing wait game, imagined animating the air around an unsolved crime – the charged air moving, talking and waiting for relief. She is a composer, artist and violinist from Japan and the United States. Her work ranges from chamber music to musical theater pieces where text, dance, music and video work together to tell a story. Her work has been performed in Western and Eastern Europe as well as in Japan and the US. As a violinist and improviser, she performs her own work as well as interpretive work with bands and composers (Geraldine Fibbers, JG Thirwell/Monerexia and many others), occasionally performing as an accompanist of Ragas (North-Indian traditional music). She is currently working on a dance-theater piece as a long-term resident artist at the HERE Arts Center, NY. Ms. Papach studied violin at the Prague Academy of Music and has a Masters in Theater from Dasarts, Amsterdam.

Alex Waterman has worked with musicians such as Robert Ashley, Helmut Lachenmann, Marina Rosenfeld, Anthony Coleman, Elliott Sharp, Ned Rothenberg, Gerry Hemingway, Chris Mann, and Alison Knowles. He is publishing a book about the composer Robert Ashley (coming out this summer). Alex participated in the Armory for the 2008 Whitney Biennial writing a new work based upon Herman Melville’s Bartleby the Scrivener. He is currently producing and directing an all-new Spanish language version of Robert Ashley’s classic television opera, Perfect Lives. Waterman teaches at the MFA program at Bard College and will be teaching at the Banff Centre for the Arts in August this year. His writings have been published by Dot Dot Dot, Paregon, FoArm, BOMB and Artforum.

This performance of Beacons of Ancestorship will consist of selections from the first 63 landscapes of the film script. The final script will have closer to one thousand. The script is based on the original 128-page poem by John Barton Wolgamot, in which each page is a landscape composed of the names of writers, artists and librarians. Beacons is a highly subjective rendering of the poem into a film script that brings to life the memory theater that Wolgamot created in which every name in the poem contains all the others. Waterman’s piece has existed in several forms: installation, publication and radio-play. In the present iteration Bill Hellermann narrates a live radio piece with live Foley and musical accompaniment by the Ensemble.

Bill Hellermann, well known as a composer guitarist in the downtown scene in the 70’s through the 90’s, has in the last ten years increasingly appeared as a reciter/narrator of texts in experimental music works. Among his many awards is a Prix de Rome from The American Academy in Rome. As a curator at PS 1, the Clock Tower and the Alternative Museum, he launched some of the first exhibitions of sound sculpture and audio art, and in the process bringing into usage the term “Soundart”.

The DownTown Ensemble was founded in 1983 by its Co-directors, Daniel Goode and William Hellermann, as a response to a perceived need for repertoire customarily under-represented in today’s new music world. “This intrepid group of conceptualists cuts no aesthetic corners” (The Village Voice). The Ensemble has made its reputation performing a number of different types of experimental music, such as: traditionally notated and graphic music scores; sound/text music; ritual/intermedia pieces; performance art and Fluxus; improvisation in a number of traditions; large ensemble scores for variable (unspecified) instrumentation; and interactive computer music. The group regularly features composers performing and directing their music often written expressly for the Ensemble. There have been over 150 such collaborations since the group’s inception. www.soundart.org/dte.html

This program is made possible with public funds from the New York State Council on the Arts, a State Agency and private contributors.