We are so pleased to be included in Ugly Duckling Presse | Emergency INDEX, Volume 2: 2012 with the performances from our first curated exhibition, Render Visible, in collaboration with Matthew Walker at Present Company, Brooklyn.
In its second annual volume Emergency INDEX 2012 documents over 200 performance works done all over the world during the year. For more information about the publication please click here.
———–
For the occasion of the release of the book, we are happy to finally present the documentation of the performances from Render Visible – Friday, October 19, 2012 with Shelley Burgon, and Eve Essex & Juan Antonio Olivares, and Wednesday, October 24, 2012 with Nate Wooley and Philip White. Images courtesy of Damian Calvo and Brian Balderson. Video shot by Damian Calvo, edited by Micah Hesse.
Shelley Burgon:
Odd Corners Of My Life, 2000, Ink, graphite and collage on paper, 12 x 18 inches
“‘Odd Corners of My Life’, which is exhibited and will be performed for the first time, was pivotal in my understanding and acceptance of other ways to write music beyond the traditional notation that I had been taught. For the second half of my performance I will improvise, gathering inspiration from a selected group of photographs. For this process I look for an underlying narrative to string the images together and interpret the feelings the images evoke or create a sound that reflects the aural interpretation of the visual.”
Eve Essex and Juan Antonio Olivares:
The End, Light Blue, 2012, Digital print on vellum, wood veneer envelope with vinyl lettering, 10 1/2 x 38 inches print with 11 x 8 1/2 inches envelope, Edition of 10
Drawing from the possibility of translation between image and sound, we created a visual and text-based score inspired by post-production foley techniques. With the consultation of Marko Costanza, a veteran Hollywood foley artist (Brokeback Mountain, Crouching Tiger Hidden Dragon, Ice Age), cinematic sound effects are reinterpreted as a system of musical elements.
Ten performers cycle through a variety of roles ranging from quotidian gestures to highly choreographed musical events. Everyday sounds are meticulously recreated by a small ensemble of instrumentalists; physical actions are dramatically and rhythmically amplified. A series of seemingly senseless events cue reactions within the group, in an evolving and organic accretion of sound.
Philip White
\, 2012, Inkjet on vellum, 8 1/2 x 11 inches
\ is a simple and slow work that starts out high and ends low. Phase modulated sine waves in the ultrasonic range gradually produce sidebands at lower frequencies until reaching the sub sonic range, at which point the higher frequencies are rolled off until only the low tone remains.
Ben Hall & Nate Wooley:
BEN HALL, Nate Wooley 7/24/11 E, 2011, Polyvinyl Chloride, 20 x 23 inches
BEN HALL, Nate Wooley 7/24/11 B, 2011, Polyvinyl Chloride, 20 x 23 inches
Nate made the scores with the idea that his scores could be for any performer, regardless of media. Our conversations revolved around the idea of what a composition asks of a performer and what the recording/remnant/remains of a performance offer. I employed a non-verbal, coded knock system by Black prisoner’s of war in Vietnam which produces letters, and then words, to Nate’s score. The letters were assigned to collections of screen shots from Hollywood films. Then, in terms of the schematic produced, it was mostly a system of input with Nate’s data affecting a replacement set of data, the POW code which acts more as a conversion, and then the screen shots which replace pitch, timbre, etc, with the final image acting as a direct respondent or a soloist if you will. (BH)
“8 Syllables” is the first work in a series of pieces using the International Phonetic Alphabet to set the physical parameters of the trumpet. In a departure from his usual methodology, Wooley explores his familiar vocabulary through “conscious magnification of a certain aspect of technique that is usually operated through muscle memory and physical intuitive gesture”. This work is at the same time a refinement and detailed expansion of how to approach the trumpet. (NW)
First evening of performances with Shelley Burgon, and Eve Essex & Juan Antonio Olivares.
Second evening of performances with Nate Wooley and Philip White.
Below is the score The End, Light Blue, An Essex Olivares production, with Juan Antonio Olivares performed on October 19, 2012 at Present Company, Brooklyn as part of Render Visible. Following is video documentation and sound recording of the performance.
BLONDE ART BOOKS 