Non-Event and the Goethe-Institut Boston present
JAN ST. WERNER
Cash bar only (no cc)
TYONDAI BRAXTON is an American composer and electronic musician. He has been writing and performing music under his own name and collaboratively under various group titles since the mid 90’s. He studied music composition at The Hartt School of the University of Hartford in West Hartford, Connecticut with Robert Carl, Ingram Marshall and Ken Steen. His music incorporates electronic and modern orchestral elements, ranging from solo pieces to music for large orchestra and electronics. Tyondai is also the former front man of experimental rock band Battles.
JAN ST. WERNER is an artist and electronic musician based in Berlin. Best known as one half of the innovative electronic duo Mouse on Mars, he has also pursued a solo career creating music under his own name and under the pseudonym Lithops. Starting in the mid-1990s, St Werner released a steady stream of influential records both as a solo artist and with Mouse on Mars. During the 2000s, he acted as the artistic director for Amsterdam’s Institute for Electronic Music (STEIM). In 2013, St. Werner released Blaze Colour Burn, the first of a series of experimental releases called Fiepblatter Catalogue, on Thrill Jockey. The second volume, Transcendental Animal Numbers, which used extreme dynamic and frequency shifts to approximate the random-yet-organic quality of field recordings, appeared in 2014. The third album, Felder, was released on April 1 of this year. He is currently a visiting lecturer in the ACT department at MIT.
ISABELLA (formerly known as SITTING ADULT) only recently emerged from her bedroom studio to share her odd, off-beat impressions of acid and techno. As an outlet to breach the static form, she uses a quirky collection of synthesizers and drum machines to explore texture, fluidity and boundaries within sound, building and maintaining an oscillating structure for one to interact with.
PROXEMIA is a multidisciplinary project by José Rivera aimed at investigating spatial awareness, perception, and aural happenings informed by experimental, electroacoustic processes. Various approaches to greater environmental understanding are explored that aim to emphasize the transcendental, sonic qualities of architectural and spatial experience. Geo-notational mapping, field recording, installation, performance, sound design and composition are points of departure for ongoing sound studies. The name "Proxemia" refers to the anthropologist, Edward T. Hall, and his concept of proxemics which describes a spatial awareness of our relational experiences. His insight can serve as the basis for observing and creating a sense of intimacy with(in) our environment.
Presented as part of the Goethe-Institut Boston's New Music from Germany series
ANIMAL HOSPITAL ENSEMBLE
The origins of ANIMAL HOSPITAL ENSEMBLE are rooted in Kevin Micka’s solo moniker "Animal Hospital." Since the winter of 2011, a large ensemble version of his music has been realized with performances at Machines with Magnets, MassArt, the Museum of Fine Arts, Art Beat Somerville, and First Night. Altering traditional concert convention by situating the audience in the center of the room encircled by dozens of guitarists and drummers, Animal Hospital Ensemble performances provide a unique sonic experience for each listener.
"Standing in the middle, it sounded like you were deep inside an angry hornet's nest. Electric guitars ... ringing in primal, circular rhythms…You felt dizzy - but exhilarated." (James Reed, The Boston Globe)
GLENN JONES is a master of American Primitive Guitar, a style invented in the late 1950s by John Fahey, whose traditional fingerpicking techniques and wide-ranging influences were used to create modern original compositions. Jones, who led the post-rock ensemble Cul de Sac, brings his own made-up tunings, the use of custom-crafted partial capos, and a highly skilled picking style on both banjo and guitar, to create personal compositions that are lyrical, emotive and elegant. What sets him apart from the myriad guitarists playing today is his ability to tell stories with the guitar and banjo, and to convey a range of emotions. This process starts with the compositions themselves and carries through to his selection of recording environment and engineer. His latest album, Fleeting, was just released on Thrill Jockey.
KATE VILLAGE, described as a surfer shooting the curl in a wave of feedback, fights her Guild T-50 guitar in the endless battle between human and electronics. She has ridden the texture/noise continuum for the past 25+ years in rock bands and improv/noise configurations. Best known for elephant guitar work alongside her husband Wayne Rogers in Magic Hour, Vermonster, Major Stars, and Heathen Shame; she's also performed with other bunches of males including Stefan Jaworzyn, Luxiourus Bags, Alan Licht, Michio Kurihara, Thurston Moore, Bill Nace, Greg Kelley, Chris Corsano, Rinji Fukuoka, and Paul Flaherty but, sadly, not all at the same time.
Non-Event, the Metropolitan Waterworks Museum, WZBC 90.3 FM, and Together Boston present
FRANCE JOBIN (electronics)
TIM FEENEY (percussion)
Metropolitan Waterworks Museum
2450 Beacon Street
Boston, MA 02467 (map)
Doors: 6:30pm, Performance: 7:00pm
Door: $15 general admission / $10 members/students
FRANCE JOBIN is a sound & installation artist, composer, and curator residing in Montreal, whose audio art reveals a minimalist approach to complex sound environments where analog and digital intersect. Her installations incorporate both musical and visual elements inspired by the architecture of physical spaces. Her work can be "experienced" internationally in various music venues and new technology festivals, such as Mutek, Flussi, FIMAV, SEND + RECEIVE, Club Transmediale, ISEA RUHR 2010, and surface tension tour Japan.
Jobin has solo recordings on labels, such ROOM40, LINE), nvo , Baskaru, and ATA. Her sound art is also part of countless compilation albums. The collaborative album ligne, created with sound artist Tomas Phillips, was released on the ATAK label (JP).
Invited by the AIR Artist-In-Residence program in Krems, she created ind transit, a sound installation set in the MinoritenKirche cloister in Stein (AT). Her two ongoing collaborations with visual artist Cédrick Eymenier (FR) have resulted in EVENT HORIZON, an audio/video piece, and The Answer, a movie, with the soundtrack by France Jobin and Stephan Mathieu. EVENT HORIZON was screened in Paris (2010), at the Venezuela Biennale in Merida state (2010) and was performed live at the Torrance Art Museum in Los Angeles (2010) and ISEA RUHR 2010 (DE). The Answer will be screened at IAC, Villeurbanne, France in March 2016. In 2011, Jobin was one of five international artists to present her sound installation, Entre-Deux, in the new media exhibit Data/Fields, curated by Richard Chartier in the Washington, DC area, along with Ryoji Ikeda, Mark Fell, Caleb Coppock, and Andy Graydon. A new audio visual collaboration with Italian artist Fabio Perletta and xx+xy visuals will debut in the fall 2014 at A x S / ak-sis / FESTIVAL 2014 | CURIOSITY as part of the Synergetica Screening (CA). In November 2015, France was invited to take part in an artist residency at EMPAC which resulted in the creation of a new light sound work entitled 4.35 – R0 – 413, a collaboration with Alena Samoray, lighting designer
TIM FEENEY has performed as an improviser with musicians including the trio Meridian, with percussionists Sarah Hennies and Greg Stuart, pianist Annie Lewandowski, cellist and electronic musician Vic Rawlings, vocalist Ken Ueno, saxophonist Andrew Raffo Dewar, banjo and electronic musician Holland Hopson, and many others. He has toured throughout the United States, including notable performances at Boston’s Institute of Contemporary Art, New York's The Stone, the Center for New Music and Audio Technology at UC-Berkeley, the Stanford Art Museum, Mills College, Princeton University, and Oberlin College. Most recently, he has performed in quartet and large ensembles with composer and saxophonist Anthony Braxton, with whom he recorded for the Tri-Centric Foundation for release in 2016. He has also recorded for Caduc, Accidie, Full Spectrum, Sedimental, homophoni, Audiobot, Soul on Rice, lildiscs, and Brassland/Talitres.
This program is supported in part by a grant from the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council, administrated by the Mayor’s Office of Arts & Culture.
Massachusetts College of Art, Pozen Center
North Hall, Corner of Tetlow and Evans Way
RSVP requested, but not required. All are welcome.
Mobius, Inc. and Non-Event invite friends and colleagues to the first in a series of memorial events, honoring the artist, composer, and arts organizer, Jed Speare, who passed away in early March.
The evening will feature a selection of Jed Speare’s sound compositions and video, spanning the years 1982 to 2016. At the conclusion of the program we invite members of the audience to speak of Jed. His work, as an artist, curator and art space director, touched artists and audiences in many different communities in Boston, Europe, and Asia. We want to celebrate his life and recognize the significant contributions he made to the art world.
JED SPEARE was an artist working in a broad range of media and settings. Born in Boston in 1954, he presented sound, video, performance and multidisciplinary work locally, nationally, and internationally in Belarus, Bulgaria, Canada, the Czech Republic, Croatia, France, Ireland, Italy, the Netherlands, Poland, Sweden, and Taiwan, as well as throughout the United States.
He studied music composition at the Philadelphia Musical Academy from 1972-76 and Acoustic Communication at the Sonic Research Studio of the World Soundscape Project, in Burnaby, British Columbia in 1978, which was an experience that led to his extensive work in field recordings and his advocacy concerning the sound environment. In 1994 he received an MFA from the School of the Museum of Fine Arts/Tufts University, where he studied fine arts, focusing on new media, including video, photography and artist books.
In the eighties, Speare was closely associated with San Francisco industrial culture as the creator of the record album Cable Car Soundscapes (1982) on Smithsonian Folkways Records, for which he received an award from the secretary of the Smithsonian as a Folkways artist in 1998.
He was also a founder of the group, Research Library, who recorded on Subterranean Records. During this time, he was active creating numerous sound art, collaborative, experimental theater, movement, and multidisciplinary performance works in San Francisco, New York, and Amsterdam, where he taught at the Theatreschool Mime Opleiding in 1986 and 1987.
From the early 1980s until his death, Speare worked in collaboration with choreographer/performer Rob List, as well as serving as the international coordinator for Rob List’s Company OZU, which was based in Amsterdam, Netherlands. In the past year he collaborated with List and performing artist Nate Speare, his son, in a series of performances in Boston.
Recent works include a concert in February 2016 at New England Conservatory featuring a composition for violin (performed by Morgan Evans Weiler); a solo concert at Café Fixe produced by nonevent; concerts with the New England Phonographers Union, such as a concert in 2011 for World Listening Day, at the Deer Island Treatment Plant, which incorporated sound collected on site, and a 2013 concert at the Metropolitan Waterworks Museum; and in the ‘Strange Attractor’ concert series presented in 2011 in Cork, Ireland.
In January of 2008, Family Vineyard Records released a special, archival double-CD of his music, Jed Speare: Sound Works, 1982 – 1987, which included several long-form works from that period. His most recent CD release is the first of a trilogy of his work, Jed Speare: The Wounds of Returning - Sound Works II 1974-1983, issued in 2015 by Farpoint Recordings in Ireland. Later this year they will release two more CDs of Speare’s work.
He also worked as an Industrial Hearing Conservationist, giving hearing tests to factory workers, and has created conceptual works about the sound environment, investigating and creating urban “Quiet Zones.”
Speare was a member of the Mobius Artists Group starting in 1995, and served as the Director of Mobius from 1996 to 2004, and again from 2009-2013. He was also Director of Studio Soto, beginning in 2006. He was active as a founding member of the New England Phonographers Union and the New England Forum for Acoustic Ecology.
We would like to thank the Studio for Interrelated Media for sponsoring this event.