Shawn GreenleeFourtissimo: four consecutive nights of music in Fourt PointStudio Soto - Thursday 2/2 8pm & Friday 2/3 8pm flopera house - Saturday 2/4 8pm & Sunday 2/5 2pm
Fourtissimo is sounding soon !!! - four consecutive nights of
music in Fourt Point
Thursday 2/2/11 @ Studio Soto 8pm Mike Bullock - electronics and video solo
Skinny Vinny – Josh Jefferson, Flandrew Fleisenberg
bumpr - new quartet from Providence based quartet with Peter Bussigel, Stephan Moore, Caroline Park and Timothy RovinelliFriday 2/3/11 @ Studio Soto 8pm the Epicureans - Dave Gross, Ryan McGuire, Ernst Karel
Shawn Greenlee – graphic synthesis
Jajuno - James Coleman, Jules Vasylenko, Noell DorseySaturday 2/4/11 @ flopera house (doors at 8) 'flancy dance part deux - a dance, movement and music spectacular' Featured guests from Philadelphia
Megan & Peter Price (dance/ sound from fidget)
Joo Won Park (toys and fun stuff, check it out)
Loren Groenendaal (dance)Local Dancers: Joe Burgio, Callie, Betty Wang, Aisha Cruse, Liz Ronka, Paul & Lynn, Naoko Brown Local Musicians: Lou Cohen, Walter Wright, Akrm Foam, Steve Norton, Michael Rosenstein, Max Lord, Matt Murphy, Josh Jefferson, flandrew fleisenberg Sunday 2/5/11 @ flopera house (doors at 2pm, show 3pm - 7pm) 'a late afternoon drone' Triode
Bowed metal
Katze – Morgan Evens-Weiler, Noell Dorsey
Mobius trio – Derek Hoffend, Tom Plsek, Jed Spearew/ movement from Loren G, Joe B, et al… Studio Soto – 10 Channel Center St. flopper house - 381 Congress St, Boston  l to r: Vic Rawlings, Bill Nace, Jake Meginsky, Brendan MurrayConcert: Jake Meginsky, Bill Nace and Vic Rawlings Trio
and Brendan MurrayFriday, January 27 at 8pm 10 Channel Center St. suggested donation $10 The trio of Jake Meginsky, Bill Nace and Vic Rawlings will begin a weekend of performances Friday January 27 at Studio Soto. 8pm. Free Improvisation. Also appearing will be Brendan Murray. Vic Rawlings (cello/ electronics) employs a still and unstable sound language ranging from visceral excess to extreme austerity. He uses an amplified cello augmented with extensive and invasive preparations of his design, adapted from Baroque-era designs. On this instrument he has developed a vocabulary of extended techniques, approaching near-total abstraction from the cello. As an entirely separate unit, he uses and continually develops an electronic instrument with a highly unstable interface, acoustically realized by an array of exposed speaker elements. Rawlings primarily presents improvised music in the predictable settings and durations. Exceptions to this are installation-length performances and a series of performances in standard music venues that suspend concepts of site, context, and content. Longtime collaborators include Greg Kelley, Liz Tonne, James Coleman, Bhob Rainey, Mike Bullock, Tim Feeney, Bryan Eubanks, Chris Cogburn, Tatsuya Nakatani, Ricardo Arias, Jake Meginsky, Jason Lescalleet, and Laurence Cook. He has collaborated with Ikue Mori, Eddie Prevost, Jaap Blonk, Daniel Carter, Donald Miller, and Andrea Neumann. He has performed the works of Christian Wolff (with the composer), Michael Pisaro (with the composer), Stockhausen, Cage, and Cardew. He has toured extensively and has appeared at: Victoriaville (Quebec), Musique Action (Nancy, France), Vision (NYC), Cha'ak'ab Paaxil (Merida, Mexico), Improvised and Otherwise (NYC), Festival of New Trumpet Music (NYC), and No Idea (Austin, TX). His recordings are on: Grob, RRR, Sedimental, Absurd, Emanem, Intransitive, Boxmedia, Semata, YDLMIER, Cathnor, and Rykodisc, among many others. His writings on music/ instrumentation and contemporary music education have been published in Leonardo Music Journal and Intransitive Magazine.He has authored sound-based music and listening curricula that engage students at all levels in participatory experiences in which they often encounter unfamiliar experiential/ aesthetic territory. He presents in settings ranging from Ivy-League Universities to juvenile detention facilities. This has included an extended residency teaching collective improvisation to Electronic Music Composition to students at Harvard University as well as multiple residencies (ranging from single-day to an 8-week intensive course) in sound and electroacoustic instrument-making in elementary- and secondary-school settings ranging from suburban Massachusetts to a rural village in Yucatan, Mexico. Other visiting artist/ teaching residencies have included Oberlin Conservatory, MIT, UC Berkeley, UC Davis, Princeton University, Dartmouth College, Wesleyan University, and Tinicum Art and Science High School, among many Universities, elementary- and secondary-schools in many states.BILL NACE is an itinerant guitarist in the improv-minstrel mode. His best known projects are X.O.4, Northampton Wools (with Thurston Moore), Vampire Belt (with Chris Corsano), and in duo with Chirs Cooper. He works happily without a net in a variety of settings.---B. ColeyOriginally from Springfield, Massachusetts, JAKE MEGINSKY has collaborated and performed with such artists as Joan Labarbara, Milford Graves, Greg Kelley, Bhob Rainey, Joe McPhee, Vic Rawlings, Sabir Mateen, Tatsuya Nakatani, William Parker, John Blum, Daniel Carter, Paul Flaherty, Arthur Brooks, and Bill Nace. His work in composition, performance and sound installation has been presented in a wide variety of venues, including Vision Festival, The USDAN Gallery, The Center for Performance Research, Joyce SoHo Presents, Dance Theater Workshop, The Stone, Improvised and Otherwise, The No Fun Festival, The Flea Theater, Free 103, Work in the Performance of Improvisation (Bennington College, VT), Arts Center for the Capital Region (Troy, NY), Pioneer Arts Center (Easthampton, MA), The Fisher Center for the Performing Arts (Bard College, NY) and as a guest artist-in-residence at the University of Iowa. In 2006, Jake completed a national performance tour as musical director for Susan Sgorbati's Emergent Improvisation Project, performing at such venues as The Neurosciences Institute (La Jolla, CA), Bennington College (Bennington, VT), Flynn Center for the Performing Arts (Burlington, VT), and the New England Complex Systems Institute (Cambridge, MA).BRENDAN MURRAY is a musician who uses digital processing, percussion, tuned instruments and analog synthesis to create large-scale compositions based in drone, pulse and repetition. Currently active as a solo performer and in numerous collaborative projects with filmmakers, writers and other musicians across the United States. He lives in North Cambridge, MA.  A Variation by Sets
A Variation of Sets by Phill Niblock / Katherine Liberovskaya / Al Margolis (If, Bwana)
live sound and video mix concert
Thursday, January 12th at 8pm
10 Channel Center St., Boston
suggested donation $10
• Part 1: Katherine Liberovskaya, live video and Al Margolis (If, Bwana),music (prerecorded and live sounds) (approx. 30min)- Part 2: Al Margolis (If, Bwana) music (prerecorded and live sounds)(approx. 30min)
- Part 3: Live Video by Katherine Liberovskaya, with
live mixing of audio pieces by Phill Niblock. In this live set, Niblock
mixes between audio pieces based on diverse field recordings which are
very different from his music compositions. Liberovskaya mixes video
with Jitter/Max/MSP from a vast personal database of clips shot over the
past fifteen years.(approx. 40min)
a co-production of Mobius and Studio Soto BIOS:
Phill Niblock is an intermedia artist using music,
film, photography, video and computers. He makes thick, loud drones of
music, filled with microtones of instrumental timbres which generate
many other tones in the performance space. Simultaneously, he presents
films / videos which look at the movement of people working, or computer
driven black and white abstract images floating through time. He was
born in Indiana in 1933. Since the mid-60's he has been making music and
intermedia performances which have been shown at numerous venues around
the world. Since 1985, he has been the director ofthe Experimental
Intermedia Foundation in New York(<http://www.experimentalintermedia.org/>)
where he has been an artist/member since 1968. He is the producer of
Music and Intermedia presentations at EI since 1973 (about 1000
performances) and the curator ofEI's XI Records label. In 1993 was
formed an Experimental Intermedia organization in Gent, Belgium - EI
v.z.w. Gent - to support the artist-in-residence house and installations
there. Phill Niblock's music is available on the XI, Moikai and Touch
labels. A DVD of films and music is available on the Extreme label. www.phillniblock.com www.experimentalintermedia.org Katherine Liberovskaya is a video/media artist
based in Montreal, Canada andNew York City. Involved in experimental
video since the 80s, she has produced numerous videos, video
installations and performances shown aroundthe world. Since 2001 her
work mainly focuses on collaborations with composers/sound artists
mainly in live video+sound performance. Among these:Phill Niblock, Al
Margolis/If,Bwana, Keiko Uenishi (o.blaat), Zanana,Hitoshi Kojo, Tom
Hamilton, David Watson, Anne Wellmer, David First, and many others. In
addition to her art practice she has concurrently always been involved
in the programming and organization of diverse media artevents, notably
with Studio XX and Espace Vidéographe in Montreal, as well as
Experimental Intermedia, NY (Screen Compositions 2005, 2006, 2007,
2008,2009, 2010) and the OptoSonic Tea series at Diapason in NYC. www.liberovskaya.net
Al Margolis has been an activist in the 1980s
American cassette underground through his cassette label Sound of Pig
Music, co-founder of experimental music label Pogus Productions. Active
under the name If, Bwana since 1984, making music that has swung between
fairly spontaneous studio constructions and more
process-oriented composition. Currently Margolis is label manager for
Deep Listening, XI Records, and Mutable Music; plays bass guitar in the
legendary punk/post-punk band Styrenes; and continues his work as If,
Bwana. He has recorded and/or performed with Pauline Oliveros, Ione,
Joan Osborne, Monique Buzzarté, Katherine Liberovskaya, Adam Bohman,
Ellen Christi, Fred Lonberg-Holm, Jane Scarpantoni, Ulrich Krieger,
David First, and Dave Prescott, among others. www.pogus.com www.myspace.com/ifbwana with special thanks to Non-Event, who will be producing a concert of Phill Niblock and his music in April, 2012.
 photo: Benton C Bainbridge Susanna Bolle E V I D E N C E (Stephan Moore and Scott Smallwood)
perform L o s p e r u s
and CAROLINE PARK, laptop
in concert
Thursday, December 15th 8pm
10 Channel Center St.
suggested donation $10
Evidence is a collaboration between sound artists Stephan Moore and Scott Smallwood, with activities ranging from studio compositions and live improvisations to sound installations, street performances, and numerous collaborations with other musicians, choreographers, and video artists. Since 2001, they have developed a distinctive language of deeply layered sound, using field recordings of natural and industrial sounds as a primary source of inspiration and sonic material. Recent projects include the participatory performance/installation "Receiver", which broadcasts multi-channel compositions on several closely-tuned FM frequencies to a radio-wielding audience, and "Losperus", a performance of unstable sound sculptures, fashioned improvisationally from discarded household items.
Losperus is a performance piece by Evidence (Stephan Moore + Scott Smallwood) that uses small microphones, resonant objects and commonplace motorized devices to create a dense, evolving texture of amplified sound. Built by humans into spontaneous kinetic sculptures that swiftly form, interact, and disintegrate, the true performers are the objects themselves, speaking and moving with a volition that eerily emulates animal awareness.
Caroline Park is a composer, performer and artist based in Providence, RI. She primarily uses minimal material to create complex fields of sound. Treating sound as object, concept, and as durational / ephemeral material, she is interested in human perceptions of (sonic) memory and the ways in which memory can be manipulated, fragmented, or re-rendered. She is drawn to the richness of static performance and its resultant, undefined potential, coming from a "less is more" aesthetic; however, she allows for organic elements to filter in throughout the process. Her current work explores non-narrative text, process as product, and memory / illusion.
She has been involved with ((audience)), Boston Center for the Arts, Non-Event, Pulitzer Foundation for the Arts, Saint Louis Symphony, Callithumpian Consort, Together: New England Electronic Music Festival, Musicacoustica Beijing, SICPP (Summer Institute of Contemporary Performance Practice), Boston Microtonal Society, Boston CyberArts, and the Los Angeles Children's Chorus, with performances in the U.S., U.K. and in China.
Park received B.M. and M.M. degrees in composition at the New England Conservatory and is currently pursuing her Ph.D. in Computer Music and Multimedia at Brown University (MEME@Brown). More information at blanksound.org.
 Audain/Graham/Hayleck/Moore Quartet
Betsey Biggs performs "Remember/Wake Up"Peter Whincop, Forrest Larson, Jed Speare TrioSaturday, December 3, 201110 Channel Center St., Boston8pm $10 suggested donationbetsey biggs: Betsey
Biggs is a Brooklyn and Providence-based composer and artist whose
practice in music, sound, video and installation aims to explore the
resonance between sound and image, to actively engage the audience, and
to explore the relationships among sound, memory, and geography. Her
work has been described by The New Yorker as "psychologically complex,
exposing how we orient ourselves with our ears." She has collaborated
with musicians and artists including Margaret Lancaster, Evidence, The
Now Ensemble, The BSC, So Percussion, Tarab Cello Ensemble, the Nash
Ensemble and filmmakers Jennie Livingston and Amy Harrison. Her work
has been seen and heard at venues as disparate as ISSUE Project Room,
Abrons Arts Center, the Conflux Festival, MASSMoCA, Sundance Film
Festival, and on the streets of Oakland, Red Hook, Williamsburg and the
Gowanus. Biggs holds a Ph.D. in Music Composition from Princeton
University and currently teaches a course about art and place at Brown
University.
andy hayleck: Andy Hayleck is an electro-acoustic musician who lives in Baltimore, Maryland. He uses a Paia modular synthesizer and microphones in improvisations and compositions, utilizing the resonance characteristics of a variety of materials. Recordings include: "Two Gong/Wire Pieces" (Ehse), "Gong/Wire" (Earlids), "Various Recordings Involving Ice" (HereSee), and "The Disappearing Floor" (Recorded).
carver audain: Carver
Audain (b 1981) is a sound artist who focuses on creating immersive
sonic environments. He produces work comprised of his own instrumental
and environmental recordings, resulting in an array of textured fields.
In live performances he integrates a variety of pre-recorded source
material for the use of spontaneous arrangement, live sculpting, and
sampling. He has presented works at venues such as The Red Room,
Zebulon, Pyramid Atlantic, Mirkwood Estates, The Bank, Studio Soto, and
ISSUE Project Room, and has performed as a part of the Sonic Circuits
Festival, and the Floating Points Festival. In 2009, he was the
recipient of ISSUE Project Room's Emerging Composer's Commission grant
care of the Greenwall Foundation. He lives and works in Brooklyn, New York.
forbes graham: I am a performer and a composer of music and sound. My main instruments are trumpet and laptop computer. I was born in Silver Spring, MD, grew up there and currently reside in the suburbs of Boston. I have been play ing music for almost 24 years. I explore a variety of themes in my work including numerology, water, poetry, rhythm, and noise. Festival appearances include High Zero, Festival of New Trumpet, Vision Festival, and The Wire’s Adventures in Modern Music.
stephan moore: Stephan Moore is a composer, performer, audio artist, sound designer and curator based in Brooklyn and Providence. His creative work currently manifests as electronic studio compositions, improvised solo performances, sound installation works, scores and sound designs for collaborative performance pieces, and sound designs for unusual circumstances. Evidence, his long-standing project with Scott Smallwood, has performed widely and released several recordings over the past decade. He has created custom music software for a number of composers and artists, and has taught workshops and numerous college-level courses in composition, programming, sound art and electronic music. He curates the annual Floating Points Festival at Issue Project Room in Brooklyn, where he also serves on the Art Advisory Board. From late 2004 to mid-2010, he performed over 250 concerts with the Merce Cunningham Dance Company, serving as their sound engineer and music coordinator, and as a touring musician.
peter whincop:
Peter Whicop is from Napier, New Zealand. He currently teaches
Electronic Music Composition at MIT, and received degrees in Music
Theory and Composition from University of Otago and Harvard University.
Formerly a pianist, he now performs under the name anonymous-∞, also a
nexus website for free dissemination of his work (under construction).
He also paints and draws, incorporating the processes into video work,
which ultimately is a project in making “documentals.” These document
the fringes of “acceptable sanity”—though the project itself is quite
conservative, lacking the flights of fancy that it documents.
forrest larson:
Composer, violist and electronic musician Forrest Larson has composed
both instrumental and electronic music. His work includes both strictly
composed music and live improvised electronic music. Instrumental
works include music for string orchestra, wind ensemble as well as
pieces for unaccompanied violin, viola and cello. He has had a
life-long love of old pre-digital analog electronic instruments, and of
collecting “found sounds” from both natural as well as urban
landscapes. Analog devices such as oscillators, stomp box filters and
shortwave radios are of particular interest. Some of his works combine
electronic sounds and live acoustic instruments such as cello and
tuba. Other work includes electronic scores for abstract films and for
solo dancer. His music has been performed locally at various venues in
the Boston area such as Mobius, MIT, Brandeis University, and at the
experimental music series CTRL+ALT+REPEAT in Providence, RI.
Other performances have been at Carnegie-Mellon University, Washington
and Jefferson University (PA), Mansfield University (PA), Southern
Oregon University, in Ithaca NY and in Iceland. As a violist, he has
played in the New England Philharmonic, Boston Chamber Ensemble, and
other chamber groups. He also played violin in the Commonwealth
Vintage Dance Orchestra, performed traditional Scottish fiddle music
and was the musician for the Middlesex Morris Dancers.
jed speare: Jed Speare is an artist working in a
variety of media and settings. He has presented sound, video,
performance and multidisciplinary work, locally, nationally, and
internationally in Canada, Ireland, Poland, Belarus, Croatia, Bulgaria,
Czech Republic, France, Italy, Sweden, Netherlands, and Taiwan. In 1978
he studied at the Sonic Research Studio of the World Soundscape
Project, in Burnaby, British Columbia, an experience that led to his
extensive work in field recordings and his advocacy about the sound
environment.
He has been associated with
San Francisco industrial culture as the creator of the record album
Cable Car Soundscapes (1982) on Smithsonian Folkways Records and as a founder of the group, Research Library, who performed with Joan Jonas and recorded on
Subterranean Records. During this time, he was also active creating numerous
sound, 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. The double album, Sound Works 1982 - 1987, (2008) on Family
Vineyard Records, includes several longer-form works from that period. In 2008, Wire Magazine called him “a pioneer of multimedia
presentation," and since then has been performing in solo and group contexts. He has been a member of the Mobius Artists Group since 1995 and is the Director of Mobius and Studio Soto.
 Grizzler (big band) Saturday, November 5th 10 Channel Center St 8pm suggested donation $5-$10 two sets by grizzler
plus sets by groups from the band, including:
duck that
we love you morgan
2lous
rosenstein/rawlings/sawyer
empty house cooperative
  Sarah Baumert of Pop-Up Collective Participants' dinner
Friday October 14 Preview, 4-7pm
Saturday and Sunday October 15 and 16, 11am-6pm
Public reception: Sunday, October 16 from 6:00-8:00
Grounded by artifacts, works, and documentation from the 2011 Bumpkin Island Art Encampment, this exhibition is a forum for artists to
synthesize their Bumpkin experience with their current practices.
Artists present recontextualized work from Bumpkin, images and video of
their experience, as well as new work that builds upon their work from
Bumpkin. This exhibition is curated by Jed Speare and Carolyn Lewenberg.
2011 Artists:
Axiom group:
Heidi Kayser
Alexander Reben
Georgina Lewis
Meghan Hickson
Sarah Rushford
Memory Vessels:
Kate Jellinghaus, teaching artist with Esther Tutella and students:
Sasha Stone
Haley Smith
Autumn Yu
Allison Black
Isabelle Higgins
Rafaela Lowe
Packrat:
Dirk Adams
Jesse Kaminsky
Helen White
Pop-Up Collective:
Sarah Baumert
Meg Rotzel
Jenn Schmidt
Traubensaft:
Uta Hinrichs
Zannah Marsh
The The Bumpkin Island Art Encampment is a five-day public art experience in the Boston Harbor Islands national park area. During their
residency, artists establish a home camp/village, create and install
and/or perform work that responds to the island environment, and engage
with the general public during and after their art making process.
The Bumpkin Island Art Encampment is produced through a partnership of
the Berwick Research Institute, Mobius and Studio Soto, the Boston
Harbor Island Alliance, the Massachusetts Department of Conservation
and Recreation, and the National Park Service.
The Bumpkin Island Art Encampment is curated by Megan Dickerson, Carolyn Lewenberg and Jed Speare.
TAYLOR DUPREE AND MARCUS FISHER (12k)
PETER WHINCOPMonday, October 3, 20118PM suggested donation $10Simon Scott (Miasmah / Sonic Pieces / Immune)Simon Scott is an electroacoustic composer and sound artist based in Cambridge, England. Drawing from his shoegaze past and a curiosity for the ecology of sounds, he crafts expansive, haunted soundscapes navigated by fragments of songs and faraway melodies to create an ephemeral sonic journey. His second full length LP for Miasmah, following up on the critically acclaimed ‘Navigare’ is due early October. Besides his solo work, Simon has also released with the band Seavault, co-produced and remixed artists including The Sight Below, ON and Jasper TX and produced sound designs for a number of installations, short films and television stations. "Scott is particularly adept at layering coolly shimmering
guitars and dark churning currents of noise into something vast". "A
haunting aspect of 'Navigare' is how it seems to contain traces of
tunes that stand out like half-forgotten relics of the past" (The Wire
- Dec'09).”A full stream ‘Navigare’ and an excerpts from the forthcoming album ‘Bunny’ are available here: http://soundcloud.com/miasmah/sets/simon-scott-navigare/http://soundcloud.com/miasmah/radianceshttp://soundcloud.com/miasmah/gammahttp://simonscott.org/Taylor Deupree and Marcus Fischer (12K)A long-standing experimental electronic composer and founder of the 12k label, Taylor Deupree and Portland, OR-based musician and multimedia artist Marcus Fischer will be performing as a duo. Using a “network of guitar pedals and instruments ranging from analog synthesizers to sticks collected while photographing” the two will be playing the sonic component of their music and photography collaboration due to be released on 12k. Textural and quiet, their music feels like the exploration of a landscape: spacious, contemplative and scattered with details. A preview is available here: http://soundcloud.com/12k/deupree-fischer-excerptTaylor Deupree (from Shoals - 12k, 2010) http://soundcloud.com/12k/a-fading-foundMarcus Fischer (from Monocoastal - 12k, 2010) http://soundcloud.com/mapmap/cascadia-obscurahttp://www.12k.com/index.php/site/artists/taylor_deupree/http://www.12k.com/index.php/site/artists/marcus_fischer/Peter Whincop (MIT)Peter Whincop is from Napier, New Zealand. He currently teaches Electronic Music Composition at MIT, and received degrees in Music Theory and Composition from University of Otago and Harvard University. Formerly a pianist, he now performs under the name anonymous-∞, also a nexus website for free dissemination of his work (under construction). He also paints and draws, incorporating the processes into video work, which ultimately is a project in making “documentals.” These document the fringes of “acceptable sanity”—though the project itself is quite conservative, lacking the flights of fancy that it documents. http://www.youtube.com/watch?v=X5BKxMWPPQIhttp://www.youtube.com/watch?v=FhQCNYWqzfM JASON KAHN + BRYAN EUBANKS
with Katarina Miljkovic
Wednesday, September 14, 2011 8 p.m./$15
Zürich based sound artist JASON KAHN's
work includes sound installation, performance and composition. He was
born in New York in 1960, grew up in Los Angeles and relocated to
Europe in 1990. Kahn performs both solo and in collaborations, using
percussion, analog synthesizer or computer in different combinations.
He composes for electronics, acoustic instruments and environmental
recordings. Kahn has performed throughout Europe, North and South
America, Japan, Mexico, Korea, Israel, Turkey, Russia, Lebanon, Egypt,
Hong Kong, New Zealand and Australia. This will be his fourth
performance with Non-Event.
BRYAN EUBANKS
is focused on collaborative improvisation, solo musical projects, and
sound installations. He has performed his work in live settings across
the US, Europe, Japan, and Korea. Originally interested in the
saxophone, his work has expanded to include computer music and
instruments of his own design that incorporate open-circuits, samplers,
radio transmission, and other electronics. He has been an active
musician and organizer in Portland, Oregon and New York City, and
currently lives and works in Saint Petersburg, Florida.
Composer KATARINA MILJKOVIC
investigates interaction between science, music and nature through
collaborative musical performance. This interest led her to the
mathematician Benoit Mandelbrot's essay "The Fractal Geometry of
Nature" and self-similar complex structures resulting in the cycle,
Forest, a dreamy piece, along the lines of Feldman or Brown. Entirely
captivating." (Signal to Noise). Her generative music has been
described as "a refined, hypnotic dream" (Danas), "a work of musical
and visual slow-motion with only a few delicately elaborated musical
metaphors" (Radio Belgrade), "an ambient tone poem... that moved
hypnotically through the sonic frame" (Lucid Culture). Miljkovic has
been on the faculty at the New England Conservatory of Music since 1996
and is the recipient of the Louis Krasner and Lawrence Lesser award for
excellence in teaching.
This program is supported in part by Pro Helvetia
 NEW ENGLAND PHONOGRAPHERS UNIONperforming their Deer Island Water Treatment Plant
recordings in 4-channel soundRick Breault, Michael Bullock, Ernst Karel, Kara Oehler, Jed SpeareSaturday, September 10, 2011 8pm
10 Channel Center St.
suggested donation $10Following their four-channel concert on World Listening Day (July 18) at the historic former Pump Station at the Deer Island Sewage Treatment Plant in July, which was co-presented by the Massachusetts Water and Resources Authority (MWRA) and Mobius, the New England Phonographers Union bring their recordings to the mainland to present to a Boston audience for an immersive concert in a large former industrial space in Fort Point currently being used by Studio Soto. Their recordings were made over several hours on multiple days throughout the vast Sewage Treatment Plant itself (on which, see http://ludb.clui.org/ex/i/MA3134/http://ludb.clui.org/ex/i/MA3134/ and http://www.mwra.state.ma.us/03sewer/html/sewditp.htm) by the Phonographers Union: Rick Breault, Mike Bullock, Ernst Karel, Kara Oehler, and Jed Speare. In live performance, the sounds are re-presented, completely unprocessed but recombined and mixed improvisationally, through a four-channel array where each side of the square is a stereo field, resulting in a unique kind of quadruple-stereo spatialization for the audience (and performers) sited within that array. For the original concert, video reporter Scott LaPierre did a piece for the Boston Globe, including sounds and images from the Sewage Treatment Plant, interviews with the phonographers and with MWRA officials on-site, and footage from the concert: http://www.youtube.com/watch?v=RyGAikK45PE
  BUMPKIN FORWARD
Bumpkin Forward Exhibition April 1-10
Public opening reception: this Saturday April 2 6:00-9:00
Gallery hours: Friday through Sunday, 2 to 5 p.m.
Location: Mobius, 725 Harrison Ave, South End 02118An Exhibition of the Bumpkin Island Art Encampment's 2010 Projects & Artists
works, traces, and recomposition The 2010 Bumpkin Island Art Encampment artists, curators and project
fellows invite you to visit our public presentation of last year's
projects at Mobius! The Bumpkin book documenting all 4 years of the
Art Encampment will be available to look at and purchase. The new RFP
for the 2011 Art Encampment will be available at the exhibition as
well.
A performance by Sara June and Max Lord, and a talk by Cara Brostrom
will take place at the opening reception on Saturday April 2,
6:00-9:00.
Grounded by artifacts, works, and documentation from the 2010 Bumpkin
Island Art Encampment, this exhibition is a forum for artists to
synthesize their Bumpkin experience with their current practices.
Artists present recontextualized work from Bumpkin, images and video
of their experience, as well as new work that builds upon their work
from Bumpkin.
ARTISTS:
Marisa DiPaola
Camilo Alvarez (Jessica Gath, William Pope.L, Antoniadis & Stone,
Cyrille Conan & Douglas Weathersby)
Zsuzsanna Szegedi
Mike Szegedi
Maria Molteini
Shalini Patel
Ali Reid
Sara June
Nathan Andary
Mark Davis
Cara Brostrom
Sharon Dunn
David Tames
Kalmia Strong
For more information on artists and the event: www.mobius.org
The Bumpkin Island Art Encampment is a five-day public art experience
in the Boston Harbor Islands national park area. During their
residency, artists establish a home camp/village, create and install
and/or perform work that responds to the island environment, and
engage with the general public during and after their art making
process.
The project is produced through a unique partnership of the Berwick
Research Institute, Mobius and Studio Soto, the Boston Harbor Island
Alliance, the Massachusetts Department of Conservation and Recreation,
and the National Park Service.
The Bumpkin Island Art Encampment is curated by Megan Dickerson,
Carolyn Lewenberg and Jed Speare.
For more information about the project, contact bumpkinlandoffice@gmail.com.  Audain, Graham, Hayleck, and Moore in Concert
Friday January 28, 2011at Art@12 12 Farnsworth St. Boston 8pmadmission free / donations suggestedCarver Audain (b 1981) is a sound artist who focuses on creating immersive sonic environments. He produces work comprised of pre-recorded instrumental and environmental recordings, resulting in an array of textured fields. In live performances he integrates a variety of pre-recorded source material as well as sounds of the physical space for the use of spontaneous arrangement, live sculpting, and sampling. He has presented works at venues such as The Red Room, Zebulon, Pyramid Atlantic, and ISSUE Project Room, and has performed as a part of the Sonic Circuits Festival, and the Floating Points Festival. In 2009, he was the recipient of ISSUE Project Room's Emerging Composer's Commission grant care of the Greenwall Foundation. He lives and works in Brooklyn, New York. Forbes Graham is a performer and a composer of music and sound. His main instruments are trumpet and laptop computer. He was born in Silver Spring, MD, grew up there and currently resides in the suburbs of Boston. He has been playing music for almost 24 years and explores a variety of themes in his work including numerology, water, poetry, rhythm, and noise. Festival appearances include High Zero, Festival of New Trumpet, Vision Festival, and The Wire’s Adventures in Modern Music. Andy Hayleck is an electro-acoustic musician who lives in Baltimore, Maryland. He uses a Paia modular synthesizer and microphones in improvisations and compositions, utilizing the resonance characteristics of a variety of materials. Recordings include: "Two Gong/Wire Pieces" (Ehse), "Gong/Wire" (Earlids), "Various Recordings Involving Ice" (HereSee), and "The Disappearing Floor" (Recorded). Stephan Moore is a composer, performer, audio artist, sound designer and curator based in Brooklyn and Providence. His creative work currently manifests as electronic studio compositions, improvised solo performances, sound installation works, scores and sound designs for collaborative performance pieces, and sound designs for unusual circumstances. Evidence, his long-standing project with Scott Smallwood, has performed widely and released several recordings over the past decade. He has created custom music software for a number of composers and artists, and has taught workshops and numerous college-level courses in composition, programming, sound art and electronic music. He curates the annual Floating Points Festival at Issue Project Room in Brooklyn, where he also serves on the Art Advisory Board. From late 2004 to mid-2010, he performed over 250 concerts with the Merce Cunningham Dance Company, serving as their sound engineer and music coordinator, and as a touring musician.  The 2010 Bumpkin Island Art Encampment will open to the public July 31 - August 1. For
five days, eight artist groups will take temporary ownership of eight
plots of land on Bumpkin Island. As "homesteaders," they will build
some kind of home on the land, live on the land for five days, and
"improve" the land via a site-specific, temporary performance or
installation.
2010 PROJECTS & ARTISTS
Octopus' Garden, Marisa DiPaola
Inspired by the Hawaiian creation myth and an Eyak story, "The Woman
and the Octopus," DiPaola will act as an octopus homesteader and knit
found materials into a floating shoreline shelter and aquatic garden,
complete with a kelp bed, urchin cushions, and other domestic
amenities.
The Great Bumpkin Hunt, Ali Reid
Building on island folklore that "Bumpkins" are "little guys with
glowing eyes," Reid and a cast of intergenerational family members will
lead daily interpretive tours exploring the mysterious species' rise
and decline.
Tidal, Ellen Godena and Nathan Andary
Tidal is a series of body-land sculptures that mimic tidal movement
over Bumpkin's "gut"-a land bridge to Hull that emerges at low tide. As
Godena and Andary's movements shift pebbles and stones, piles of rock
will accumulate and dissipate, appearing as rolling ‘waves' in the
direction of their movements.
No Place to Go or Won't You Please Walk With Me, Cara Brostrom
Brostrom invites visitors to walk with her as she loops Bumpkin's 20
acres, walking the island clockwise some 12 miles per day. Traveling a
great distance without going anywhere, she will mark her progress by
adding one rock to a cairn each time she passes her starting point.
Bumpkin Sky-Land, Mark Davis
Davis will delve into the mystical realm of "sky-land"-alluded to in
a WWI-era ballad about Bumpkin-as he summons the island's aerial genii loci to manifest themselves in the form of floating lattice structures and shoreline fire-glyphs.
4-D Map: Portraits of Stones & Plants Found Along the Water's Edge, Sharon Dunn
Stones and monumental portraits, positioned in a circle as
"offerings," will map elements of Bumpkin's coastal ecosystem, tidal
life zones, foliage and geology. Visitors will access digital photos
and an online journal by mobile device.
Encampment within the Encampment, Camilo Alvarez, Shalini Patel, Mike Szegedi, Szussanah Szegedi, & Maria Molteni
Five artists will feed and support each other through a micro-encampment of nine distinct projects:
- Camilo Alvarez, preparator, will install or perform works by
four artists: Antoniadis & Stone, Jessica Gath, Douglas Weathersby,
Cyrille Conan, Seth West and William Pope.L.
- Mike Szegedi, engineer, will prepare a bicycle-mounted video
confession booth that will travel the island collecting inhabitants'
innermost feelings.
- Maria Molteni, performer, will recreate an American myth and
cryptozoological spectacle through the creation and inflation of a 20 -
30 foot "Montauk Monster."
- Shalini Patel, practitioner, will explore ritual and
engagement through two interrelated projects: the Bumpkin Island Tea
Party, in which "Identitea Stalls" will provide settings for visitors
to converse, drink tea and read Tarot cards, and Rain Free, the
performance of creating the tie-dyed "Identitea Stalls" out of muslin,
natural dyes, and island resources.
- Zsuzsanna Szegedi, painter, will adapt to rising tides as
she performs a drawing installation, suggesting outlanders' struggles
in new places. Process will be captured with time-lapse video. Visitors
are encouraged to participate.
VISIT INFORMATION
Getting There
The Bumpkin Island Art Encampment is free to all visitors. However,
you have to get to the island first! Ferry tickets are $14 for adults,
$10 for seniors, and $8 for kids. The inter-island shuttle to Bumpkin
costs an additional $3. For a full schedule of ferry arrivals and
departures and other tips on planning your visit, go to the Boston
Harbor Islands website:
http://www.bostonharborislands.org/mainland-piers
In addition to the public ferry, a special Art Encampment boat
shuttle will deliver visitors directly to the island. The boat leaves
Christopher Columbus park at 1pm on Saturday, July 31 and Sunday,
August 1, and returns to Boston both days at 7pm. Tickets are only $15
per person and WILL sell out. Purchase advance tickets now at:
http://www.brownpapertickets.com/event/117637
Curators and Partner Organizations The Bumpkin Island Art Encampment is curated by Megan Dickerson, Carolyn Lewenberg and Jed Speare. The Art Encampment grew out of the Berwick Research Institute's Special Projects Incubator program, and is co-presented by Studio Soto, a space for ideas in Fort Point; Mobius, Boston's artist-run center for experimental work in all media; the Boston Harbor Island Alliance, a non-profit in support of the Boston Harbor Islands; and the Massachusetts Department of Conservation and Recreation.  CONCERT WITH KAFFE MATTHEWS (LONDON)
AND DEREK HOFFEND (BOSTON)
THURSDAY JULY 22nd 7:30 pmOn Thursday, July 22nd at 7:30 pm, Studio Soto presents the dynamic London sound artist Kaffe Matthews in a special Boston appearance. Joining her on the bill will be Boston's Derek Hoffend. Both artists share an interest in creating autonomous sound environments and special frequencies through sonic furniture, though this performance presents their concert works' modalities. The concert is being held at and is produced in collaboration with the Fort Point Arts Community venue Art@12, on 12 Farnsworth St., Boston. Admission is free with a suggested donation of $10.
Kaffe Matthews - making architectural music to feel through your body as well as your ears.- was born in Essex, England and lives and works in London. Since 1990 she has been making and performing new electro-acoustic music worldwide with a variety of things and places such as violin, theremin, Scottish weather, desert stretched wires, NASA scientists, melting ice in Quebec and the BBC Scottish symphony orchestra. Currently she is researching 3D composition through Hammerhead sharks in Galapagos and Atlantic salmon in Northumberland rivers. Acknowledged as a pioneer in the field of electronic improvisation and live composition, Kaffe has released 6 solo CD’s on the label Annette Works. Often collaborating, her present projects are with sonic furniture project ‘music for bodies’ and climate change activist fan band The Gluts with Café Carbon. http://annetteworks.com/http://www.kaffematthews.net/Derek Hoffend is a visual and audio artist who creates sound-sculpture installations and electro-acoustic music. Installations examine intersections between sound, objects, body, and environment, combining electronic, acoustic, recorded, and self-generative audio processes with found and constructed objects and spaces. Live performances traverse immersive, evolving, textural soundscapes, combining composed and improvised digital and analog processes for computer, hand-made circuits, and modified electronic and acoustic instruments. Recent work has explored immersive audio, multi-channel arrangements and sculptural forms (4 to 12 speakers), tactile interfaces, viewer participation, resonant objects and spaces, and architecture and site as instrument. http://derekhoffend.com/ WORLD LISTENING DAY CONCERT SUNDAY JULY 18 7 pm
NEW ENGLAND PHONOGRAPHERS UNION
On
World Listening Day, Sunday, July 18th at 7pm, The New England Phonographers
Union will be presenting a concert at Art@12, on 12 Farnsworth St., a venue of
the Fort Point Arts Community in the Fort Point section of Boston. The concert
is sponsored by Studio Soto, a space for ideas, and is being produced in
collaboration with the Fort Point Arts Community and the Boston Fire Museum.
Members of the New England Phonographers Union participating in this event are
Rick Breault, Derek Hoffend, Ernst Karel, and Jed Speare.
The
concert begins at 7pm and there is no admission charge, with a suggested
donation of $10.
According
to the World Listening Project, the purposes of World Listening Day are:
•
to celebrate the practice of listening as it relates to the world around us,
environmental awareness, and acoustic ecology;
•
to raise awareness about issues related to the World Soundscape Project, World
Listening Project, World Forum for Acoustic Ecology, and individual and group
efforts to creatively explore phonography;
•
and to design and implement educational initiatives which explore these
concepts and practices.
World
Listening Day is being organized by the World Listening Project, in partnership
with the Midwest Society for Acoustic Ecology. July 18 was chosen as the date
for World Listening Day because it is the birthday of the Canadian composer R.
Murray Schafer, who is one of the founders of the Acoustic Ecology movement.
The World Soundscape Project, which Schafer directed, is an important
organization which has inspired a lot of activity in this field, and his book
The Soundscape: Our Sonic Environment and the Tuning of the World helped to
define many of the terms and background behind the acoustic ecology movement.
There
are dozens of organizations and individuals participating in World Listening
Day worldwide. For more information go to
http://www.worldlisteningproject.org/?p=667
http://nephono.org/
http://www.silenceopensdoors.com/2010/04/21/new-england-phonographers-union-micd-3/
 special event: from Amsterdam
MOVEMENT PERFORMANCE AND DRAMATURGY
– AN
INTRODUCTORY WORKSHOP WITH ROB LIST
Saturday and Sunday, March 13th and 14th;
10 - 6pm $150
Studio Soto at Thompson Design Group
35 Channel Center St., corner
Studio Soto is pleased to host the return to Boston of the award-winning American choreographer and performer based in Holland, Rob List, following his performance here last April. He will conduct a special two-day workshop on performance, based on his unique approach to movement and the pedagogical tools he uses to develop composition and illuminate the performer's presence. For more information about his work and methods, read an article on his website here; view his videos of performance workshop "models" here; and follow his blog, Mirror to the Flower, here. For more information contact Jed Speare at jed@studiosoto.com or call 617. 426. 7686.
about the workshop:
One of the major challenges for the
performing artist, no matter what form or style of dance, mime or theater, is
actually ‘being in the moment’ when performing. How does one avoid getting ahead of oneself, acting only from memory, being
overly self-conscious or self-analyzing when moving or acting onstage?
In this workshop we will look at some basic principles and techniques to help
overcome these difficulties. We will begin each day’s work with specific
drawing exercises to stimulate concentration, bringing the eye in sync with the
act of drawing – without engaging memory, planning or self-judgment. We will
then create a simple movement phrase to use as a model in order to successively
examine different techniques for bringing the performing mind and body
together. We will deal with topics like no repetition, no symmetry, no simultaneity,
precarious balance, and inhalation as inspiration.
As well throughout the workshop we
will continuously examine the ideologies of movement, choreography and the
dramaturgies of performance, and how these can affect meaning in theater and
dance. We will attempt to collapse the distance between viewer and performer,
to see how interpretation and judgment can be subverted in a search for a new
and unexpected way of moving and being onstage. The goal is a continuously open
and fresh approach to the act of performance.
This is an open workshop for
dancers, actors, directors, performance artists, architects, visual artists, composers, teachers and everyone who is
interested in how the body communicates meaning in movement, gesture and
posture. No previous qualifications or experience needed.
Rob List is an American
choreographer based in Amsterdam, who has developed a highly unique stage language
that seeks to subvert meaning and create a contemporary and individual role for
dance outside the modern and post-modern tradition. For the past twenty years
he has performed and taught his work in Europe, Brazil and the US. He has won
numerous awards, and worked with many young dancers and performers in his
company OZU. In 2007 he was movement advisor to Anna Teresa De Keersmaeker in
the making of her solo ‘Keeping Still.’ In June he will be in a special month
long residence at Parkers Box Gallery in New York, presenting new and old works
with his international company.
More information about Rob List and
his work on his website.ozu.nl
and his Studio Soto artists page
  Nora Valdez Bart Uchida October Exhibitions at Studio Soto :r e - m e r g e n c e installations by Nora Valdez and Bart Uchida
October 16th through 31st
Gallery hours Fri.4-7; Sat. Sun. 2-5
And in conjunction with the 30th Annual Fort Point Open Studios
Friday October 16th – Sunday October 18th
Fri. 4-7; Sat and Sun. 11-6
Reception Sunday October 18th 6pm
Studio Soto at Thompson Design Group 35 Channel Center St., corner Fort Point, Boston
Nora Valdez and Bart Uchida have been active in Boston for many
years as sculptors, installation artists and in creating community-based public
art. There is a further parallel in their work as each has also evolved to longer forms and media, such as stone carving. Some of you from Fort Point may remember Bart as a member of the Mobius Artists Group, as well as the originator and coordinator of the Boston-Tainan Art, Architecture and Urban Design cultural exchange, a unique project that in the late-nineties brought together over thirty artists, architects and urban designers from Boston and Tainan, Taiwan, to collaborate together on the waterfront development issues affecting each city, with creative actions to enliven and relieve them.
Bringing these two artists together is a hosting of two global
souls of an earlier generation, who do not work in their country of origin and
who through the benefit of wisdom create fully-formed works as a sculptural
environment.
Nora Valdez’s featureless, rudimentary figures in stone, expressly
null as well as bound in a series of drawings also on display, bring to mind
the unseen, unimaginable and unspeakable wanderers that globalization has edged
off the planet production line. In the installation, they appear as in a
labyrinth of truncated paths between the lands of the artist’s principal
destinations. We cannot know the restlessness of and between those geographic
points, of suitcases chronically packed, or what the gift boxes contain, the
renditions and ameliorations of absence, and the empty paper bags of ephemera.
Valdez’s topography is a personal one, whereas Bart Uchida’s
re-mergence reads actively and aerially, like weather systems, storm tracks and
volcanoes. Twists, bends, fusions, the unexpected combination of materials and
their weight, color, and scale reap fresh interplays of isles. Each seems a
presence formed at once, with accumulated layers that of a moment embody
themselves with the origins and embers of its energy still contained.
----Jed Speare
This piece searches through a series of figurative sculptures
that act as maps touching on a range of themes and issues: personal and
cultural identity, loss and memory, motherhood and family, sexuality and love.
I evolve and build upon my motive art, echoing and
illuminating feelings of innocence, sadness, hope, fear, desire and every day
life. My surrealistic inclinations amplify the dualities of my
complex yet simplistic renderings of the human form, giving way to the power of
monumentality.
I was born in Mercedes San Luis Argentina with an Italian
mother and a Spanish father. After I finished my studies, I moved to Brazil,
Italy and Spain. I married an American and came in 1986 to
Boston, USA, where my only daughter Stephanie was born. I feel like I’m carrying my luggage, baggage
all the time. I feel I’m from here, there and nowhere.
I use my art to make peace with a place or myself, connecting me to the
earth and see things like a whole, by responding to issues of displacement,
immigration and fragmentation. ---Nora Valdez
The wonderful thing about working
with new materials is that one is freed to explore new forms.
“Re-mergence”, a hybrid non-word
and rife with interpretive meanings, is about that exploration. My work is the
merging of former ideas & images written into another sculptural language
that bears its unique poetic structure, rhythm and space. ----Bart Uchida,
10.09
Hannah Burr Sharon Dunn
Bumpkin Island Art Encampment Traces, year III
October 16th through 31st
Gallery hours Fri.4-7; Sat. Sun. 2-5
And in conjunction with the 30th Annual Fort Point Open Studios
Friday October 16th – Sunday October 18th
Fri. 4-7; Sat and Sun. 11-6
Reception Sunday October 18th 6pm
From Thursday, July 30, 2009 to Monday, August 3, 2009, eight
artist groups each took ownership of one plot of land on Bumpkin Island.
As "homesteaders," they:
* Built
some kind of "home" on the land,
* Lived
on the land for five days, and
*
Improved the land via a site-specific temporary project, performance or
installation
Having realized its third year of the encampment this past summer,
this exhibition returns traces and documents from each project. Art encampment calls
to our nature in its solitude and engagement, of being “away,” with adventure,
of wilderness and the sea, of a tightly formed community of purpose, the
problem solving of process, and the ultimate resolution of these aspects and
desires through the works.
Three years of the encampment have demonstrated that its appeal
may be in these possibilities and challenges. It has attracted a certain kind
of focused and serendipitous participation, consistent with those willing to
work with and acknowledge limitations, and to utilize, collaborate with,
enhance and unharm the existing environment in a creative spirit of human
ecology.
Artists of the third encampment are: Kate Dodd, Hannah Burr,
Heather Kaplow, Mark Davis and Kalmia Strong, Stephanie Cardon, Courtney
Lockemer, and Marc McNulty, Sharon Dunn, David Tamés, and Alice Apley, Brendon
Wood, Raymond Garrett, and William Conley, Gabriel Cira, William McKenna and
James Sannino.
Project Fellows included documentary filmmaker Patrick Johnson,
multimedia artist Ali Reid, and
artist and chef Sarah King McKeon. The Bumpkin Island Art Encampment is curated
by Megan Dickerson, Carolyn Lewenberg and Jed Speare.
Exhibition visitors will have the opportunity to buy a limited-run
Bumpkin catalogue featuring artists and projects of all three years.
 Q U I E T M U S I C II
New England Phonographer’s Union
das kleine Field Recordings Festival – in conjunction with the
festival in Berlin
Rick Breault, Michael Bullock, Derek Hoffend, Ernst
Karel, Jed Speare, Asher Thal-Nir
Friday, October 9, 2009
8pm
suggested donation $5-$10
at Thompson Design Group 35 Channel Center St., corner
The New England Phonographers Union is a fluid congregation of
sound artists and field recordists who work with untreated and unprocessed
recordings of the rich and varied sounds around them. Through the exploration
and documentation of urban and rural public spaces, sound objects and events, the Union captures auditory phenomena otherwise lost, and re-interpret the particularity of individual places
as a newly idealized sonic environment. Within a focused listening environment the members
present their recordings, both individually and as collaborative
improvisations. The project is modeled after the Seattle Phonographers Union,
which was founded in 2002 and has spawned like-minded groups in New York,
Chicago, London, and Montreal. http://nephonography.wordpress.com
Tonight’s performance takes place in parallel with the das kleine
Field Recordings Festival in Berlin. Its website is http://dkfrf.wordpress.com/about/
 
this: moment
missives from another world
photographs l Bob Raymond
S T I L L M O V E
installation l Wenxiong Lin
June 21 - July 19 , 2009
opening reception June 21, 3 - 7pm
Studio Soto at Thompson Design Group
35 Channel Center Street, corner
gallery hours Fri 4 - 7; Sat 2 - 5; Sun 2 - 5
Organizations and artists need documentation of their work for their own records, and for their own sake. When the medium is performance and other time-based arts, documents may be the only thing that exists afterwards. Re-contextualizing documentation as a final form is a cottage industry of recomposition and reflection, generating debate. Yet if the document didn’t exist there would be a lot less to talk about, and though our memories may be rich, the field would be barren.
When Mobius Artists Group member Bob Raymond began documenting Mobius events, his primary intention was to provide a record of the organization’s work that could be drawn from to use as support materials needed for grant applications. Some of the uses and actions grew, in providing images for the artists, with other activities such as publicity stills for upcoming works. Counted alone, by photographing performances and installations in 35mm slide film (and to some extant 35mm BW negative) from the early eighties until the early 2000’s switch to a digital camera, Mobius, through Bob’s work, amassed a collection of slides estimated conservatively at over 10,000 in number. These slides and other materials have also been numbered, archived and stored by Bob, as well as over 15,000 digital images since the changeover to digital media.
This exhibition came about when Bob Raymond brought some new archival prints he’d been making to a meeting. Their quality, care, and presence carry the ghost of the event as surely as the event performed itself. And there was and is still a particular Raymond protocol, all the more impressive considering the results it yielded. His protocol gave complete respect to the performer’s focus, avoiding the possibility of breaking it, for first of all, he never used a flash inside Mobius’ black-box space and its twenty years of performances there. Secondly, he avoided all shutter clicks, especially during quiet moments, lest that too adversely affect the performer as well as the audience. Without a flash, he relied on long exposures in primarily low light conditions. There are, often, trails of movement as a result. But also as often, there is the stillness needed to register the image in focus, and something delicately in between as well. Raymond’s knack for capturing moments, some in high tension and in process is clear here.
Bob Raymond also took his documenting a creative step further than most. To me, one of the distinguishing features of the work is how he works in detail as well. An image that probably would not convey the scope or general appearance may on the other hand reveal an important feature, or be framed in such a vital way that it gives its subject broader amplification inside its forms, yielding a new one. That insight is among the artist’s gifts he has brought to this collection and to the Mobius archive.
Mobius’ archive, which contains Bob’s work and also documentation from others in the Mobius community, is on the move, too. One local university, building a new digital archives laboratory, has proposed using the Mobius archive as its project for graduate student interns. Another university is now considering housing the entire Mobius archives, including paper, film, video and sound documents, with Bob Raymond’s images the centerpiece of it.
I wouldn’t know, but I would like to guess, that in our time there is no other photographer with the record of commitment and continuity Bob Raymond has through his 28 years of documenting Mobius. I think it’s high time the body of work of this artist and photographer be seen, noticed, and acknowledged. And I hope this exhibition advances that inevitability sooner.
Jed Speare, 6/09
Bob Raymond is a long-time member of the Mobius Artists Group. He is an intermedia artist who has worked in many forms of electronic visual and aural media. In the past, he has engaged in performance,
installation, sound environment composition, video, and photography. He has been documenting (photographically and at times using video) the work of Mobius members and other experimental artists who might cross paths with Mobius since the early 1980's. He also maintains the photographic archives of Mobius, Inc. Until recently, he had worked for over 20 years as an engineering manager in the televisionindustry. He is now weighing his future options on a precise scale,
one by one. The floor of his workshop is littered with them.
Installation components of S T I L L M O V E
text by the artist
LEGEND (video)The inspiration of this short film could be retrospect to a popular monster story among students when I was in my early years. After more than twenty years, I composed this film with the assistance of my friends.
When time is involved, different experiences and thoughts might come from the same story. If, we say, a beautiful person’s back view and the curiosity of that person’s other side were the center of attention over 20 years ago, we might consider the figure in the pictures as scenery today.
“My shoes” series started in 2007, which includes my old shoes and sculptures and installations after the models of my old shoes. It seems to be a gaze or survey of myself and the outer world from me in another space.
My shoes (installation) One group is composed of shoes sculptures and salt. It seems the objects have lost gravity by the force of mind. It’s suspending and floating in the air. Or it’s moving but just couldn’t be seen by eyes. Still or moving becomes a kind of relativity here. Another group is composed of cloth and shoes. The length and shape are changeable according to the space.
My shoes (slide show) A series of pictures captured different moments. The pictures were taken outdoors in natural settings. Flowers, grass, trees, light and wind are all parts of the show. I tried my best to preserve all those pictures, for none of them are more important than the others. They just existed at a different moment. It’s a silent poem composed of paused or continuous pictures. It’s a fanciful flight after revival, a journey of spirit. The image projected on the wall seems like continuance and shift of time.
For this exhibition, I pay my respects to the people who stand facing hardship.
Born in Fujian, China
1989-1993 Attached School of Central Academy of Fine Art , Beijing China
1993-1998 Central Academy of Fine Art, Beijing China
2004 Moved to San Francisco Bay Area. Lived in Oakland.
2007 Moved to Boston
_____________________________________________________
R o b L i s t (Amsterdam)
2 s o l o s : N a t u r a M o r t a a n d F o l l y
Wednesday, April 29th 8:30 pm Studio Soto at Thompson Design Group 35 Channel Center St., corner suggested donation $10
Studio Soto is honored to host the first solo performances in Boston of renowned American/Dutch choreographer, Rob List. List has developed a unique personal style of movement related to ideas of minimalism, abstraction, and architecture. He performs with less of an intent to show his face in order to reduce the viewer's reading of emotion, while instead suggesting anonymity and an everyman sense of the figure in space, in the moment with the audience.
The performance is in conjunction with his recently completed exhibition at Studio Soto the past month, Rob List: Drawings About Movement, part of a series featuring multidisciplinary artists working across media. For more information about Rob List, visit http://www.studiosoto.org/artists/rob-list null and Rob List's website at www.ozu.nl
Natura Morta [1996]
This solo performance is the first in a series of movement pieces exploring underlying themes in the genre of painting known as 'still-life', in which objects such as flowers, food, instruments or ornaments are displayed on a table. These objects, while unmoving, can be filled with vitality, a living presence with a quality of immanence. The paradoxes in 'still life' are inherent in the term itself, as well as in its equivalent Latinate term 'natura morta'. 'Life/death, still/moving, natural/unnatural' are the themes of this movement performance - in which an anonymous figure stands behind a table with a vase of flowers and begins a journey which crosses all of these paradoxical boundaries. Performed in Amsterdam, Marseille, New York, Zurich, Tilburg, and Prague. Winner of the 1997 Netherlands VSCD Mime Prize.
Folly [2000]
This solo performance is the first in a series of "follies". Folly is an English word meaning "foolish action, undertaking or belief". It also refers to a form of landscape architecture, Follies were structures made by 18th century English and French gentry to enliven and demarcate their gardens - towers, obelisks, grottos, rustic monuments or other buildings - reflecting not only the obsessions of their creators but also their fascination with nature as something picturesque, frightening, or sublime. This movement performance explores the double meaning of folly: an absurd and vain act as well as a structure erected in a world of "howling wilderness".
In September a select few had a rare treat as the American expatriate Rob List performed one of his "Follies" at the Sideshow Gallery in Williamsburg, Brooklyn, in conjunction with the American Abstract Artists exhibition "Material Matter." With his tall, thin frame clad in a black suit, Mr. List sang a song, then had a haunting choreographic conversation with time, narrative and the gallery's smooth white walls. It passed too quickly. Like all these dances, it's a conversation that needs to resume, and soon.
- Claudia La Rocco, dance critic New York Times, December 23, 2007
This is a performance which calls up emotionally colored memories one cannot quite place. The act of performance itself might have begun like this - with just the body in space. Since then there has been so much added that it is extraordinary when a performer begins there again.'
- de groene amsterdammer
Rob List recently performed a piece from his Figure Series in an atelier with large windows outside town. The performance occured just at twilight, challenging the audience's perceptual capacities in following the minimal actions of the performer.The result was an hallucinatory experience with the audience becoming conscious of every movement in the space. Sometime the space itself seemed to change. The final result was a performance of great strength and beauty.'
- de neskrant
Sunday, April 26 through Sunday May 10
opening reception Sunday April 26 from 4 - 7 pm
gallery hours Fri. 4 - 7; Sat. and Sun. 12 - 5Join Studio Soto for a special exhibition of Yucef's Merhi's programmed poetry in two of his works, the Poetic Clock and Super Atari Poetry. Merhi is from Venezuela and views poetry as subversive by nature. Former projects include hacking into the email account of President Hugo Chavez; obtaining and reprogramming the source code of the first 3D
computer game ever made; appropriating the user’s database of a large
telecommunication company owned by Verizon, Inc; or getting and using the credit
card of the old British Artist, Damien Hirst.
Locally, he was featured in Aspect Magazine's Volume 11: ARTE DE LAS AMÉRICAS.
Super Atari Poetry (2005) is a multiplayer game installation consisting of 3 Atari 2600 consoles, joysticks, self-manufactured cartridges, and TV monitors. Each cartridge contains a database of verses that were written by Merhi. (For this exhibition, there is one console and player.) Players can move forward and backward the sentences or freeze/swap their shifting colors. The reading of the 3 verses printed on the screens produces an interactive and coherent poem that is always changing its meaning and chromatic structure. With Super Atari Poetry, participants can make about 1000 different poems. Here, programming language plays a major role in the construction and exhibition of poetry. Both, programming and natural language take part of the same experience. In order to build the game cartridges, sentences had to be translated from English to Assembler, also known as Machine Language. In contrast, the Atari interprets the code and displays an image that becomes language that people can understand and, once again, interpret.
Super Atari Poetry is an invitation to feel and celebrate the linkage between the history of media and the history of art; the nexus between programming language and natural language, technology and literature, videogame and poetry.
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The Poetic Clock (2000-08) is a digital clock that transforms time into poetry. It is comprised by 4 rows of text, wrote in Spanish and programmed in ActionScript, projected on a wall using a computer-connected video beam. Every time an hour changes a new sentence is printed on the first line. When a minute changes a sentence pops on the second line. The change of seconds is represented by the change of sentences on the third line. Finally, the fourth line shows the hour as HH:MM:SS .
The reading of the three verses produces an articulated and coherent poem; a poem that mutates each second, minute and hour; a poem that is continuously becoming another of itself, displaying through language the movement of time. As a result, the Poetic Clock generates 86.400 different poems every day.
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Statement
My work explores the connections between technology and semantics, delving into the boundless fluxes among natural and programming language. The comprehension of this duet led me to develop methods and machines in the form of software-based installations, Internet projects and video games; addressing social, political and philosophical issues.
In every project I produce the machine becomes an extension of the poem, expanding the potential of words and extending the limits of language; while poetry becomes a prolongation of the employed technology, providing an emotive and meaningful presence. This translation of poetry (natural language) into Java, C++, Flash ActionScript or Assembler (programming languages), turned out to be not only a challenge, but also a procedure to deal with the core of digital technology. The relation computer-poem that I outline attempts to redefine the role of the poet/coder and our experience of written poetry in our present.
Yucef Merhi
http://www.cibernetic.com
Julie Andrée T. - Landscape for the ones who get lost
an installation
March 13th to April 12th
Opening reception Friday March 13th, 5 – 8 pm
with performance by the artist;
closing performance Sunday, April 12th at 5pm
Rob List – Drawings About Movement, 1980 – 2000
March 13th – April 29
Closing reception Wednesday, April 29
with performance by artist, time tba
location: 35 Channel Center St., corner
Studio Soto at Thompson Design Group
gallery hours: Friday, 4 - 7 pm; Sat. and Sun. 12 - 5 pm
Studio
Soto is pleased to present two concurrent exhibitions with
internationally renowned artists Julie Andrée T., from Quebec City,
Quebec Canada, and Rob List from the Netherlands.
Julie Andrée
T. will present a new installation, “Landscape for the ones who get
lost,” in a 3.500 sq. ft. space where Studio Soto is in-residence at
Thompson Design Group. Rob List’s “Drawings About Movement, 1980-2000”
will be in a smaller brick project space with a selection of his work
on video there as well.
Both artists are widely known in other
genres: Andrée T. in performance art and List in choreography and
movement. Though Andrée T. has had numerous commissions for
installations, most of her work has taken place in an international
performance realm that has taken her to several continents. List is
known primarily in New York and abroad, where he worked prior to moving
to Amsterdam in 1985. His solo performances along with his Company Ozu
have had an enormous impact creatively and pedagogically in the
Netherlands and beyond. Not only a Dutch phenomenon, in late 2007, New
York Times dance critic Claudia La Rocco cited List’s performance of
“Folly” in New York that year as one of the year’s five best.
Both artists will be performing during the exhibitions. Julie Andrée T.
at the opening reception on March 13th and closing of her exhibition on
April 12th. Rob List will perform on Wednesday, April 29th.
Studio Soto is very honored to present these artists and grateful to Thompson Design Group for our residency. Julie Andrée T.'s exhibition and performance's are supported in part by the Délégation du Quebec, Boston.
more information on Julie Andrée T. here
more information on Rob List here
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