Friday, September 27, 7 pm
Enjoy an evening-length performance featuring some of the world’s most innovative video and sound artists who will interact with the architecture and landscape of the Parrish. Curated specifically for the Museum’s Platform series by OptoSonic Tea founders Ursula Scherrer and Katherine Liberovskaya, the durational and site-specific group improvisation will feature visual artists performing live in different areas inside and outside of the Museum building, while live musicians and sound artists perform coordinated and spatialized works by composer and Diapason Gallery founder/director Michael J. Schumacher.
Benton C Bainbridge creates single channel video, interactive artworks, immersive installations, and live visual performances with custom digital, analog, and optical systems of his own design. He created visuals for two Beastie Boys world tours and recently exhibited “Picturing You,” an interactive media installation at Frieze Art Fair, New York.
Bradley Eros is an artist, experimental filmmaker, writer, poet, photographer, mediamystic, and maverick curator working in sound collage, expanded cinema, and performance. He creates ephemeral spaces and long-lasting venues, from micro-cinemas and storefronts to galleries and museums. He has collaborated with Aline Mare (Erotic Psyche), Jeanne Liotta (Mediamystics), the Alchemical Theatre, Circle X, and kinoSonik.
Kit Fitzgerald combines “cool, electronic art of video and the warmer, naturalist arts of painting and music,” and creates gestural works that suggest vibrant moving canvases. Working with the Fairlight Computer Video Instrument (CVI), she generates and orchestrates imagery in real time, creating vivid compositions of color, form, light, time, and sound. Since 1985, she has applied her improvisational “video painting” to live music/video performances with musicians including Peter Gordon, Ryuichi Sakamoto and Max Roach.
Asi Föcker experiments with light, air, space and sound, using the medium of installation, object performance, music and photography. Her artistic starting points are everyday objects and materials that intersect with observations of daily life; reflection, color schemes, textures and movement. She has performed at festivals and cultural institutions all over Europe.
Andy Guhl began his career in 1972 in improvisational free jazz with Norbert Möslang. In 1983 they started “cracking daily electronics,” manipulating everyday objects to produce sounds. In the 1990s they expanded into visual representation of acoustic phenomena, including the Sound Shifting installation at the Venice Biennial in 2001. Since 2002, Guhl has created installations using audio-visual feedback in analogue electronic systems which he calls “The Instrument.”
CHiKA’s installations are inspired by minimalistic geometric beauty, Japanese philosophy, Zen, sound, and complicated mechanisms that interact with the public. She draws from her experiences working with experimental sound composers, 8-bit musicians, and club DJs, experimenting with improvisational communication with audiences in real time. Her work has been shown at numerous international festivals and museums.
Chris Jordan (cj) explores light, movement, and time through the use of technology. Common elements include explorations into memory, photography, film, interactivity, and projections. By examining the political and social implications technology has on us through a diversity of media, his work challenges the viewer to redefine perceptions of audience and performer. His installations have appeared in museums and galleries worldwide, including Moma, The New Museum, and The Whitney. He co-curated the interactive Figment Sculpture Park on Governors Island in 2012 and 2013.
Katherine Liberovskaya has been working in experimental video since the 80s. Her single-channel videos, video installations, and video performances have been presented at artistic venues and events worldwide. Collaborations include new music composers/ sound artists Phill Niblock, Al Margolis/If, Bwana, Hitoshi Kojo, Zanana, Anne Wellmer, David First and David Watson. Her live video mixing explore improvisation with new music/audio artists Margarida Garcia, Barry Weisblat, o.blaat, murmer, André Gonçalves, Anthony Coleman, Shelley Hirsch, Audrey Chen. www.experimentalintermedia.org/rantdance/bio.html
LoVid (Kyle Lapidus and Tali Hinkis)’s interdisciplinary works explore the invisible or intangible aspects of contemporary society, such as communication systems and biological signals. They are interested in the ways technology seeps into the evolution of human culture. Their performances, participatory public art, handmade technologies, textiles, prints, App-art, experimental video, and immersive installations have appeared at Museum of the Moving Image, The Kitchen, and The New Museum, and they participated in residencies with STEIM (Netherlands), Harvestworks, Eyebeam, Smack Mellon, and Cue Art Foundation.
Ursula Scherrer’s work and collaborations with composers, choreographers, stage directors, light artists, and poets have been shown in festivals, galleries, and museums internationally. Her aesthetic training began with dance, transitioned to choreography and expanded to photography, video, text, mixed media, and performance art. In her work she often transforms spaces and landscapes into serene, abstract portraits of rhythm, color and light. Scherrer is a Swiss artist living in New York and Berlin.
Marcia Bassett is a prominent figure in the US underground noise scene. Using handmade electronic instruments, prepared guitars, digital and analog synthesizers, manipulated vocals, and field recordings, she recently released the album Rhizomatic Gaze as Zaïmph. She first made an impact with the Philadelphia outfit Un in the 1990s, before releasing music with the New York experimental drone group Double Leopards, Hototogisu and Tom Carter as Zaika, as well as her collaborations with Samara Lubelski and Margarida Garcia.
Ranjit Bhatnagar works in music, installation, and text, with a particular interest in algorithmic techniques and improvisation. He worked with Ad Hoc Art Collective to build a large-scale musical installation in Denmark, and with New Orleans Airlift to build tiny musical houses. He has performed with Lea Bertucci, Thessia Machado, and Margaret Leng Tan, and published a book of algorithmic poetry, “Encomials: Sonnets from Pentametron.” His heaviest work is Stone Song, a 7500 pound outdoor sound sculpture; his longest is The Tapestry of the Search for Terrestrial Intelligence at 44 yards.
Shelley Hirsch has been pushing boundaries with her unique art, drawing on life experiences, memory, and vivid imagination for decades. She is a vocal artist, performer, composer, storyteller, and interdisciplinary artist. Her compositions, staged multimedia works, improvisations, radio plays, installations and collaborations have been produced and presented in concert halls, clubs, festivals, theaters, museums, galleries and on radio, film and television on 5 continents.
Laura Ortman (White Mountain Apache) produces solo albums, live performances and film/art soundtracks and frequently collaborates with artists in film, music, art, dance, multi-media, activitism and poetry, such as Tony Conrad, Jock Soto, Raven Chacon, Nanobah Becker, Okkyung Lee, Martin Bisi, Caroline Monnet, Michelle Latimer and Martha Colburn. She plays violin, Apache violin, piano, electric guitar, keyboards, pedal steel guitar, sings through a megaphone, and makes field recordings. Her work is included in the 2019 Whitney Biennial.
Michael J. Schumacher is a composer working with all manner of instruments and styles, including symphonies, song cycles, works for solo piano in the minimalist/avant-garde, rock, and ambient styles. He works with electronics, specializing in computer generated sound and processing of acoustic instruments. He uses prepared electric guitar, piano, and lap-top computer. Many of his pieces are presented as “sound installations,” a style between composition and sculpture. www.michaeljschumacher.com/
Emma Souharce explores the effect of frequencies on the brain, subconscious emotions, and the perception of time with the goal to reach Hypnagogia, or the transitional state between wakefulness and sleep, when some of the most creative ideas occur. In 2015, she co-founded the experimental band Biblioteq Mdulair with Daniel Maszkowicz. She collaborates with the collective La Reliure, who organizes the annual DAF festival. In 2019, she co-coordinated the BIG–Interstellar Art Spaces Biennale of Geneva.
Keiko Uenishi (o.blaat)’s work is informed by experiments in restructuring and analyzing our relationship with sounds in sociological, cultural, and psychological environments. Uenishi performed and presented works at MoMA P.S. 1, Dia Beacon, Lincoln Center, Park Avenue Armory, Eyebeam, among others. In 2010, she was invited to create interpretations of Christian Marclay’s objects score “Sixty-Four Bells and a Bow” for his exhibition Festival at the Whitney Museum. In 2009, Uenishi created an ongoing, collaborative project, BroadwayDreams on local businesses and sidewalks, utilizing web 2.0.
Shane Weeks is an artist, singer, and dancer. At age 16, he founded the Shinnecock Pow Wow stand, a business that incorporates tribal artists’ work. A distinguished member of the Shinnecock community and government, Week’s mission is to bridge the gap between his community, the local community, and communities abroad. He is the founder of Indigenous International, an organization that documents the cultural diversity of indigenous communities across the globe.