Using a multichannel soundsystem throughout the entire space, a handful of sound artists activate the unique acoustics of Roulette’s new 1920’s Art Deco theater with multi-channel spacialized sound.

Featuring: Maria Chavez, Mario Diaz de Leon, Sabisha Friedberg, Alfredo Marin, Zeljko McMullen, Daniel Neumann, Tristan Shepherd, Doron Sadja, Ben Vida.

For more information here.

bitforms gallery is pleased to announce Volume, the first solo exhibition in New York by Swiss artist Zimoun. On view will be an immersive, site-specific sound installation based on prepared dcmotors and cardboard boxes.

Part of a series that received its U.S. debut in a solo exhibition at the Ringling Museum of Art this Fall, the installation emphasizes the grid as a method of visual organization. Precariously balanced rows of cardboard boxes form an architectural space containing a rumbling din produced by mechanical motors humming in unison.

Pulsing rhythmically, each unit in the system reverberates with its own sense of purpose and timing. Temporal microstructures emerge and shift, made visible by collective behavior. With minimalist and low-tech means, Zimoun constructs a blank zone of play utilizing repetition and the physical pressure of vibration.

As an author, Zimoun uses scale and tools of amplification to transform our associations with commonplace industrial objects. Tuned into kinetic and acoustic detail, his obsessive displays of collected materials unlock emotional potential in otherwise banal and chaotic gestures. In his work static volume permeates a space, yielding reductive clocklike operas of the everyday.

For the duration of the show, the gallery’s project room on the 6th floor will also feature four mechanical works by the artist and a video.

“Zimoun: Sculpting Sound” (2011) at the Ringling Museum of Art, Sarasota, FL from bitforms gallery on Vimeo.

“200 prepared dc-motors, 2000 cardboard elements 70×70cm” (2011) by Zimoun + Hannes Zweifel from bitforms gallery on Vimeo.

“121 prepared dc-motors, cardboard elements 8×8cm” (2011) by Zimoun from bitforms gallery on Vimeo.

Hence Where Labour is part of an ongoing series of text settings of an English translation of Marx’s 1858 manuscript Grundrisse der Kritik der politischen Ökonomie. Stretched horizontally across the floor of the gallery, a solo performer sings a subtly developing musical setting of the text hence where labour in which a human being does what a thing could do has ceased — composed entirely through the use of a computer algorithm. Marx’s fragment — designated in historian Moishe Postone’s analysis as outlining the material conditions for the full development of all of humanity — is layered against the inert labor of a single performing body occupying the time and space of the musical frame. Performed by Fahad Siadat.

G Douglas Barrett’s work considers music as part of a critical arts practice in which performance and conceptuality figure as integral components. Drawing equally from the contemporary gallery arts and the performing arts traditions, he has exhibited, performed, and published throughout North America and Europe: Diapason Gallery (New York), the Wulf (Los Angeles), Theater Perdu (Amsterdam), Universität der Künste Berlin, Phoebe Zeitgeist Teatro (Milan), Université de Paris-Est Marne-La-Vallée, Sonic Arts Research Centre (Belfast, UK) and Neutral Ground (Canada). BARRETT’s writings on music and art are published in the interdisciplinary literary journal Mosaic and Contemporary Music Review. A recent discussion of his work appears in an essay by eldritch Priest in the journal Postmodern Culture.

This event will feature two pieces in the Vigilance Improvisations framework: “Mutability” performed by Bryan Eubanks and Eric Laska; and “Recursion” performed by Bonnie Jones and Reed Evan Rosenberg and presented by the Philadelphia Sound Forum.

Vigilance Improvisations is a series of structured frameworks for improvising electronic musicians. The archetypical design consists of two musicians, one working with computer and the other with non-computer electronics, improvising together while following unique visual scores. Each score corresponds to material changes related to the opposing musician’s instrumental sound source. The musicians are instructed to watch a designated meter vigilantly over the course of an improvisation all the while remaining conscious of the possible visual correlations that may or may not be provoked by a chance correspondence between a reading of the meter and the score. The scores are hosted in a folder online and the visual content therein is entirely sourced from the Internet. No recommendations are made concerning sound.

Eric Laska is a musician and assorted media artist from New York, currently living and working in Philadelphia. Examples from recent work and works-in-progress focus on the proliferation of sounds from localized material processes (Chicago Equinix, ProRemote), arranging improvised music for extended periods of time (Extended Improvisation for Gallery Hours forthcoming), and the composing of electronic music based on material considerations such as power consumption (Vigilance Improvisations).

Recent projects for the Internet include the sound application Impulse Blasts and the streaming installation Quartet With Pyramid Scheme, the latter conceived in collaboration with the respective members of said quartet- Jordan Topiel Paul, Richard Kamerman, and Reed Evan Rosenberg, and commissioned by turbulence.org In addition he is part of the internet surf club Double Happiness, who are represented in the New Museum of New York’s Younger Than Jesus: Artist Directory, and an editor/co-founder of the websites Lateral Addition and funvac. Ruez is an infrequent recording/production alias.

Bryan Eubanks (b. 1977, WA.) is a musician focused on collaborative improvisation, solo musical projects, and sound installations. He is primarily active within the tradition of live electronic music and has performed his work across the US, Europe, Japan, and Korea since becoming musically active in Portland, Oregon in the late 1990’s. Originally a saxophonist, his interests have expanded to include computer music, generative composition, sound localization, and the development of instruments that incorporate open-circuits, samplers, radio transmission, feedback, and other electronics. In 2001 he co- founded Rasbliutto to distribute and present music. He is currently based in Brooklyn, NY.

Bonnie Jones is a Korean-American writer, improvising musician, and performer working primarily with electronic music and text. Born in 1977 in South Korea she was raised on a dairy farm in New Jersey, and currently resides in Baltimore, MD. Bonnie creates improvised and composed text-sound performances that explore the fluidity and function of electronic noise (field recordings, circuit bending) and text (poetry, found, spoken). She is interested in how people perceive, “read” and interact with these sounds and texts given our current technological moment. Bonnie has presented her work in the US, Europe, and Asia and collaborates frequently with writers and musicians including Ric Royer, Carla Harryman, Andy Hayleck, Joe Foster, Andrea Neumann, Liz Tonne and Chris Cogburn. She received her MFA from the Milton Avery School of the Arts at Bard College.

Reed Evan Rosenberg - American male from New Jersey. Works in areas of radical computer music, improvised music and installation art. Recent projects include chaotic map synthesis studies, artificial intelligence driven composition systems, generative compositions for laser and LED lights, and networked improvisation driven computer music systems. Co-creator of funvac.net , an experiment in web based experimental music curation.

Conceived and produced by independent curator Julie Lazar, RE:COMPOSITION considers how current compositional practices are enabling artists in a variety of disciplines to re-conceive or reconstitute aspects of their art production. Though no John Cage compositions will be performed during RE:COMPOSITION, the program honors the pioneering role which Cage played in the expansion of visual art and musical compositional practices both internationally and in California during the 20th Century. The new and adapted artworks presented in RE:COMPOSITION are in direct conversation with the work of earlier artists — ranging from Cage to Nan Hoover, and to Oskar Fischinger — as a both a tribute to their legacy and as a point of departure for the younger artists’ evolving creations.

RE:COMPOSITION, which debuts at San Francisco’s Southern Exposure on January 20-21, is the only project in the Getty Foundation’s Pacific Standard Time initiative which features state-wide commissioned performances that is traveling between San Francisco and Los Angeles, a journey which references the flow of artistic ideas that have historically moved up and down the coast. Complete video documentation will be posted at http://www.k-pst.org on February 29.

Each performance explores some aspect of change in contemporary art in California from 1945 to the present, including:

Still Movement: Homage to Nan Hoover (2012) by Sandro Dukic. A commissioned performance installation inspired by Hoover’s photographic work from 1980. The title describes the occupation of her interests while the event manifests the contours of her core ideas. A video installation by Nan Hoover is also on view in Exchange and Evolution at the Long Beach Museum of Art (ends February 12).

Bar Hopping (2012) is composed and performed by Joan Jeanrenaud and Paul de Jong. Commissioned music and film that playfully rethinks visual and musical influences in California from the mid-1950s to the present including cello concertos and contemporary experimental composers. This is a remote collaboration between two leading artists residing on both coasts of the U.S.

Evolution (2010-12) by JD Beltran with music by Marc Barrite and technical assistance by Scott Minneman. As an adaptation of AntiMaster, projected digital film is synchronized with live electronic music.. Evolution is inspired by the migration of ideas between San Francisco and Los Angeles from the late 1940s through the 1960s that formed the basis of the Visual Music Movement. Its creative influences include Oskar Fischinger, James and John Whitney, Jordan Belson and Harry Jacobs.

I N T E R R U P T U S (2009-2012) by Joan Retallack and Michael Ives. A procedural lecture for two voices in homage to John Cage’s principle of interpenetraton and non-obstruction. Performed by Michael Ives and Joan Retallack who collaborated on a unique realization of the piece.

ABOUT KALEIDOSCOPE OF PACIFIC STANDARD TIME ( K-PST.org)

K-PST highlights ideas that shape California’s fertile contemporary art landscape through performances and an online source for artworks, interviews and programs by artists and curators from 1945 to the present. RE:COMPOSITION, a K-PST production, inaugurates a series of diverse new artworks to be performed state-wide including at Southern California Institute of Architecture (SciArc) on January 27 and 28th at 8 pm. The website and commissions were made possible by The Getty Foundation, LA>< ART, Wanda Kownacki and John Holton, Joan and Fred Nicholas, Ministarstvo Kulture Republike Hrvatske, CEC ArtsLink, and Sasha and William Anawalt. In-kind services and donations are provided by Montalvo Arts Center, Southern California Institute of Architecture, Southern Exposure, Freewaves, Japanese Cultural and Community Center, EPSON, Miyaho Hotel and Anawalt Lumber.

ABOUT THE PARTICIPATING ARTISTS & CURATOR:

Marc Barrite created the DJ/production alias Dave Aju as a vehicle for his fresh and expressive take on electronic music. Combining a natural sonic fascination and adventurous approach with a broad palette of musical influences, Dave Aju’s remixes, DJ sets, and live performances are constantly in demand at labels, venues, and festivals across the globe. His debut full-length album Open Wide is still heavily praised by both everyday music-lovers and esteemed colleagues for it’s bold diversity of styles and the conceptual yet effective use of only his mouth and voice as sound sources. Dave Aju currently resides in San Francisco and continues to develop original solo works as well as several new international collaborative ventures.

J.D. Beltran is a conceptual artist, filmmaker, and writer. She received her M.F.A. degree from the San Francisco Art Institute, as well as a J.D. from the University of California, Berkeley. Her work has been screened and exhibited internationally including at the Walker Art Center, the San Francisco Museum of Modern Art, The Kitchen Gallery, New York, The Singapore Digital Mediafest, the Biennale for Electronic Arts in Perth, Australia, the Yerba Buena Center for the Arts. She has served on the boards of the San Francisco Arts Commission Gallery and SF Camerawork, and currently is on the board of the Yerba Buena Center for the Arts. She is faculty in the New Genres, Interdisciplinary Studies, Critical Studies, and Urban Studies Programs at the San Francisco Art Institute, where she is also Chair of the Post-Baccalaureate Program

John Cage (born September 5, 1912, Los Angeles, California, U.S.—died August 12, 1992, New York, New York) was an American avant-garde composer whose inventive compositions and ideas profoundly influenced mid-20th-century music and visual art. Cage briefly attended Pomona College and then traveled in Europe for a time. Returning to the United States in 1931, he studied music with Richard Buhlig, Arnold Schoenberg, Adolph Weiss, and Henry Cowell. While teaching in Seattle (1936–38), he began organizing percussion ensembles and experimenting with works for dance in collaboration with his longtime partner, the choreographer and dancer Merce Cunningham. Cage’s early compositions were written in the 12-tone method, but by 1939 he had begun to experiment with unorthodox instruments such as the “prepared piano” (a piano modified by objects placed between its strings in order to produce percussive and otherworldly sound effects). Cage also experimented with tape recorders, record players, and radios in his effort to step outside the bounds of conventional Western music.

Later, Cage turned to Zen Buddhism and other Eastern philosophies and concluded that all the activities that make up music must be seen as part of a single natural process. He came to regard all kinds of sounds as musical, and he encouraged audiences to take note of all sonic phenomena, rather than only those elements selected by a composer. To this end he cultivated the principle of indeterminism in his music. He used a number of devices to ensure randomness and thus eliminate any element of personal taste on the part of the performer: unspecified instruments and numbers of performers, freedom of duration of sounds and entire pieces, inexact notation, and sequences of events determined by random means such as by consultation with the Chinese Yijing (I Ching). In his later works he extended these freedoms over other media.

Among Cage’s best-known works are 4:33 (1952), a piece in which the performer or performers remain utterly silent onstage for that amount of time; Imaginary Landscape No. 4 (1951), for 12 randomly tuned radios, 24 performers, and conductor; the Sonatas and Interludes (1946–48) for prepared piano; Fontana Mix (1958), a piece based on a series of programmed transparent cards that, when superimposed, give a graph for the random selection of electronic sounds; Cheap Imitation (1969), an “impression” of the music of Erik Satie; and Roaratorio (1979), an electronic composition utilizing thousands of words found in James Joyce’s novel Finnegans Wake. In 1992, Cage collaborated with Julie Lazar on creating Rolywholyover A Circus, a visual and multi-media composition, for The Museum of Contemporary Art, Los Angeles. Source: 1994-2011 Encyclopædia Britannica, Inc. and J.L.

Sandro Ðuki was born in 1964 and lives in Zagreb, Croatia. His works – spatial, architectonic and photographic installations and constructed films - move from one medium to another with ease. He studied with Nam June Paik and Nan Hoover at the Art Academy in Dusseldorf, and, under Hoover’s mentorship and guidance, has performed or assisted in a number of her artworks. Ðuki has exhibited in Slovenia, Germany, the US, Italy, Serbia, Austria and Croatia. In 1991 he received the Croatian Artist Association Award.

Nan Hoover initially trained in fine arts, worked in video since the early 1970s. Her interests explored how the borders of visibility in the electronic medium are not steered by a technical concept, but rather are grounded in an overall aesthetic approach to the visible world. Hoover worked with macro perspectives of single body parts and folded papers, where the extreme enlargement and unusual perspective positioning of these objects in relation to the camera create effects that appear strange. For example, views of paper and of a hand or arm of her body in a photograph might easily be misrecognized as sand dunes or mountains. Hard contrasts of illuminated fingers create a dynamic where body objects seem to be totally disembodied and appear as free-standing matter in a spatial surrounding that is deliberately undefined. Hoover provoked the observation of the viewer to use his or her imagination in order to recognize what is presented. The viewing process is further challenged through low contrast and sometimes-minimal illumination, as well as through the lack of deep focus in her early videos. For Hoover, video, and later through performances, were opportunities for interplay between light and movement. Source: http://www.fondation-langlois.org

Michael Ives is a writer and musician whose poetry and fiction has appeared in numerous journals in the United States and abroad. He is the author of The External Combustion Engine, a collection of short prose. The language /performance trio, F’loom, which he cofounded, was featured on National Public Radio, on the CBC, and in several international anthologies of sound poetry. He has taught at Bard College since 2003.

Joan Jeanrenaud, Cellist and Composer, has been involved in music for over 40 years. Growing up in Memphis Tennessee she was exposed to the sounds of the blues, Elvis, soul and classical music. She learned to play her instrument from cellists Peter Spurbeck, Fritz Magg and Pierre Fournier, studied jazz with David Baker, Joe Henderson and Hal Stein, worked with Kronos Quartet as cellist for 20 years and now for the past 12 years has been involved with solo and collaborative projects in composition, improvisation, electronics, and multi-disciplinary performance. She has completed more than 50 compositions for cello and small ensembles many of these multi-media works. Recent projects include her installation work ‘ARIA’ with collaborator Alessandro Moruzzi, premiered at San Francisco’s Yerba Buena Center for the Arts, and the composition and performance of ‘ODD’ with choreographer Shinichi Iova-Koga and the AXIS dance company. Her CD, ‘Strange Toys’, released on the Talking House label in 2008 was nominated for a Grammy, and her most recent release, ‘Pop-Pop’, appears on her new record label Deconet Records. Go to www.deconetrecords.com and www.jjcello.org for more information.

Julie Lazar directs International Contemporary Arts Network, a San Francisco-based curatorial and arts consultancy firm. She served as founding Curator and Director of Experimental Programs at The Museum of Contemporary Art, Los Angeles; Guest Curator at Montalvo Arts Center; and Adjunct Professor at the San Francisco Art Institute. In New York, Lazar led development programs at The Museum of Modern Art, Rockefeller University, The Hudson River Museum, and PS 1 Institute for Art and Urban Resources.

Paul de Jong. Born into a musical family, Paul began studying the cello seriously at the ripe age of five. He took a razorblade to his first audiocassette at age fifteen, moving quickly through feverish periods of teenage experimental band life and absurdist theatre. Concertizing classical repertoire and composing instrumental and electronic music for dance companies through his early thirties. After receiving music degrees in his native Netherlands and having studied at the University of Illinois, he moved to New York City in 1993 to briefly study at the Manhattan School of Music, teaching cello, assisting nonagenarian electronic music pioneer Otto Luening, and becoming the other half of The Books. De Jong is exploring new collaborations, creating music, poetry, and prints in New Lebanon, New York.

Joan Retallack is an American poet, critic, biographer, and multi-disciplinary scholar who has authored seven books, including Circumstantial Evidence (1985), Icarus FFFFFalling (1994), A F T E R R I M A G E S (1995), Lannan Foundation for poetry and the National Endowment for the Arts. Retallack currently teaches poetry and poetics and Memnoir (2004). Her awards include an American Award in Belles-Lettres, a Pushcart Prize, and grants from the as the John D. and Catherine T. MacArthur Professor of Humanities at Bard College, where she is a director of the Language and Thinking program.

Some great new faces and sounds — improvisations and open form scores — live electronics, feedback, live sound processing, sample processing, theremin, homemade electronics. “i-semble” (iPhone / iPad ensemble), plus piano, violin, guitar, voice and even amplified water jug.

Featuring: Tycho Horan, Aimee Norwich, Alejandro Zuleta, Ryan Doubiago, Andrew Lection, Brian Bourque, Carson Grub, Douglas Moss, Eric Bergen, Douglas Roj, Andrew Stein, Patrick Deeney, Paul Wittschen, Rebecca Dole, Sarah Streit and Yuval Ronen. Visuals contributed by Brendan Reilley. & with special guest Slavo Krekovic..

Hans Tammen’s Third Eye Orchestra uses Earle Brown’s open form composition idea as a starting point to create a large multi-movement piece for a 15-piece ensemble +live sound processing, inspired by West African roots of Jazz, Miles Davis’ Bitches Brew, Steve Coleman, and Stravinsky’s layering or Steve Reich’s phase techniques.

With Mari Kimura + Jason Hwang (violins), Stephanie Griffin (viola), Tomas Ullrich (cello), Briggan Krauss (alto and baritone), Eddy Rollin (english horn, oboe), Robert Dick (flutes), Detlef Landeck (trombone), Dafna Naphtali (live sound processing and voice), Ursel Schlicht (keyboard), Denman Maroney (keyboard), Nick Didkovsky (guitar) and Satoshi Takeishi (percussion).

For ticket info here.

Transmittance explores collaboration which is local, global, networked and broadcast. It involves an artistic group of performers, visual artists, musicians and computer programmers to research performative possibilities of streaming, broadcasting and telepresence forging new types of performance and audience. With focus on critical and socially-aware artistic languages this work is based on asking questions about body, self and society - opening non-dualistic perspectives.

The project tries to rethink the notions of spectatorship and spectacle, ways of watching and seeing and the audience as spectators from the outside. In the framework of free telepresence technologies it is a quest to open new spaces of visibility for performance and new media art and while critically deconstruct also actively bypass power structures that have a hold on physical spaces of artistic representation. Emphasis is made on creative use of free and open source software and its impact on artistic process and collaboration.

The project develops a specific method of improvised performance which allows compositional freedom beside specific prepared scenes at the same time and in the process collide different specifics of various artistic media (performance art, expanded cinema, sound art, new media realities).

Transmittance is a project proposed by Maja Delak & Luka Prinčič.

Transmittance_#2 is in collaboration with: Loup Abramovici, Boštjan Božič, Maja Delak, Matija Ferlin, Jakob Leben, Ana Pečar, Luka Prinčič, Maja Šorli, Igor Štromajer, Jelena Ždrale and Nataša Živković

Produced by: Emanat Institute, Ljubljana :: Coproduced by: Galerija Kapelica (Zavod K6/4), Tobacco 001 Cultural Center (MGML), Ljubljana :: Financial support: Ministry for culture of Slovenia, City of Ljubljana

Previous Transmittance phases: Transmittance #1.5, Ljubljana/Graz [26/8 2011] with Maja Delak, Luka Prinčič, ESC Gallery, Graz, Reni Hofmueler and “mur.sat” project // organized by Emanat Institute, ESC Gallery Graz

Transmittance #1 Pula,.hr [27/5 2011] with Marko Bolković, Maja Delak, Matija Ferlin, Luka Prinčič, Messmatik, Rea Korani, Mauricio Ferlin, Marcel Mars/Nenad Romič :: executive production by: Egle Vošten // produced and organized by:Polis Jadran Europa Pula, Emanat Institute Ljubljana // financially supported by: Ministry of Culture Croatia, Municipality of Pula, Ministry of Culture RS, City Municipality of Ljubljana // supported by: Region of Istria, Tourism Office Pula

Transmittance #0, Teatro Petrella, Longiano, Italy [19/12 2010] Maja Delak & Luka Prinčič (Wanda & Nova deViator) // preparation of the tools / open rehearsal // with Adele Cacciagrano, Tihana Maravic, Silvia Mei, Fabrizio Zanuccoli // program VIA DEL CONFINE, The East Side (of the moon) // curator: Nhandan Chirco // organized by: YANVII, Rad’Art Project/Artéco, Teatro Petrella, Emanat Institute

Dirty Dozen BodyLab, Berlin, Ljubljana [28/8 2010] Luka Prinčič & Maja Delak - research of streamed interactive performance by invitation of Kathleen Reynolds (Berlin team: Michel Abdoul / PascalBaes / Joao Costa / Awatef Fettar / Oscar Garcia / Dusan Pejcic / Kiril Bikov / Kathleen Reynolds / Aï Suzsuki / Gill Viandier / RaphaëlVincent / Vero Mota)

Radio Arts Space constructs a gallery inside radio space, where Sound art and Radio art works are exhibited. It explores all the possible ways of exhibiting and reading Radio and Sound art. The project is also complemented by an (international) platform for the discussion of meanings, contextualization, artistic research and the exchange of sound art works. It is not designed as a hermetic space with all the answers given in advance, but as a structurally complex space, which generates new questions.

Radio Arts Space consists from 46 artworks, exhibited by 42 artists from 22 countries.The project Radio Arts Space combines seven independent curatorial perspectives and approaches in its exhibition format (Manja Ristić, Maria Papadomanolaki, Milica Pekić, Ilari Valbonesi, Brane Zorman, Tevž Logar and Robert Sakrowski). The invited curators were given a common starting point: they could choose to put together a selection of works, based on an open call (160 artworks), released by radioCona in May 2011 and/or to choose the authors on their own. This is why some of artists in the exhibition appear several times.

Curators and artists:

Manja Ristić (SRB): Alja Piry, Hainer Wőrmann, H.A.K. lo fi record collective (Denis Mc Carty, Anton Mobin & Ayato), Irad Lee, Jason Bolte, Lee Fraser, Mario Verandi, Mark Vernon, Mikael Fernstrőm in Sean Taylor (a.k.a. Softday), Phillip Tesner (a.k.a. Renset), Sol Rezza

Maria Papadomanolaki (USA): Aki Onda, Ed Bear in Lea Bertucci (TwistyCat), Kabir Carter, Maria Chavez, The Propagations, Zach Layton

Milica Pekić (SRB): Carlos Noronha Feio, Luke Munn, Magali Daniaux and Cédric Pigot, Mark Vernon, Renata Padovan

Ilari Valbonesi (ITA): Matthias Meyer and Ingo Gerken, Marcelo Sahea, Lee Fraser, David Fyans, Joana Estevao, Mathieu Werchowski, Scott Danek, Jeff Gburek, James Andean, Sturqen (David Arantes and César Rodrigues), Irad Lee, Tom Bogear

Brane Zorman (SLO): Aaron Nemec, Agnieszka Waligorska and Pekka Siren, Alexander Baker, Automating, Daniel Blinkhorn, Emiliano Zelada, Felipe Rizzo Prux a.k.a. F.R.Prux, Henry Gwiazda, Inko Martin Mancisidor, Maja Delak and Luka Prinčič, Mary Kate Bukowski, Michael Bates, Vasja Progar, Marko Batista and Nataša Muševič, Steve Bradley

Tevž Logar (SLO): H.A.K. lo fi record collective (Denis Mc Carty, Anton Mobin & Ayato), Jason Bolte, Michael Bates, David Fyans, Francois Marting, Luke Munn, Matthias Meyer and Ingo Gerken

Robert Sakrowski (DE): An Acoustic journey through YouTube

RADIO ARTS SPACE exhibition programme:

7. - 16. December 2011, 12.00 pm – 7.00 pm
radioCona FM 88.8 MHz and live stream on www.radiocona.si

Wednesday, 7. December 2011, 8.00 pm, Škuc Gallery
Opening and live events:
Robert Sakrowski / An Acoustic Journey Through YouTube
Ilari Valbonesi / Ultra Disco

Friday, 9. December 2011, Škuc Gallery
6.00 pm Curators’ speech (exhibition tour) and discussion
7.30 pm snacks
8.00 pm Marija Papadomanolaki / Detrital Propagations in Harmony
Petra Kapš / performative writer

Saturday, 10. December 2011, 11.00 am, Main Market Place, Ljubljana, radioCona intervention

Sunday, 11. December 2011, 11.00 am, ŠKUC Gallery
workshop: Robert Sakrowski / Building a YouTube-based Acoustic Net Piece
exhibition tour for children by Irena Pivka

Tuesday, 13 December 2011, Škuc Gallery
6.00 pm lecture: Elisabeth Zimmermann / curated by …
7.30 pm live skype performance by Brane Zorman with selected artists

2. – 9. December 201, Pixxelpoint, Nova Gorica
Radio Arts Space: Listening room

21. – 23. November 2011, public spaces in the city center
workshop Torsten Michaelson (Ligna) / Radio and Public Space Performing/Nonperforming

Radio Arts Space - credits

produced by: CONA Institute for Contemporary Art Proccesing (www.cona.si)
project art directors: Irena Pivka, Barne Zorman
project manager: Jasmina Založnik

more informations, daily calendar, updates: www.radiocona.si
follow us on: Twitter and Facebook

partners: KIOSK Contemporary art platform (SRB), NRBG Novi Radio Beograd (SRB), Zerinthya RAM LIVE (IT)

project Radio Arts Space is supported by: European Cultural Foundation ECF, Ministry of Culture RS, Goethe Institut, Austrian Cultural Forum, JSKD (Republic of Slovenia Public Fund for Cultural Activities), ŠKUC Gallery Ljubljana, RTV SLO transmitters and communications

info@e-artnow.org

After presentations in Wrocław, Lviv, and Minsk, two final showings this year of Paweł Janicki’s EU_tracer performance with internet and acoustic instruments will take place in Paris and Brussels.

Paweł Janicki, EU_tracer :: Music Net Performance :: Friday, December 9, 2011 at 18:00 at Plateforme Gallery, Paris :: In collaboration with: Benjamin Duboc, contrabass :: Sunday, December 18, 2011 at 20:00 at MediaRuimte Gallery, Brussels ::
In collaboration with: Sigrid Keunen, violin

EU_tracer is a project developed by the WRO Art Center and commissioned by the Adam Mickiewicz Institute as part of the International Cultural Program of the Polish EU Presidency. It’s based on specially-designed software that scans EU institutions’ web services and analyzing the interrelations among messages and information translates them into visual and musical structures that depend on the connection quality, performance location and the improvisation style of the invited musician.

The main component od EU_tracer is the specially designed software that scans messages and information in the Internet not for their contents, but for the dynamics of the interrelations among them, which it translates it translates into graphic metastructures and musical forms.

The site of each performance is a significant aspect of the project: The particular geographic locations from which the program connects with the internet will affect the data flow and availability. As the work is displayed in successive geographically and politically varied European and Asian cities, it will create a sort of cyber-cartographic trail leading through the musician associated with the particular locate, using an acoustic instrument to improvise on the flow of internet data. This musician, in addition to being a collaborator whose inventiveness will shape the work, will also serve as a symbolic representative of his/her community in European/global digital communication space.