You And I Are Water Earth Fire Air Of Life And Death
(2020 – 2032)
by Christof Migone
After learning about all the steps involved in making whisky during a three-month artist residency with Marla Hlady at the Glenfiddich Distillery in Scotland in the summer of 2019 it struck me how inadequate the word ‘whisky’ (meaning ‘water of life’) is. ‘Water of life’ captures only a small part of the process. The title of this work is a 12-word sentence that attempts to convey all the steps involved more completely.
The project will take 12 years to complete, each year one word of the sentence gets filled, very slowly.
1 You 2020
2 And 2021
3 I 2022
4 Are 2023
5 Water 2024
6 Earth 2025
7 Fire 2026
8 Air 2027
9 Of 2028
10 Life 2029
11 And 2030
12 Death 2031
The project ends on 01-01-2032 (12 years plus a day).
Link to project page on cm site: here.
Web Development: Xuan Ye
In Memoriam Christine Migone (1939-2019).
December 12, 2020
Organized by Christof Migone
First in a series of twelve annual events taking place on December 12 from noon to midnight. Each year the event moves through each word of the 12-word phrase you and I are water earth fire air of life and death and activates the word of the year in myriad ways. The first year it all starts with you. It always starts with you. All participants were invited to programme one hour with you- as the sole prompt. An open structure welcoming coherent incoherence (or, incoherent coherence). A radio-but-not-really-radio event where you and you and you share the same nonplace. This year the event hours were set to UK time because the project originated at the Glenfiddich Distillery (Dufftown, Scotland) and the main broadcast partner was Resonance Extra (London, England). The other broadcast partner was Wave Farm. Each broadcast partner also programmed two hours.
YOU- HOUR 3 (14-15 GMT) (9-10 EST) (7-8 CST) (6-7 PST)
Steve Bates (Saskatoon)
YOU- HOUR 6 (17-18 GMT) (12-13 EST) (10-11 CST) (9-10 PST)
Béchard Hudon (Montréal)
YOU- HOUR 7 (18-19 GMT) (13-14 EST) (11-12 CST) (10-11 PST)
UNIVERSITY OF SASKATCHEWAN ART GALLERIES and SQUINT PRESS PRESENTS Launch of Vivian Darroch-Lozowski’s book Voice of Hearing with jake moore, Vivian Darroch-Lozowski, Daniela Cascella, Christof Migone, Ann West
YOU- HOUR 12 (23-00 GMT) (18-19 EST) (16-17 CST) (15-16 PST)
GLENFIDDICH DISTILLERY PRESENTS Swan Song by Marla Hlady & Christof Migone
P-R-O-G-R-A-M-M-E: – 1 – 2 – 3 – 4 – 5 – 6 – 7 – 8 – 9 – 10 – 11 – 12
Structured in four sections: 1. You-Base-Twelve, 2. You-Scratch-Script, 3. You-Rotate-Radio, 4. You-Urge-Urgent. Including attempts at timing and counting, making 12 Rimmed Records stand up, stacking 12 pieces of acoustic foam in various arrangements, and other nonproductive largely silent gestures. Some of the audio is culled from new mixes of Swan Song completed in the summer of 2020; this body of work is more fully featured in the final hour of the event. Also featuring Xuan Ye reading out and commenting the code from the website she coded and designed that tracks the 12 years of this project: you and i are water earth fire aire of life and death.
Participants in Scarborough’s hour were given the 6th paragraph of Cornelius Cardew’s score The Great Learning as part of their invitation to You– to be used literally as a score or philosophically as a social frame for engaging sound and silence. For an exercise in communion (a study of Cardew’s The Great Learning) Tiffany Schofield and Erika DeFreitas took the sixth paragraph as a score for organizing vocalizations derived from the word communion, modulated, reverberated, reshaped by a pedestrian tunnel’s architecture and accompanied by sited sounds. The trio of Christopher Dela Cruz, Marla Hlady and Eric Slyfield used invented and conventional instruments to improvise together. Cardew’s score was translated to a set of relationships, two movements, each with its own respective rule and with some freedom in time. Their piece is in two parts: MOVEMENT I: Play after another plays, then rest when the performer before you rests and MOVEMENT II: Only two can play concurrently, if a third person plays, one of the two must rest.
Erika DeFreitas is a Scarborough-based artist whose practice includes the use of performance, photography, video, installation, textiles, works on paper, and writing. Placing an emphasis on process, gesture, the body, documentation, and paranormal phenomena, she works through attempts to understand concepts of loss, post-memory, inheritance, and objecthood. DeFreitas’ work has been exhibited nationally and internationally. She was the recipient of the TFVA 2016 Finalist Artist Prize, the 2016 John Hartman Award, and longlisted for the 2017 Sobey Art Award. DeFreitas holds a Master of Visual Studies from the University of Toronto.
Christopher Dela Cruz is a Filipino-Canadian artist whose works investigate the relationships of objects and technology, to interculturalism and individuality. His primary media of works revolve around sound, sculpture, installation, and digital media. His works have been exhibited in the Museum of Contemporary Art, Nuit Blanche, Doris McCarthy Gallery. He was recently awarded the Ontario Regional Prize for “Notice of Disruption” in the BMO 1st Art! Competition in 2019. He currently lives and works in Toronto as technician for the Department of Arts, Culture, Media in the University of Toronto at Scarborough, and the audio director of “Festival Italiano di Johnny Lombardi” at CHIN Radio/TV International.
Tiffany Schofield is a Canadian artist and curator. She is a founding member of the Scarborough-based collective Y+. Her artistic and curatorial work is centred in collaboration and community-building, with a focus on emerging practices and suburban spaces.
Eric Slyfield is an artist, designer, and musician. Slyfield employs the use of sound, photography, installations and digital media to explore and subtly disrupt traditional art-making processes. Having most recently exhibited at Nuit Blanche and the Doris McCarthy Gallery, Slyfield’s works often explore the role of the body in the process of art-making, movement, and the effects of migration on lived experience.
Marla Hlady draws, makes sculpture, works with sites and sounds and sometimes makes video. Hlady’s kinetic sculptures and sound pieces often consist of common objects (such as teapots, cocktail mixers, jars) that are expanded and animated to reveal unexpected sonic and poetic properties often using a system-based approach to composition. She’s shown widely in solo and group shows. She has mounted sited sound works in such places as the fjords of Norway, a grain silo as part of the sound festival Electric Eclectic, an apartment window in Berlin, a tour bus in Ottawa, the Hudson’s Bay department store display window and an empty shell of a building. She also, at times, collaborates. She currently lectures at the University of Toronto at Scarborough.
YOU- HOUR 3 (14-15 GMT) (9-10 EST) (7-8 CST) (6-7 PST)
Steve Bates (Saskatoon)
You, as if radio silence by Steve Bates A fifty-nine minute composition in three parts (I, II, III) using recordings from Dakar (radio), Stockholm (Elektronmusikstudion – EMS), Vienna (kunstradio – ORF), Northern Ontario (shortwave radio), and Montréal (blank cassettes, empty and quiet rooms) collected between 2010 – 2015. Assembled and mixed in Saskatoon at Reflected Light. November, 2020. In Walter Benjamin’s brief text, “On the Minute”, he describes the instructions delivered to him by the producer for the radio program he was hosting on German State Radio; 1) that he strictly adhere, to the minute, the duration allotted to the program and, 2) never address the audience as multiple. Only ever as ‘you’. Or, if he must, multiple ‘you’s’. In radio, we are only ever one even if there are many of us. In 2010, inspired by Benjamin’s text, I made a series of small works whose sound was made from blank cassettes, the space between radio stations, radio silences and dead air, and people sitting alone in a room while trying to estimate a passing minute. An archive if you and you as missing. I also made a video work of empty white walls to accompany these sounds. In 2013, I took this little archive of recorded silences and quietness to Vienna and with the aid of Kunstradio (ORF) engineer Martin Leitner, we massively amplified these recordings with multiple speakers to activate a Bösendorfer grand piano with notes clamped down across the length of the keyboard. This was broadcast across Austria with the request to technicians to transmit as quietly as possible. Another inspiring component of radio is never knowing who the listener is. I always imagine long distance truckers tuning in at night was they pass through the signal. But no one really knows who you are.
Technical Note: Many radio stations have an automated emergency response system that activates if there is prolonged silence below a certain threshold in a broadcast. While made of recorded silences, the dB level of this program is likely well above this threshold – perhaps even loud at times.
Southern Comfort by Jen Kutler with Quintan Ana Wikswo Southern Comfort is a radio sound piece by Jen Kutler featuring text and performance by Quintan Ana Wikswo. The title Southern Comfort surrounds the queer US/Mexico border experience in its complexity of solidarity and joy in the face of bigotry, violence, hate crimes and the AIDS crisis. Kutler and Wikswo’s works invoke a rich, evolving and intergenerational legacy of obscured drag, ballroom, trans, mixed-race and gender queer fissures of deep southern and southwest American Culture through which the whiskey culture forms a through line of recreation and transgression. These rituals transcend the simple imbibing of alcohol. The sounds are synthetic voices generated from physiological sensor devices worn on Kutler’s body to document her response to the emotive narrative. These voices draw from granular synthesis, sine waves, cassette tape loops and stringed instruments.
Jen Kutler is a multidisciplinary artist and performer. She modifies found objects that are cultural signifiers of power, gender, queerness and intimacy to create atypical instruments and sculptures. Her performances feature many of her instruments incorporated with immersive field recordings to explore common and discrepant experiences of familiar social tones in immersive sound and media environments.
Hailed as “heady, euphoric, singular, surprising” by Publisher’s Weekly, “beautiful, horrifying, passionate, and bold,” by Jeff VanderMeer in The Millions, “Rilke’s lost female shadow,” by Conjunctions, and “universal and personal, comforting and jarring, ethereal and earthy,” by Electric Literature, Quintan Ana Wikswo has long been active in the collusion and collision of transdisciplinary art and direct human rights fieldwork. Quintan is recognized for innovative hybrid constellations of work that integrate her fiction, nonfiction, memoir, poetry and essay with her original photography, performance, audio, film and video installation. These projects interrupt sites and trajectories of human rights infractions, hate crime organizing, and global and local networks of the far right.
Spirit Safe by Sadie Woods In this radio work, sound artist Sadie Woods takes inspiration from the Scott whiskey term spirit safe, an enclosed control center where the strength and temperature of the spirit is analyzed by distillers without having direct physical access to it. Spirit Safe builds on the experience and instincts involved in the spirit analyzing process exploring impulses, intuition, and receptivity in interpersonal relationships through mixing and blending ethereal sound and electronic music.
Sadie Woods (American, 1978) is an award winning artist who has had an exciting career, showcasing her talents everywhere from academia to nightclubs, boutiques to museums. As a multidisciplinary artist, curator and deejay, Woods’ work focuses primarily on social movements and resistance, and producing collaborations within communities of difference. Woods received her BA from Columbia College and MFA from The School of the Art Institute. She is a 2020 recipient of the City of Chicago’s Department of Cultural Affairs and Special Events Esteemed Artist Award and currently Faculty at the School of the Art Institute, Residents Orchestrate Project Manager at the Chicago Sinfonietta, and resident deejay on Vocalo 91.1FM and Lumpen Radio 105.5FM.
Segunda Persona by Agustina Woodgate with Florencia Curci A multilingual remix amongst friends. A fabulous and loving speculation about the second person. Where are the words coming from? ¿Cuál es el oldest tú? What if they come from you? “The spanish Tú sounds like a spit” “In French, Le Toi also means the roof, the You has this connotation of being something that protects you. You, the entity that gives you shelter, that helps you find solace” “Nderehe is the guarani for tú. Nderehe are not always humans” The many ways of saying You explore the many yous possible.
– I care about you. – You will always be vos.
Agustina Woodgate is an artist and designer addressing landscapes and infrastructures as conceptual and political public geography. Her approach is site and context-responsive. Her recent experiments include communication channels and publishing platforms that propose alternative forms for media distribution. In 2011 she co-founded radioee.net a nomadic, translingual, online radio station focusing on mobility, migration and climate transformation as its core themes. In 2017 she co-initiated PUB, an experimental publishing platform within Sandberg Instituut, Amsterdam. Her projects have been commissioned by the 2019 Whitney Biennial, 4th Istanbul Design Biennial; Haus der Kulturen der Welt, Berlin; 9th Berlin Biennial; PlayPublik, Poland; DC Commission on the Arts and Humanities, Washington; Storefront for Art and Architecture, MN and KW Institute for Contemporary Art, Berlin amongst others. agustinawoodgate.com
Florencia Curci is a drummer, sound & radio artist and curator based in Buenos Aires. Her work focuses on noise and rhythms as relative concepts that can configure perception, communication and subjectivity. Her work has been presented at Centro Cultural Kirchner, Cultural San Martín [AR], Medialab Prado [ES], Tsonami Festival[CL], Aural Festival [MX], Kunst Radio [AT] and Mayhem [DK], mongst others.. Florencia completed her Masters in Expanded Music at the UNSAM University, and was part of the Artists’ Program of the Torcuato di Tella University. She is currently the director and main curator of the Sound Art Center (CASo) in Buenos Aires. florenciacurci.com
Useful Radio by Jeff Kolar Useful Radio is a new radio mix focused on radio voices, citizen listening, and the intimacy of signals. Featuring collaborations with Joe Jeffers, Anna Friz, and Zeena Parkins. Track listing in order of appearance: Untitled; Creepy Tipi (with Joe Jeffers); Far Gone; Useful Radio (with Anna Friz); Hooking (with Zeena Parkins); and Prologue (with Zeena Parkins).
Jeff Kolar is a sound artist, composer, and founder of Radius, an international experimental radio broadcast platform established in 2010. His solo and collaborative work, described as “wonderfully strange” (John Corbett), includes atmospheric compositions and sonic installations for dance, film, theatre, and performance. He has performed and exhibited widely across the United States, and at international venues and festivals such as the New Museum (New York), Museum of Arts and Design (New York), Moogfest (Durham, North Carolina), CTM Festival for Adventurous Music (Berlin). His work has been reviewed and discussed in international print publications and online platforms such as The New York Times, The Wire Magazine, Red Bull Music Academy and Architect Magazine, and in an array of art, design and music publications including VICE, Art Slant, designboom, and Rhizome.org. jeffkolar.us
YOU- HOUR 6 (17-18 GMT) (12-13 EST) (10-11 CST) (9-10 PST)
Béchard Hudon (Montréal)
Montreal-based duo Béchard Hudon present Disvestment Mechanisms (square)
Technical Note: Use of headphones or speakers to listen to the audio is recommended, because most of the frequencies go into subsonic range.
YOU- HOUR 7 (18-19 GMT) (13-14 EST) (11-12 CST) (10-11 PST)
UNIVERSITY OF SASKATCHEWAN ART GALLERIES and SQUINT PRESS PRESENTS Launch of Vivian Darroch-Lozowski’s book Voice of Hearing with jake moore, Vivian Darroch-Lozowski, Daniela Cascella, Christof Migone, Ann West
Originally published in 1984, Voice of Hearing was found in a used book shop in London, Ontario by Christof Migone. Its titular provocation led to this re-presentation complete with a generative introductory essay by Migone, a newly crafted postface from Vivian, and re-packaging with eloquent cover art by Dominique Pétrin. This online event is hosted by jake moore, Director of the University of Saskatchewan Art Galleries and Collections. The hour will feature an excerpted conversation between Vivian Darroch-Lozowski, author and professor emerita of the University of Toronto, currently based in Moose Jaw, Saskatchewan; the original editor of the book, Ann J. West; the writer, researcher, lecturer and editor, Daniela Cascella; and Christof Migone artist, curator, and writer and the editor at the audio-centric Squint Press responsible for this re-publication. The conversation will be interspersed with readings from the text by Vivian and excerpts of Migone’s introductory essay.
Contemplative, intricate, here the philosopher Vivian Darroch-Lozowski develops a phenomenology of hearing. Where theorizing is a present-tense action. Where a landscape teaches waiting. Where to be in a body is to gesture to another. Where subjectivity is the transformation of language. Where attention releases nascent energy. Where to hear is also to transform. Where myth is a gate. A close attending to this text, which is also a unicorn, will delicately open the reader’s time-sense.
—Lisa Robertson, author of Cinema of the Present, The Weather, Nilling, and The Baudelaire Fractal
“What is on these pages is what I am which is what I have never been”: Vivian Darroch-Lozowski’s meditation on coming into being through the act of writing is at once familiar scenario —a narrating of the process of creation— and distinctive unswerving unscrolling improvisation. Its visionary sensibility and self-exegesis and sheer blizzardy accumulation of word, image, observation, and insight attunes to the play of sound in ways that make radical modes of hearing fundamental to its ethos.
—David Grubbs, author of The Voice in the Headphones, Now that the audience is assembled, and Records Ruin the Landscape
Anastasia Freygang‘s LIPREADER: ‘you re-listen and re-observe remotely and are grasping anew the one that was you and where forementioning myths of the far future you got yourself a lipreader’. The piece is a meta-observed temporality quest addressing you and featuring Anastasia Freygang appearing, listening and moving with ragamash st james mix, Koichi Yamanoha, Traktor Sternfahrt Orchestra route 5, Lister engine 3 Cylinder aboard UNISON with an impromptu aria sung by Kalan Sherrard and occasional exclamations of intent in fantasy language recorded on the River Lea.
Milo Thesiger-Meacham presents a multimedia project featuring an original script and soundtrack, handheld and drone video, Google Earth, computer-generated imagery, field recordings, and the voice of actor Kadence Neill.
Conversations with ancestors, bodies, and ancestral selves. You. Distant and longed for, distant and beloved. You. Are changing, have changed. You. Consider all your relations.
Performed by: Anna Friz, Amy Mihyang Ginther, Cynthia Ling Lee, Gabriel Saloman.
Anna Friz is a radio, sound, and media artist. Since 1998 Anna has predominantly created self-reflexive radio for broadcast, installation and performance, where radio is the source, subject, and medium of the work. Her compositions for theatre, dance, film, installation, and solo performance reflect upon public media culture, land and infrastructure, time perception, and the intimacy of signal space. Recent radiophonic works include The Joy Channel with Emmanuel Madan, Embodied Radio Device with Absolute Value of Noise, and Unbox, Outside, and This Hour (a trio of online and broadcast performances). Anna is assistant professor of sound in the Film and Digital Media department at UC Santa Cruz.
Cynthia Ling Lee instigates queer, postcolonial, and feminist-of-color interventions in the field of body-based performance. Her interdisciplinary choreography has been presented at venues such as Dance Theater Workshop (New York), East West Players (Los Angeles), SZENE Salzburg (Salzburg), Taman Ismail Marzuki (Jakarta), and Chandra-Mandapa: Spaces (Chennai). Cynthia was the recipient of a Thomas J. Watson Fellowship, an Asia-Pacific Performing Arts Exchange Fellowship, and a Hellman Fellowship. Cynthia is an associate professor of dance in the Department of Theater Arts at UC Santa Cruz and a member of the Post Natyam Collective. www.cynthialinglee.com
Gabriel Saloman is a multidisciplinary artist, musician, writer and educator based in Santa Cruz (USA), who works in sound, text, visual mediums and socially collaborative forms. In addition to his work as a soloist he has worked in many, many collaborations including Yellow Swans, Red76, The STAG Library, Company 605 and Action at a Distance. He is currently a PhD candidate in the History of Consciousness Department at UC Santa Cruz where he is researching the relationships between noise and power.
Amy Mihyang Ginther is a queer, transracially adopted scholar, activist, and award-winning theatre maker. She has lived, taught and performed in the US, Europe, South America, and Asia. Her work utilizes devising methods to create documentary/autobiographical theatre that focuses on themes of loss, belonging, grief, race, power, and representation. Ginther’s last play, Homeful was performed Off-Broadway (Best Storytelling Show), in London, and at Exit Theater (Best of Fringe, sold-out run). She is currently devising a musical, No Danger of Winning, that examines the experience of former contestants of color from The Bachelor/ette and is editing a volume on decolonial, anti-racist actor training.
you think to appear/when you begin to appear/you begin to appear/when you think to begin/
A lost space that leads nowhere. Restless and confined. Disembodied and embodied presences roam, taunt, multiply and echo each other across planes.
Dana Gingras/Animals of Distinction. Choreographer, filmmaker, performer and artistic director of AOD. Founded in 2006 the company functions as a type of framework for contemporary practice, as a point of intersection where the social kinaesthetic, and the possibilities of physical thinking can be visualized in choreographic ideas with different collaborations and with other art forms.
Tot Onyx. New solo project of Japanese duo group A’s Tommi Tokyo. Formed in 2012, group A has explored the possibilities in breaking the preconceptions of live performance, attempted to subvert the boundary between musical performance and performance art incorporating use of the body, live-painting, noise, acoustics, and poetry in their formative performances. Frequent collaborations with visual artists, dancers, and scenographers of different practices is one of the crucial processes in her experimentation both of sound and performance.
Sonya Stefan. Independent Media and Dance Artist. Interests are Trash Aesthetics, Shifting Trees and Bodies that escape their realm. Collaborations with a variety of artists in dance, music and visual arts, as well as community-based projects, combining her love of fragmentation and suspension with that of togetherness.
Structured around the endless walking through of Still House 2 at the Glenfiddich Distillery (Duffotwn, Scotland) by Andy Fairgrieve, the Artists in Residence Co-ordinator (footage shot by John Paul in November 2020). Featuring new mixes of Swan Song completed in the summer of 2020 and mastered by Harris Newman in October. Also featuring a selection of videos shot by Marla Hlady and Christof Migone during their residency at Glenfiddich in the summer of 2019.
December 12, 2021
Organized by Christof Migone
LINK TO YOUTUBE LIVESTREAM HERE.
The second in a series of twelve annual events taking place on December 12 from noon to midnight EST (9-9 PST, 11-11 CST, 17-05 GMT, 18-06 CET, 1-13 CST, 2-14 KST). Each year the event moves through each word of the 12-word phrase you and I are water earth fire air of life and death and activates the word of the year in myriad ways. This year the word is ‘and’, consequently the focus is on repetitions, conjunctions, and duos. Last year it started with ‘you’, this year we connect you to anything and everything, we connect you to what you are together-with. Or, we get stuck in the very act that ‘and’ opens up, into the enormity that the so-what-next that ‘and’ implies. ‘And’ is all possibilities in a nutshell. A secular litany that follows pi into infinity.
-AND- HOUR 6 (17 EST) CRiSAP (London UK) PRESENTS They are all of them themselves and they repeat it and I hear it (Anna Barham & Irene Revell) (London UK)
-AND- HOUR 7 (18 EST) squint press (Québec/Toronto) PRESENTS Different From The One You Are In Now with Mary Walling Blackburn, Allison Cameron, Barbara Campbell, Budhaditya Chattopadhyay, Darren Copeland, Renato Grieco, Michaela Grill, Sarah Hennies, Marla Hlady, Seth Kim-Cohen, Francisco Meirino, Salomé Voegelin.
Fado (Toronto) PRESENTS Erika DeFreitas (Toronto) and Adrian Piper (Berlin)
Seriation #2: Now (1968) 18:00 and Seriation #2a: _and (with thoughts of Adrian Piper) (2021) 38:30
The original Seriation #2: Now consists in 18 minutes of Adrian Piper uttering the word “now,” in a measured tone, at shorter and shorter intervals, from one minute to every second. DeFreitas was given permission by Piper to perform the piece for this event. Accompanying the audio of this version are visuals created by DeFreitas to question our presence in the ‘now’. Seriation #2a: _and (with thoughts of Adrian Piper) is inspired by Piper’s soundwork Seriation #2: Now, DeFreitas creates a score based on Piper’s essay “Passing for White, Passing for Black” by isolating the word ‘and’ on the pages it appears. DeFreitas then performs this score, reciting the word ‘and’ evenly spaced within the timeframe of 1 minute per page.
Erika DeFreitasis a Scarborough-based artist whose practice includes the use of performance, photography, video, installation, textiles, works on paper, and writing. Placing an emphasis on process, gesture, the body, documentation, and paranormal phenomena, she works through attempts to understand concepts of loss, post-memory, inheritance, and objecthood. DeFreitas’ work has been exhibited nationally and internationally. She was the recipient of the TFVA 2016 Finalist Artist Prize, the 2016 John Hartman Award, and longlisted for the 2017 Sobey Art Award. DeFreitas holds a Master of Visual Studies from the University of Toronto.
Radius (Chicago) PRESENTS Anna Friz (Santa Cruz) and Jeff Kolar (Chicago)
The end is pretend
Time does not pass, it accumulates. A series of gestures, repetitions, and refrains; human loops which may not last but do linger.
Anna and Jeff have collaborated together for more than a decade on various musical and radiophonic projects around the world, most often in the form of live improvisatory performances and broadcasts. In early March 2020, we met in Chicago to perform and to record new sound work. That week together was the last before the lockdowns in response to the COVID-19 pandemic began, so we were studiobound in that very uneasy moment before the many changes to come. We each created small sonic loops from a very limited palette of instruments or devices, including a radio scanner to pick up local two-way radio frequencies from shortwave to police talk. We are returning to these sonic moments 18 months later, passing them between us over greater distances this time, up to three exchanges of accumulating layers. This is a process of navigating public and personal crises buoyed by our artistic friendship.
A gesture, and a gesture, and a gesture. And another. And an other. And each other.
Anna Friz creates media art, sound works and self-reflexive radio for broadcast, installation and performance. Her compositions reflect upon media ecologies, land use and infrastructure (human and extra-human, acoustic and electro-magnetic), time perception, and critical fictions. She is currently Assistant Professor in Film and Digital Media at University of California Santa Cruz.
Jeff Kolar is a composer, sound artist, and founder of Radius, an experimental radio broadcast platform established in 2010. His work has been exhibited internationally at The Kitchen, Museum of Arts and Design, CTM Festival for Adventurous Music, and reviewed in The New York Times, The Wire Magazine, Red Bull Music Academy.
Zone Sound Creative (Taiwan) PRESENTS Po-Hao Chi (Taipei)
How to build up a symbiotic relationship with evolving entities constituted of information patterns? Is decentralization only an illusion in terms of existing infrastructure? In this project, I dove deep into the fields of the Internet and gathered the most popular hashtags of instagrammable plants through algorithms to explore connectivity and collectivity. With WebVR and sonification programs, I created a multichannel installation that links physical and virtual entities, public and private spaces, digital and analogous experiences. The COVID-19 pandemic has made people more eager to build up the ideal home life when social interactions are constrained, but is there a normalized common for such a spectacle beyond the limits of time and space? We simultaneously see others and ourselves when scrolling down newsfeeds on pervasive screens, which creates an enviable imagined network that emphasizes the concept of “similarity breeds connection.” Particular species from predominantly and variously subtropical origin, for instance, Ｍonstera Deliciosa, has become symbolic of a certain kind of lifestyle. Plants can stay invisible within contemporary indoor environments while being eye-catching on social media. It parallels the fact that connectivity is an exotic term and represents homophily with digitality.
From Taipei, Taiwan, Chi Po-Hao (b.1989), is an interdisciplinary practitioner working across music, technology and arts. He holds a Master of Music Degree from Goldsmiths, University of London and a Bachelors Degree in Economics from National Taiwan University. His practice stems from the fascination of boundaries and guidelines, usually implemented by designing methods to associate relevance from observing the diversities. He is particularly attracted by rule-based and technology-oriented practice because it allows more innovative thinking and discussion while trembling the existing system. His recent research is about the agencies of networked entities and how human and non-human co-constituted each other on the Web. He was granted residencies at V2_Institute of Unstable Media (Rotterdam, 2014), Cité Internationale des Arts (Paris, 2015-16), Asia Art Archive (Hong Kong, 2016), Laboral Centro de Arte (Gijon, 2016), FACT (Liverpool, 2018), National Theater and Concert Hall (Taipei, 2019), and has presented works in many international events, conferences, and venues.
Resonance Extra (London UK) PRESENTS Neil Luck, Merlin Nova, and Milo Thesiger-Meacham
Ghost Hotel by James Greer & Neil Luck
Video with sound, showing poltergeist activity I captured in Chinese hotel rooms. Absent interactions with a distant other. The embodied memory of another person superimposed in space and time. Video by Neil Luck, using sounds from Field Recordist James Greer.
i can’t do anything about it now, it’s too late by Merlin Nova
Who are you talking to? What did you do? What are you not going to do? Time feels finite. It all feels too late. There is variety in repetition. You do the math.
The Secret Set by Milo Thesiger-Meacham
A multimedia project featuring an original text, soundtrack and set; field recordings and video found on the SD cards of second-hand cameras; digital photography, handheld, webcam and drone footage; and CGI. Narrated by Kadence Neill.
Currently based in Tokyo, James Greer is a field recordist and composer whose work often responds to people and the built environment.
Neil Luck is a composer, performer, and director based in London. His music engages the physical and fallible nature of live performance in multimedia contexts, and attempts to frame the act of music making itself as something strange, useful, or spectacular in and of itself.
Merlin Nova is a performance and sound artist. Nova released her ‘creepy, funny and all out terrifying’ (The Wire) debut album BOO! last year and her energetic choral EP Big Heart, long time love was released at the beginning of this year. She has worked with Slow Dance, NTS, Young Turks, Café Oto and BBC Radio 6 Late Junction and has performed across the UK and Europe.
Milo Thesiger-Meacham is an artist, writer and composer based in London.
LOOP (Seoul) PRESENTS Byungjun Kwon (Seoul)
Machines that resemble humans scramble along the lines of light that are reduced to shadows. The rugged, clunky movement of the deformed one-armed robot out of symmetry raises the illusion of ‘human familiarity’ to us through the process of overlapping, distorting and composing shadows. Robots that operate as automated stage equipment and characters evoke an unstable future, such as the restraint of a machine not far from the future, but in reality they are constrained machines in human control. Designed with the memory of colleagues in the 90s club scene and the alienated people in the streets, these robots dance and sing to each other in limited gestures. Developed with five members of the creative team, this play explores the possibilities of a new genre of robotic mechanical theater. Written and Directed by Byungjun Kwon Robot design, Music: Byungjun Kwon Creative team: Doosung Moon, Taeho Park, Orominkyung, Minkyoung Lee, ABJ Graphic Design: Kangwon Lee, ABJ Technical support: Gunho Kim, Dayoung Lee Costume design: Yujin Kwak (Working Class Hero) Sponsored by Seoul Foundation for Arts and Culture Organized by Loop
ByungJun Kwon (b. 1971, Seoul) started his career as a singer-songwriter in the early 1990s. Kwon’s oeuvre consists not only of six music albums whose genre range from alternative rock to minimal house, but musical operations and performative acts in diverse platforms of movie soundtracks, theatre, fashion show, and modern dance. He spent the late 2000s in the Netherlands studying art-science and working as a hardware engineer at STEIM, a research center for new musical instruments in the electronic performing arts. Since returning to Korea in 2011, he has developed and secured a certain niche in contemporary (visual) art by employing his characteristic sound and media.
CRiSAP (London UK) PRESENTS They are all of them themselves and they repeat it and I hear it (Anna Barham & Irene Revell) (London UK)
Stein in Island Gardens again
Some are thinking, some are feeling, some are thinking and feeling, some are thinking some one is feeling, some are thinking some one is thinking, some are thinking some one is feeling and thinking, some are feeling some one is thinking, some are feeling some one is thinking and feeling, some are feeling some one is feeling. A continuous static shot captures a small group reading from Gertrude Stein’s The Making of Americans in a park by the river Thames. The soundtrack combines close recordings of each voice within the surrounding soundscape: wind, distant traffic, passing boats, dogs, cyclists, voices. The readers take turns, passing to the person on their left at the end of each page. The reading is unrehearsed. These are so very many ways of thinking and feeling connecting, not connecting, of being existing, of not being existing, there are so many ways of realising and not realising thinking thinking and feeling being, thinking being, feeling being, feeling not being, thinking not being, thinking and feeling not being, some kind of thinking, some kind of feeling not being in some one.
Readers: Cathy Lane, Miranda Clow, Sarah Chatwin, Sarbina Fuller, Julia Calver, Irene Revell and Anna Barham.
They are all of them themselves and they repeat it and I hear it is a reading-aloud group organised by artist Anna Barham and curator Irene Revell. After an initial reading in Island Gardens for Longplayer Day 2019, the group formed to read Gertrude Stein’s 925-page The Making of Americans (1925) over the course of 2020, slowing down the ‘marathon’ tradition of 52-hour readings of the novel initiated by Alison Knowles, Annea Lockwood, Jean Rigg & Ruth Anderson over New Years Eve 1974/5 in NYC. The group is continuing with other authors chosen for their sonic qualities including Elfriede Jelinek and Clarice Lispector.
squint press (Québec/Toronto) PRESENTS Different From The One You Are In Now with Mary Walling Blackburn, Allison Cameron, Barbara Campbell, Budhaditya Chattopadhyay, Darren Copeland, Renato Grieco, Michaela Grill, Sarah Hennies, Marla Hlady, Seth Kim-Cohen, Francisco Meirino, Salomé Voegelin
Different From The One You Are In Now
For Alvin Lucier. 12×12 rooms we are not in. For 12 years, every year 12 minute recordings of 12 rooms by 12 artists. Unoccupied and obscured. Room tones, thin walls. Faint glimmers, light leaks. Located nothings. The present of non-presence.
The grid is arranged alphabetically by last name. The order of appearance reflects the order in which the recordings were received.
Anyone interested in contributing to future editions please contact me (cm at christofmigone dot com).
Array (Toronto) PRESENTS Renée Lear (Toronto) and Christof Migone (Toronto)
Psycho Flicker by Renée Lear
My most recent body of work has been in response to my desire to watch more than one film at once. I’ve been intercutting related films like gunfights in Sergio Leone’s Westerns and the killer’s point-of-view scenes from Dario Argento’s giallos. This time I wondered about combining two very different films. Tony Conrad’s The Flicker and Alfred Hitchcock’s Psycho: two psychological thrillers together at last! Watch as the dominant, mainstream narrative Psycho becomes playfully subordinate to the pulsing demands of the avant-garde, structural procedures at work in The Flicker – flashing frequencies riding alpha waves, unconcerned with story lines and bringing viewers into a semi-hypnotic visual realm.
The Hyphenation – Of Americans by Christof Migone
The Hyphenation (15:00) is part 1 of a 2-part set of videos which are based on Gertrude Stein’s The Making of Americans. The video takes the appearance of hyphens at the end of lines in Stein’s mammoth tome (3107 occurrences over the span of 925 pages) as main structural device. The vertical lines indicate a page, some pages have no hyphens, some have up to twelve. Part 2 is titled Of Americans (15:00); it takes the appearance of words a referencing colour in the book (294 occurrences in 925 pages) as main structural device. The longer vertical lines denote chapter breaks. The smaller vertical lines move through the book from left to right of the frame. An earlier text-based work The Hyphenation of Americans kickstarted these videos.
Renée Lear is an experimental video artist, performer, photographer and filmmaker. Her practice engages both playfully and critically with the material, instruments and processes that produce moving images. Her recent work includes video, video installation, video performance, video mixing in live environments, animation and GIF montage. She works both solo and in collaboration with other artists, musicians, DJ’s, chefs and dancers. Her work has been shown in art galleries, festivals, underground cinemas, performance spaces, dance clubs, music venues, ad hoc public spaces and has been exhibited nationally and internationally. Renée Lear lives and works in Toronto, Canada.
Christof Migone‘s research delves into language & voice, bodies & performance, intimacy & complicity, sound & silence, rhythmics & kinetics, translation & referentiality, stillness & imperceptibility, structure & improvisation, play & pathos, pedagogy & unlearning, failure & endurance. Current and ongoing investigations: microphone hitting, book flipping, tongue extruding, record releasing, word hyphenating, para-pedagogical positioning, careless curating, noise making, sequitur following, paper passing, interval counting, rhythm repeating, phone licking, machine fingering, playlist compiling, silence listening, dozens of dozens, strobosonoscopics and stroboscopsonics.
Western University (London ON) PRESENTS Ellen Moffat (London ON) and Eeva Siivonen (London ON)
a rested development
a rested development is a timespace of image and sound that intersect and diverge as autonomous entities in motion. A constellation of images expands and contracts within the undulations and oscillations of sound. As emerging entities, these components are in a suspended state of betweenness in which otherness and difference exist simultaneously. They become other than what they were while remaining what they are.
Ellen Moffat is an installation and performance artist who constructs sonic environments from material experiments, field recordings, and generative processes. Her interest in the tonalities and temporalities of small sounds is an engagement with the sense and nonsense of sound as multiple subjectivities and pluralities of the un(der)heard and their (in)audible dimensions.
Eeva Siivonen creates moving image environments that amplify states of in-betweenness, resisting separations between self and other, human and nonhuman, and interior and exterior. Her practice engages with the inherent failure to gain knowledge of ourselves and others as the space from which ethics emerge and evolve.
Avatar (Québec) PRESENTS Béchard Hudon (Montréal)
And, the Coexistence of Temporalities
And, the Coexistence of Temporalities is a video created from recordings captured by the Université de Montréal webcams. The sound composition is a mix of field recordings from various places in Quebec and digital processing.
Inspired by the thoughts of Donna J. Haraway, in these troubled and confusing times, we felt the need to connect with a couple of Peregrine falcons that were nesting at the top of the Roger-Gaudry tower at the Université de Montréal. Using three webcams installed near their nest, we observed and recorded them from our computer almost every day from early March to late May, then occasionally until late October, 2021. The video recordings became a point of contact with these birds saved from the threat of extinction thanks to the ban on the use of DDT (in Canada and elsewhere). We were captivated by the life of these urban birds of prey, their unique space-time, and how they live in their temporary habitat. One of our main interests was to observe how they survive in this anthropogenic place devoid of vegetation. Their nesting area with the city as backdrop, in a place saturated with human expansion, formed a strange and reassuring image all at once. Their presence in this place emphasized the tension between different temporalities: a production-oriented human time and a rhythm specific to falcons. This temporal interlacement made us pay particular attention to the ‘dead’ time that took up a significant part of the Peregrine falcons’ daily life. They spent long periods of time in the same spot, in a state of observation or silent waiting, offering a striking contrast to our hyperconnected pace and collective allergy to unproductive time. And, the Coexistence of Temporalities focuses on the interactions between human and non-human animals in order to glimpse other ways of inhabiting the world and to infuse our imaginaries with an inclusive and sensitive multispecies energy.
Catherine Béchard and Sabin Hudon are based in Montreal and form an interdisciplinary artistic duo since 1999. They are interested in lines of encounter, grey areas or simultaneity curves that shape our experience of the world and motivate their creation of kinetic and sound installations, silent motile sculptures, audio piece, public artworks and sometimes makes video. They have exhibited widely, notably at the Symposium international d’art contemporain de Baie-Saint-Paul, the Triennale Banlieue at la Maison des arts de Laval, the Biennale nationale de sculpture contemporaine in Trois-Rivières, at the MA Musée d’art in Rouyn-Noranda, the Centre d’exposition Lethbridge and Ellephant Gallery as part of the International Digital Art Biennial in Montreal, the Mois Multi in Quebec city, the Knockdown Center in Brooklyn, in the context of the event Quebec Digital Art in NYC, at the Device Art Triennal in Zagreb and at the National art Museum of China during the exhibition ThingWorld: International Triennal of New Media Art.
Wave Farm (New York) PRESENTS LoVid (New York)
LoVid’s work centers around the juxtaposition of media and material, physicality and virtuality. Our practice incorporates a wide range of techniques and processes, from DIY electrical engineering to textile design and stained glass. Throughout multiple projects, we maintain a signature visual and sonic aesthetic of color, pattern, and texture density, incorporating glitch and noise. Our process: navigating between the handmade and the machine-produced, highlights the challenges and possibilities of the networked age, particularly a sense of the world that intermixes virtual and physical, materials and simulations, fantasy and reality, hope and despair, connectivity and isolation.
LoVid’s work has been exhibited, performed, screened, and presented internationally at venues including: Postmasters Gallery, Marquee Projects, Pixel Festival, SPRING/BREAK Art Show, And/Or Gallery, Parrish Museum, Klaus von Nichtssagend Gallery, Real Art Ways, Good Children Gallery, BRIC, Elizabeth Foundation for the Arts, Issue Project Room, Mixed Greens Gallery, The Science Gallery Dublin, The Jewish Museum, MoMA, Tectonics Festival TLV, The Kitchen, Moving Image Art Fair, Daejeon Museum, Smack Mellon, Netherland Media Art Institute (Netherlands), New Museum, ICA (London), and International Film Festival Rotterdam (Netherlands). LoVid’s projects have received support from organizations including: Wave Hill, The Robert Rauschenberg Foundation, Graham Foundation, UC Santa Barbara, Signal Culture, Cue Art Foundation, Eyebeam, Harvestworks, Wave Farm, Rhizome, Franklin Furnace, Turbulence.org, New York Foundation for the Arts, Lower Manhattan Cultural Center, Experimental TV Center, NY State Council of the Arts, and Greenwall Foundation. LoVid’s videos are distributed by EAI and NFTS are represented by Postmasters Gallery. LoVid, the NY based artist duo composed of Tali Hinkis and Kyle Lapidus, has worked together since 2001.
Errant Bodies Press (Berlin) PRESENTS undo (Christof Migone (Toronto) & Alexandre St-Onge (Québec))
seize me by the horns (2000) 10:57
Disclosure (2001) 14:04
Vito Acconci’s undoing (2001) 11:00
l’étranglement (2000) 23:57
Four never before seen video documents of performative gestures by undo (Christof Migone & Alexandre St-Onge) centered on orality in its blunt physiology, contingent spatiality, tense viscosity, and emergent animality. Performed twenty years ago, digitized and edited in the summer of 2021.
seize me by the horns (2000) consists of stuffing canned snails into our mouths, ears, noses. We mined our bucal cavities for fluid sonorities, we deranged our electronics. The recording of the performance in a kitchen in Montréal appeared on the last track of the inaugural release on squint fucker press in the same year, un sperme qui meurt de froid en agitant faiblement sa petite queue dans les draps d’un gamin. Also the same year we performed the piece in front of a live audience at the No Music Festival in London, Ontario. The contorted textual component is from the performative presentation titled “Turn, turn, turn: undo’s dizzy tactics in des tournages” presented at the first Tuning Speculation: Experimental Aesthetics and the Sonic conference, November 1-2, 2013, at Arraymusic in Toronto.
Disclosure (2001) was performed four times over three days for the PUBLIC SPACES/PRIVATE PLACES series curated by Paul Couillard for FADO, June 28-30, 2001 at 228 1/2 Parliament Street, Toronto, Canada. Audio/text/visual documentation published in Surface Tension: Problematics of Site, edited by Brandon LaBelle and Ken Ehrlich, Los Angeles: Errant Bodies Press, 2003. The performance consisted of three parts in three different locations of the apartment: lie, close, hold. Review by Lucie Sparham (Lola, fall 2001 issue): “It began getting very boring. Nothing happened. I felt like I was in a trance. I looked again. They seemed to exist outside of time. Then I became acutely aware I had observed them earlier as specimens, but now felt their humanity.”
Vito Acconci’s undoing (2001) is based on and inspired by the video Waterways: 4 Saliva Studies (1971) by Vito Acconci. Used by permission. The soundtrack to the original piece by Vito Acconci as well as the ‘undone’ version were published on a CD by squint fucker press. Features Spit (1996-1998).
l’étranglement (2000), feat. André-Éric Létourneau. Performed at Casa del Popolo in Montréal. Strangling the love out of each other while Éric checks his pulse. Glitches courtesy of mismatched codecs. Audio documentation appeared on the CD accompanying Christof Migone’s Sound Voice Perform (Errant Bodies Press, 2005).
undo is a duo which, since its inception in 1997, explores the barely perceptible, the unacceptable and the forgettable. We are not often active but when we are we are passive. Passion plays a part. We are where nowhere is where it’s at. undo. delete. efface. do not.
Christof Migone is an artist, teacher, curator, and writer. He often works with language, voice, bodies, performance, intimacy, complicity, and endurance. He co-edited the books Writing Aloud: The Sonics of Language (Los Angeles: Errant Bodies Press, 2001) and Volumes (Blackwood Gallery, 2015). His writings have been published in Aural Cultures, S:ON, Experimental Sound & Radio, Musicworks, Radio Rethink, Semiotext(e), Angelaki, Esse, Inter, Performance Research, Sound Art (ZKM/MIT), etc. He obtained an MFA from NSCAD in 1996 and a PhD from the Department of Performance Studies at the Tisch School of the Arts of New York University in 2007. He has released nine solo audio cds on various labels (Avatar, ND, Alien 8, Locust, Oral). He has curated a number of exhibitions and events: Touch that Dial (1990), Radio Contortions (1991), Rappel (1994), Double Site (1998), stuttermouthface (2002), Disquiet (2005), START (2007), STOP.(2008), and Should I Stay or Should I Go (Nuit Blanche 2010), and numerous others for the Blackwood Gallery between 2008 and 2013. He has performed at Beyond Music Sound Festival (Los Angeles), kaaistudios (Brussels), Resonance FM (London), Nouvelles Scènes (Dijon), On the Air (Innsbruck), Ménagerie de Verre (Paris), Experimental Intermedia (NYC), Mois Multi (Québec), Images Festival (Toronto), Send+Receive (Winnipeg), Kill Your Timid Notion (Dundee), Liquid Architecture (Melbourne), Mutek, Victoriaville Festival, Casa del Popolo, Théâtre La Chapelle, DHCArt, CAFKA, Museum Leuven, Whitney Museum, LUFF, Cave 12, Ftarri, Borderline Festival (Athens), etc. His installations have been exhibited at the Banff Center, Rotterdam Film Festival, Gallery 101, Art Lab, eyelevelgallery, Forest City Gallery, Studio 5 Beekman, Mercer Union, CCS Bard, Optica, Oboro. He has collaborated with Marla Hlady, Lynda Gaudreau, Martin Tétreault, Michel F. Côté, Gregory Whitehead, Set Fire To Flames, and Fly Pan Am. A monograph on his work, Sound Voice Perform, was published in 2005. In 2006, the Galerie de l’UQAM in Montreal presented a mid-career survey of his work accompanied by a catalog and a DVD entitled Trou. A book compiling his writings on sound art, Sonic Somatic: Performances of the Unsound Body was published in 2012 by Errant Bodies Press. He has been the recipient of commissions from the Tate Modern, Dazibao, Kunstradio, Centre for Art Tapes, New Adventures in Sound Art, Radio Canada, New American Radio. He is a founding member of Avatar (Québec City). He currently lives in Toronto and is an Associate Professor in the Department of Visual Arts at Western University in London, Ontario.
Alexandre St-Onge is an interdisciplinary artist and a sonic performer exploring the mutation of the performative body through its sonic, textual and visual mediations. Philosophiae doctor (PhD) in art (UQAM, 2015) and assistant professor at l’École d’art of Laval University, he is fascinated by creativity as a pragmatic approach to the ungraspable and he has published over twenty works including A.A.G.G.’s OBSESSIONS de A.A.G.G. (Rara Avis), Jet du bas dit AA l’eau guet avec l’invisible (éditions|squint|press), NommeBeurre µ La lubrification du verbe Les vies innombrables des Tie Wraps (Grillage Absolu), Créatures hermétiques dans mon char bb des otages inaperçus (Archée/PDF/Grillage Absolu), Cône en tête C Ça KC l’arme chaude de l’ivresse (Grillage Absolu), Nude de chose de même (Le laps), VUEIEN (Errant Bodies Press), Semblances (Avatar), viorupeeeeihean (Oral) and Kasi Naigo (squintfuckerpress) amongst others. He presented his work at the Leonard & Bina Ellen Gallery in Montreal, at Sporobole in Sherbrooke, at Latitude 53 in Edmonton, at the Tsonami festival in Valparaiso, at Paved Arts in Saskatoon, at Eastern Bloc and at the Cinémathèque québécoise in Montreal, at Avatar and at Mois Multi in Quebec City, at L’Écart in Rouyn-Noranda, at Action Art Actuel at Saint-Jean-sur-Richelieu, at the Errant Bodies Space in Berlin, at the Justina M. Barnicke Gallery in Toronto, at the festival Send and Receive in Winnipeg and at the Disturbance festival in Copenhagen to name a few places and events. Co-founder of éditions|squint|press with Christof Migone, he is also creating with collectives and artists such as: Simon Brown, Et Sans, K.A.N.T.N.A.G.A.N.O., Klaxon Gueule, L’Ensemble SuperMusique, Pink Saliva, Obsolète, mineminemine, Shalabi Effect, Suzanne Leblanc, undo and Unzip Violence. As a composer he has worked for interdisciplinary company kondition pluriel, as well as composing for artists such as Marie Brassard, Karine Denault, Lynda Gaudreau, Line Nault, Jérémie Niel, Maryse Poulin, and Mariko Tanabe.