Tag Archives: empac

[Preview 04.04.12: Kraftwerkers, Show Tix + More]

Apparently, Hitler is not the only one upset over their inability to see Kraftwerk’s retrospective concerts at the Museum of Modern Art in NYC next week. Headed by the GalariesNFS, a group in Buffalo is organizing a “mirror event,” or string of shows from April 6-17 to honor the German electronic music pioneers and to give those that won’t get a chance to see the group live in NYC to take part in the retrospective (Hitler, reportedly, will not be able to attend due to being dead since 1945).

Details are scant, but it looks like things will kick off on Friday at Hallwall’s with a viewing of the documentary Kraftwerk and the Electronic Revolution, followed by a re-interperation of Kraftwerk I  by Jim Abramson, Scott Valkwitch, Pat Cain, & Gabe Gutierrez.

If more details emerge before airtime, I will be happy to impart them to you on the air. Regardless, we will do a block of Kraftwerk in honor of the event. *NOTE: The full schedule is now up on the FB Page. 

Also! We have two tickets to give away to the Disappears, Lotus Plaza, and Location Ensemble show going down in Albany on Wednesday, April 18.  These tickets are courtesy of WCDB Albany 90.9 FM. Make sure to tune in to find out how you can win the tickets.

Edwards and Friedberg's set up at EMPAC for 'Hant Variance'

Other stuff we will get to tonight include a preview of the Peter Edwards and Sabisha Friedberg’s Hant Variance exhibition at EMPAC (which is tonight), an absolutely INSANE re-construction of a famouse Beatles song by Buffalo artists Wendy Carlos Williams, and plenty of other awesome, amazing stuff that no doubt will make your head explode.

Show starts at 10pm on 91.3FM WBNY. Stream at WBNY.org.


[Visually Sound Sunday: Brent Green, ‘Gravity Was Everywhere Back Then’ Live at EMPAC]

[vimeo:http://vimeo.com/24135993%5D

Tonight at Hallwalls animated filmmaker Brent Green will be showing his film Gravity Was Everywhere Back Then. As you can see from the clip above, Green doesn’t just show his films, he also performs along with them. This clip was recorded at the Experimental Media and Performing Arts Center in Troy and should be a decent preview of what’s in store for us tonight at Asbury Hall.

Green is also in Buffalo to work on a new project in conjunction with Hallwall’s Artist-in-Residence Project. For more info on both tonight’s feature and the new project being partially made in Buffalo see the info below.

From the Hallwall’s website:

Leonard loves Mary so much he builds a house to save her life. Self-taught animator and HARPartist Brent Green built a town, a moon and stars to make a film about their love and our myths. “A tinkerer’s ode to a tinkerer, and a romantic’s tribute to a romantic, Gravity radiates an oddball homemade charm. The film, which belongs firmly to the American Eccentric School, tells the true story of Leonard Wood, a hardware store clerk in Kentucky who built a crazy-quilt house in the 1970s as a healing machine for his wife Mary, hoping to save her from cancer. (No go.)” – “A Healing House,” Rachel Saltz, New York Times, May 6, 2010

The Pennsylvania-based filmmaker recently premiered To Many Men Strange Fates Are Given—a kinetic sculpture installed at Sundance’s New Frontier and commissioned by the Experimental Media and Performing Arts Center—will present his critically acclaimed feature film, a stop motion animation based on a devastating and true love story. The live performance of Gravity Was Everywhere Back Then features an array of musicians, including Brendan Canty of D.C.’s famed hardcore band Fugazi and co-founder of Trixie Film); Gravity star Michael McGinley (of Chicago’s The Bitter Tears), Brooklyn’s Drew Henkels (Drew & The Medicinal Pen); with Donna K. on foley and live narration by Brent Green.

The presentation is in conjunction with the artist’s Hallwalls Artists-in-Residence Project, which will support Green as he begins pre-production on his latest feature Anatomical Maps With Battle Plans. In Buffalo he will begin recording both the narration and musical score that will serve as the basis for the film’s construction, and embark upon the first stages of a soundtrack that will draw upon “anxiously compiled” storyboards, notes, writings and drawings. Michael McGinley and Donna K., who stared in and collaborated with Green on his first feature Gravity…, will participate in the sonic development of a new home-spun tale based on mythic figures from Green’s family history. HARP is funded by the National Endowment for the Arts, a federal agency, and the Andy Warhol Foundation for the Visual Arts; Hallwalls Media Arts program is funded in part by the New York State Council on the Arts and the Foundation for Contemporary Arts.

Brent Green is a self-taught animated filmmaker and artist who lives and works in rural Cressona, PA. His films have been shown at the Sundance Film Festival (2006-9), MoMA, the Getty Center, Warhol Museum, IFC Center, the Walker Arts Center, the Kitchen, Hammer Museum, EMPAC, the Rotterdam International Film Festival and a ton of other museums and festivals around the world. He’s had solo shows at the Andrew Edlin Gallery (NYC), Bellwether Gallery (NYC), the Sculpture Center (Cleveland), CAM St. Louis (St. Louis, MO), Site Santa Fe (Santa Fe, NM), The Berkeley Art Museum, Matrix program, the ASU Art Museum (Tempe, AZ), DiverseWorks (Houston, TX) and Hallwalls (Buffalo, NY). Green’s artwork is represented by the Andrew Edlin Gallery, NYC. He is a 2005 Creative Capital grantee.


[Mixed Up Monday: Lucky Dragons, Passed Phew Chair Mix]


DOWNLOAD: Lucky Dragons, Passed Phew Chair Mix for Dublab

(*right click, then save as to DL)

Since Lucky Dragons are performing at the Experimental Media and Performance Arts Center in Troy, NY, this Wednesday night here is a mix that the Los Angeles duo did for Dublab back in 2010.

No tracklisting is provided, but I can tell you that the mix gets downright funky at times, which is surprising considering the heavy conceptual work that Luke Fischbeck and Sara Rara are usually known for (see video at the bottom).

That type of work will be on full display Wednesday night for their Actual Reality performance. On the EMPAC website is a description of the upcoming performance that reads: Using an archive of Internet searches for the phrase “actual reality” as raw data for this process, acoustic sounds of musicians (and the audience) are analyzed and resynthesized in real-time and then presented back for reply, creating a call and response. Along with the “real” performance, collected source material—video and audio from previous performances, rehearsals, and incidental audio—is processed and layered on top, creating an endless loop of what is and what has been.

Certainly sounds like an interesting event to say the least. For now, though, enjoy this out-there mix from the experimental duo. Dublab’s description of it is included below.

From Dublab.com:

Lucky Dragons dipped their pocket watches into wax because they know time is a construct of anxious society. Standing still can be just as fulfilling as moving forward. Meditation can be a motivation. Your trajectory is a trip, so trickle to this tier and place these sounds in your ears. Lucky Dragons are here to mingle with your mind.

[youtube:http://www.youtube.com/watch?v=K_CPwW0uih4%5D

[Visually Sound Sunday: Extraordinary Freedom Machines- Vignettes in the History of a Multimedia Century: Après le Deluge]

The Experimental Media and Performing Arts Center in Troy, NY

Great lecture here that was given at Troy, NY’s Experimental Media and Performing Arts Center by Michael Century, a new media professor and musician. This is the first of three parts, so stay tuned for part 2 and 3 in the coming weeks.

From the EMPAC website:

In this three-part series, Michael Century presents a fresh reading of today’s experimental media art scene by surveying key works, personalities, and movements of the past century and laying out a framework for forecasting its future. Organized around an intertwined pair of narratives, the talks are richly illustrated with stills and video, sound recordings, and live musical demonstrations.

The underlying narratives are driven by contrasting conceptions of the role of the artist and of time. The first sees the artist as anticipating the powers and dangers of techno-scientific progress through idiosyncratic experiments, with time as linear and progressive. The second sees the artist as re-constituting past historical ruptures and forgotten pathways to envision alternative ways of being contemporary with a more cyclical sense of progress.

September 27 2011—
Après le Deluge, 1913-1947: Surveys key moments and tensions within the historical avant-garde, with examples from dance, abstract film and animation, experimental music, and critical theory.

October 11—
The Panacea That Failed, 1948-1974

Balances the celebratory heyday of art and technology against a rising tide of disillusionment and media-archeological irony.

November 29—
Virtuality to Virtuosity, 1974-2011

Moves beyond what some have termed the crisis of new media art today—its relegation to “cool obscurity” by the institutional art world, and its simultaneous co-option by the information industries—by sketching out an anti-anti-utopian view of the potential of experimental artworks as “extraordinary freedom machines.”  

By framing the future of art and technology in terms of creative freedom, this concluding lecture weaves together and synthesizes strands from the first two. The argument unfolds in two parts, examining in turn the micro-temporality of specific media art works, and the macro-temporality of aesthetic systems designed to enable future creativity. In the first part, “virtuality” is explained as an intensification of time; selected works by David Rokeby, Bill Viola, and Steve Reich illustrate the potential in art to vitalize and open new horizons of experience. The second part embraces political philosopher Hannah Arendt’s notion of freedom as “virtuosity”, entailing the creation of a sustainable public space for creative dialogue and collaboration. Examples are drawn from the histories of video art in the 1970s (Dan Sandin’s Image Processor), the history of computer music in the 1980s (the invention of the MAX programming language), and recent new media art (Loops by the Open Ended Group).

BIO:

Michael Century is a professor of new media and music in the Arts Department at Rensselaer Polytechnic Institute. As a practitioner and educator for over 30 years in the intersections between classical and experimental arts, Century brings a unique vantage to the history of art, technology, and culture. In his early career, he worked at the Banff Centre for the Arts, heading its inter-arts program and founding the renowned new media research and production unit. During the 1990s, he worked as program director at a national IT lab, and as policy advisor for art and new technology to the Department of Canadian Heritage. He was responsible for creating opportunities for collaborative research among artists, technologists, and scientists in a host of settings, from studio and lab practice to setting national policies for media innovation. As a new media consultant, Century advised numerous clients, notably authoring the widely cited report Pathways to Innovation in Digital Culture for The Rockefeller Foundation. At Rensselaer, he teaches courses on the history and theory of art and technology, music history, and also leads the Rensselaer Contemporary Music Ensemble.