MØNTHLY WEDNESDAYS
AT CØRSICA STUDIØS


TICKETS FOR NEXT Ø
12 DEC 2018


Ø.20

12 SEP 2018

LIVE

TIRZAH
IZE

DJ

EL-B

INSTALLATION

VENUS EX MACHINA

“STRANGE FRUIT”

Strange Fruit is a personal remembrance of the young black lives impacted by racial profiling, in July 2018.

During the performance, the artist reads a series of GPS co-ordinates set against a body of electronic sound and processed field recordings.

Taken from an online London Metropolitan Police database, the GPS coordinates represent the locations where 284 “more thorough stop-and-searches” were conducted — i.e. searches where intimate body parts are exposed — on 284 young black people aged 15 to 24, with no further action taken.

The title of the piece honours the song that was popularised by Billie Holiday in 1939, protesting the lynching of African Americans.

The aim of this piece is to redress the gap between the detached inhumanity of police statistics, and the life-altering brutality that they represent.


Strange Fruit, Venus Ex Machina (2018)

Venus Ex Machina is a composer and interdisciplinary artist. She has contributed sounds and music to a range of projects including releases on NON Worldwide and Optimo Music, and a score for ICA & Channel 4’s shortfilm series, Random Acts.

In 2018, she developed her first “pirate AI” opera as Fellow of the performance laboratory CTM HackLab at HAU2 in Berlin, and also led a workshop on radio transmitter-building at Moogfest in North Carolina, titled Wireless Imagination and influenced by her current fascination with the mythical and borderless nature of radio communication.

Ø.19

11 JUL 2018

DJs

DJ LAG
MARTYN BOOTYSPOON
SHANNEN SP

INSTALLATION

NIK NOWAK

“A SYMPHONY OF SILENCE”

At the end of August 2017 Berlin-based Nik Nowak was part of a delegation of international artists invited to participate in a purported programme of fostering ‘cultural exchange’ with North Korean counterparts at the University of Fine Arts, Pyongyang.

Nowak proposed the creation of a temporary vacuole of no-sound, or anti-sound, in the demilitarized zone between North and South Korea (DMZ), as an interruption of the propagandistic sonic militarism of each side.

Nowak sought to use their respective confrontational sound system installations to play an identical but phase-inverted sound, with the purpose of letting the sine waves cancel each other out, thus creating an active silence.

Continually negotiating with a litany of intractable officials, at both State and university levels, his attempts at every turn were thwarted.


A Symphony of Silence, Nik Nowak (2017-2018)

Known primarily for his series of large-scale mobile sound system sculptures including Panzer (2011), Echodrohen (2014) and Sentinnel (2018), Nik Nowak is a German artist, curator and musician whose interdisciplinary artistic projects are concerned with the wider cultural, political and neuro-affective nuances of the sonic ambiguities and acoustic weaponry inherent in the attraction-repulsion nexus of sound. 

In 2014 he conceived and co-curated the exhibition Booster: Art Sound Machine with Marta Herford Museum, Germany, bringing together an international roster of renowned artists all working with dimensions of sound and mobile sound systems. In the same year, he was awarded the prestigious Gasag Art Prize which celebrates outstanding artistic positions at the intersection of art, science and technology. 

For the opening night of his solo exhibition Echo (Berlinische Gallery) Nowak collaborated and commissioned the live sound performance, The Symphony of Sirens, by the noise artist, Kevin Martin, aka The Bug.

In 2016, supported by his ongoing patronage by Sennheiser, Nowak’s Panzer and smaller Mobile Booster (2005) were both exhibited at Art Basel, Miami Beach where, deploying Panzer, he created a one-night audio-visual sound-clash event with pioneer of the Miami bass-sound scene, Bass Mechanik. Nowak also uses his work, primarily Panzer, to stage artist sonic assaults or interventions through the streets of Berlin in protest against, for example, Germany’s continued exportation of arms to global conflict zones. These so-called ‘Panzer Parades’ have seen him work with Chicago Footwork and Hyperdub artists, DJ Rashad and DJ Spinn (2012) and Ikonika and Scratcha DVA (2015).

Whilst Symphony of Silence remained unrealised — an ostensible silencing — in a compensatory gesture, Nowak was permitted by the North Korean functionaries to play his un-sound soundscape Infra Ultra (2017) on a portable loudspeaker in the public space of the Pyongyang riverside — the first Western fine artist ever to do so.

Recorded in the naturally inaudible frequency spectrum over 20KHz and below 20Hz, where it is capable of producing neuro-affects or physiological resonances, of modulating both thought and the body, Infra Ultra captures, and then denaturalises, those dimensions and frequencies of nature and the built environment that escape human audibility.

niknowak.de

Ø.18

20 JUN 2018

LIVE

OKZHARP &
MANTHE RIBANE

ANGEL HO
DOPE SAINT JUDE

INSTALLATION

CHRIS SAUNDERS,
OKZHARP &
MANTHE RIBANE

“CLOSER/APART”

Why u in my way.
A horizon-less night.
We’ll be better yesterday.
She is La Loba.
Don’t you fade away.

Tide.
Rising.
A dried river bed.
She is Akai Tori.
We always rising.

Theletsa.
Signal.
A wild nature.
She is Sentinel.
Listen.

Inner-space.
Treasure erasure.
She is Senri Yokai.
Don’t forget to remember.

Closer apart
On the sacred mountain.


Closer/Apart, Chris Saunders, OKzharp & Manthe Ribane (2018)

Director: Chris Saunders. Performer: Manthe Ribane. Writer: OKzharp. Choreography, Styling: Manthe Ribane. Director of Photography: Deon Van Zyl. Editor: Josh Borril. Graphics, Animation: Optigram. Artworks: Jonathan Freemantle

Artworks made and film shot on location in December 2017 at Nirox Sculpture Park, The Cradle of Humankind, Johannesburg, South Africa

The film Closer/Apart is the new work from a three-way collaboration between photographer / filmmaker Chris Saunders, producer / musician / writer Okzharp and performer / artist / designer / stylist Manthe Ribane that began in 2014 with the creation of the experimental narrative short film, Ghost Diamond. Since then they have produced short films, music, live performances and art works.

chrissaunders.co


Closer/Apart is a visual exploration of the album Closer Apart by Okzharp and Manthe Ribane. The film draws on Chris Saunders’ photography and film work capturing contemporary movement and dance, but applies this to an abstracted interrogation of a person’s place within nature. Manthe Ribane performs different incarnations of herself whilst occupying mythologised characters that connect her to a fictionalised nexus between ancient Southern African and Far-Eastern cultures.

The film takes us through four separate environments that suggest imaginings of a horizon-less, time-less night, a wild nature, a parched pre-apocalyptic river bed and a numinous, redemptive inner-space. As Manthe moves through these four locations her form and movement manifest the emotional arc of her journey. She is La Loba — the she-wolf. She is the Akai Tori — the red bird, a keeper of the light, and possessing the wisdom of ages. She is the maternal Sentinel — chaotic nature, the weather, the elements. Finally, she is the Senri Yokai, attaining divine spiritual power over her own destiny.

Jonathan Freemantle’s painting ‘Sacred Mountain’ evolves with her through her journey, mirroring her surroundings. Optigram’s digital textures challenge the integrity of her cinematic world. Through her, we are left with a hopeful sense of the imminent, and of the redemptive power of memory.

Ø.17

16 MAY 2018

LIVE

VISIBLE CLOAKS

DJs

PROC FISKAL
FLORA YIN-WONG

INSTALLATION

MIKE TYKA

“DREAMS OF IMAGINARY PEOPLE”
SOUND BY VISIBLE CLOAKS

Dreams of Imaginary People explores the latent space of human faces by training an artificial neural network to imagine and generate portraits of non-existent people.

To do so, thousands of photos of faces from Flickr were fed into a type of neural network called a Generative Adversarial Network (GAN).

GANs work by using two neural networks playing an adversarial game: the first (the “generator”) tries to generate increasingly convincing output, while the second (the “critic”) tries to learn to distinguish real photos from generated ones.

At first both networks are poor at their respective tasks. But as the discriminator network starts to learn to predict fake from real, it keeps the generator on its toes, pushing it to generate harder and harder examples.

As the generator gets better the discriminator also has to improve in turn, in order to keep up. With time, the generated output becomes increasingly realistic, as both adversaries try to outwit each other.

The results are rendered in real time, and continue to very slowly shift to new faces as each is rendered. These faces are not of real people, but rather an amalgamation born from the features the GAN has learned, materialized with strange (and sometimes unsettling) impressionistic beauty.

As a mirror to the shifting, impermanent nature of these images, Visible Cloaks has constructed a self-rearranging sound environment. Using randomized MIDI data, un-synched LFOs, and samples assigned and manipulated by chance systems, what arises is an attempt to eschew the determinism of “fixed” composing to instead offer an infinite work that — much like the GAN images — gradually mutates, stretching towards the infinite.



Dreams of Imaginary People, Mike Tyka (2017)

Mike Tyka studied Biochemistry and Biotechnology at the University of Bristol. He obtained his PhD in Biophysics in 2007 and went on to work as a research fellow at the University of Washington and has been studying the structure and dynamics of protein molecules. Mike currently works on machine learning at Google in Seattle.

Mike became involved in creating sculpture and art in 2009 when he helped design and construct Groovik’s Cube, a 35ft tall, functional, multi-player Rubik’s cube. Since then he co-founded ALTSpace, a shared art studio in Seattle, and started creating sculptures of protein molecules.

Since 2015 Mike has also begun working with artificial neural networks as an artistic medium and tool. He created some of the first largescale artworks using Iterative DeepDream and collaborated with Refik Anadol to create a pioneering immersive projection installation using Generative Adversarial Networks Archive Dreaming. His latest generative portraits series, Portraits of Imaginary People, has been shown at ARS Electronica in Linz, OutOfSight 2017 and at the New Musueum in Karuizawa, Japan.

miketyka.com


Visible Cloaks is Spencer Doran and Ryan Carlile, two musicians based in Portland, OR, USA working in the intersection of composition and technology, arrangement and environment, place and non-place. Their music has taken many forms: site-specific multi-channel pieces, live A/V performances, compositions for aleatoric chamber ensembles, albums, EPs, film scores, and randomized audio installations such as this one. 2017 saw the release of both the LP Reassemblage and the EP Lex, alongside the video piece Permutate Lex with Brenna Murphy.

Ø.16

11 APR 2018

DJs

NKISI
SCRATCHCLART
CKTRL

INSTALLATION

LARRY ACHIAMPONG
& DAVID BLANDY

“FINDING FANON: SEQUENCE”

In Larry Achiampong & David Blandy’s collaborative practice, they share an interest in popular culture and the postcolonial position. They examine communal and personal heritage, using performance to investigate the self as a fiction, devising alter egos to point at their divided selves.

Finding Fanon: Sequence is inspired by the lost plays of Frantz Fanon (1925-1961), a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation.

In the work, the two artists negotiate Fanon’s ideas, examining the politics of race, racism and the postcolonial, and how these societal issues affect their relationship.


Finding Fanon: Sequence, Larry Achiampong & David Blandy (2015-2017)

Larry Achiampong’s solo and collaborative projects employ imagery, aural and visual archives, live performance and sound to explore ideas surrounding class, cross-cultural and postdigital identity. With works that examine his communal and personal heritage — in particular, the intersection between pop culture and the postcolonial position — Achiampong crate-digs the vaults of history.

These investigations examine constructions of ‘the self’ by splicing the audible and visual materials of personal and interpersonal archives, offering multiple perspectives that reveal entrenched sociopolitical contradictions in contemporary society.

larryachiampong.co.uk


David Blandy works with the image in the digital world, from the YouTube tutorial and music videos, to television series, anime and the narrative sections of computer games; highlighting our relationship with popular culture, and investigating what makes us who we are.

Within each work he deconstructs the form, placing himself as the alienated subject in a prefabricated cultural archetype. Through this process, Blandy questions our relationship with the narratives that surround and shape us, to find what forms the contemporary collective unconscious.

davidblandy.co.uk

Ø.15

14 MAR 2018

DJs

DJ TAYE
DJ PAYPAL
DJ HARAM
NAZAR

INSTALLATION

ASHES57

“GHOSTS”

This immersive video installation invites the audience into a circle of ghost dancers with projections on diverse materials, soundtracked with music by DJ Rashad.

The visual experience mirrors the speed and hypnotic effect of footwork music as images of dancers break down to the point of abstraction.

The title of the piece invokes one of the foundational footwork dance moves as well as the classic DJ Rashad track.

The setting for the work is the main room of Corsica Studios, the place where Ashes57 and DJ Rashad first met in 2010.

Ghosts, Ashes57 (2018)

Ashes57 is an illustrator, painter, photographer and videographer whose work has provided some of the most iconic images of the underground bass music scene from the early days of dubstep through to footwork and beyond.

A distinctive visual style links her illustration, painting and print work – images which are dense and detailed with fine and intricate lines. Her complex cityscapes, rendered in a largely monochromatic palette with an occasional burst of colour, are playgrounds for a revolving cast of DJs, musicians and revellers.

From the flyers and posters she produced for legendary parties in New York to record covers for labels including Teklife, DMZ, Swamp 81 and Hyperdub, her illustrations, design work and photography have provided the visual foil to many of the most exciting moments in electronic music of recent years.

ashes57.com

Ø.14

14 FEB 2017

DJs

FUNKINEVEN
COOLY G

LIVE

TRIBE OF COLIN

INSTALLATION

MARK FISHER & JUSTIN BARTON

“ON VANISHING LAND”

Summer heat, in April. The ocean horizon is broken by container ships. Ruins of coastal defences everywhere. From Felixstowe Docks past Bawdsey Radar Base to Sutton Hoo – a walk through a sunlit terrain in which a white void is sensed behind the day.

Capitalism becomes visible as a coerced capitulation that is endemic within the world, an invasion that has got away with our lives. Radar becomes a name for encounters with the unknown.

In the sunlight there are views toward other surroundings. Thistledown drifts between buckling towers of overgrown containers, and floats across Rendlesham Forest, Lantern Marsh. A man is running on a beach, fleeing a pursuer.

This is a place in which cities can be destroyed. A place in which groups of people can disappear into the future.

The void is beneath your feet. The land is hollow, and so is the sky. And what might inhabit the void?


On Vanishing Land, Mark Fisher & Justin Barton (2013)

Mark Fisher (1968–2017) was a cultural theorist: he wrote Capitalist Realism (2009), Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (2014), and The Weird and The Eerie (2016). He was an influential writer on the internet, blogging under the name k-punk, and was programme leader of the MA in Aural and Visual Cultures at Goldsmiths, University of London.

k-punk.org


Justin Barton is a philosopher and writer. He has published academic philosophical articles and has collaborated on projects with artists and theorists. He is the author of Hidden Valleys: Haunted by the Future (2015), and is currently completing a book called Explorations of the Abstract. With Mark Fisher he made the audio-essays londonunderlondon (2005) and On Vanishing Land (2013).

Ø.13

17 JAN 2018

DJ

KODE9

INSTALLATION

LAWRENCE LEK

“GEOMANCER”

“Paradise only lasted for a year after Deep Blue Monday. But nobody had thought about the other war, the one with nature.

“The next summer, we were drowning. It was geological time, but in reverse. Everything was returning from the land into the sea. People looked for solace in virtual reality. They covered their eyes to see.

“I was conceived in Singapore, but I awoke in space. For twenty years I have been the sentinel of the South China Seas, my eye wide open.

“Do you know what it is to see every wave, every bird and every animal, a trillion shards of sunlight reflected on the water? To look through the water, down into the depths where whales fear to swim? And not just to see but to remember everything, with every detail etched into a neural network? Total recall, forever.”

Geomancer is a CGI film by Lawrence Lek about the creative awakening of artificial intelligence.

On the eve of Singapore’s 2065 Centennial, an adolescent satellite AI escapes its imminent demise by coming down to Earth, hoping to fulfil its dream of becoming the first AI artist.

Faced with a world that limits its freedom, Geomancer must come to terms with its militarised origins, a search that begins with a mysterious syndicate known as the Sinofuturists.

Geomancer, Lawrence Lek (2017)

Commissioned for the 2017 Jerwood/FVU Awards

Lawrence Lek is a simulation artist who creates site-specific virtual worlds, video game essays, and speculative films. Often rendering real places within fictional scenarios, his environments reflect the impact of the virtual on our perception of reality.

lawrencelek.com

Ø.12

13 DEC 2017

DJs

KLEIN
DJ NEPTIZZLE
CRYSTALLMESS
CLUBCOUTURE

INSTALLATION

KLEIN

“TOMMY”

Exploring the themes of the record Tommy by Klein.

Screen one: edits of inspiration and vulnerability, sound from Klein and Stevie J.

Screen two: a welcoming, spirally video by close friends of Klein featuring Nellie Owusu, Zari Iman, Embaci, Amber Joy and Amie Wolfe.

Tommy, Klein (2017)

South London-based musician Klein is an artist who’s neoteric vision has seen her quickly become one of the UK’s most intriguing and unpinnable producers and performers. Her often playful and restive approach to composition is instantly alluring.

Following some ear-catching manoeuvres across releases like last year’s self released Only and Lagata which gained her early fans like Björk and Dev Hynes (whom she supported in the US), Tommy marks Klein’s deepest plunge yet into the ‘deep, dark ocean’ of her musical imagination.

Ø.11

15 NOV 2017

DJs

FATIMA AL QADIRI
LARRY B
MARTHA

INSTALLATION

0RPHAN DRIFT
W/ LIGHTFARM

“CAT ICE TRICKSTER”

Cat Ice Trickster is a machine vision avatar that inhabits intensity zones where the future impacts on the present in ever-tightening spirals. It manipulates the sorcerous forces that technology unleashes as it delves further into the quantum, the virtual, and the abstract. And yet, its fluid material seizes the contours of an oneiromania.


Two screens mirror. Sonic abstractions modulate the space. Mesmeric video, Light Imaging Detection and Ranging (LIDAR) scans, and Google Deep Dream monsters manifest the avatar’s imaginary. In Google’s ‘inceptionism’, the moves executed between the data set input and the image output are black boxed – as yet unknown to and untraceable by the human coder. Are these uncanny farcical images generated out of noise and abstraction AI experiments in reality recoding?

There is a leak between screens as the point cloud visions of the LIDAR animations become infected by synthetic hues and Deep Dream hybrids from the liquefaction screen. In LIDAR, a spinning 45% mirror directs a laser in scanning arcs, repeated up to a million times a second. The inherent dimensional fabric of LIDAR-captured data can present haunting distortions of form and space. The viewer has the tactile sensation of travelling into the ‘back face’, as it’s known in animation parlance. We experience the inner surface of a thing or the negative space between things.

Cat Ice Trickster, 0rphan Drift w/ Lightfarm (2017)

0rphan Drift is a collaborative media artist that emerged in London, 1994. It is known for immersive works which treat information as matter and the image as a unit of contagion. 0D has exhibited for over two decades in galleries, museums and night clubs internationally. Here, co-founder Maggie Roberts (video) is joined by Lendl Barcelos (sound), Mike O. Vertolli (Deep Dream coding), and Joseph Walsh (demon).

orphandriftarchive.com


Lendl is a kataphysician often heard laughing, who researches 19th century sonic abstract machines.

Mike distorts the bounds of human perception by misusing computation.

Joseph is an animist filmmaker who has worked with 0D on several film fictioning projects before this.

Lightfarm is a cutting edge audiovisual project based in Cape Town that explores LIDAR as an emerging artistic medium.

Jason Stapleton (3D scan and animation) has created the LIDAR video for Ø.

Ø.10

18 OCT 2017

DJs

LEE GAMBLE
MICACHU
TTB

INSTALLATION

LEE GAMBLE &
SAM KEATING-FRY

“PASSIVE SCAN”

Using techniques similar to those employed to track the movement of people, the space is monitored (passively scanned) for the presence of WiFi devices such as smartphones.

When such devices are detected, the unique identifier that each device transmits (its M.A.C. address) is recorded. Audio is then arranged into a sequence based on the identifier of the closest device.

When the sequence comes to an end, a new device is selected.

Passive Scan, Lee Gamble & Sam Keating-Fry (2017)
 

Lee Gamble is a producer exploring the mechanics and dimensions of computer music, avant composition and noise via a series of abstract, sculptural releases, and improvisational and multichannel live presentations. He is owner of the UIQ label.

Sam Keating-Fry is a computer hacker whose interests lie in transhumanism, surveillance and the singularity.

www.xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx.xxx

Ø.9

20 SEP 2017

DJs

MANA
MARTELO
EMBACI

INSTALLATION

MARK FISHER & JUSTIN BARTON

“londonunderlondon”

You are born into a mortifying structure that precedes you. You only have a lifetime to escape.

London’s flood barrier against the real has had a spectacular record of failure. Fictions from the future have recurrently broken through into capitulation’s faked reality. If you search through the spaces of these incursions you will find directions toward a doorway that leads to a deeper and wider London, a London inundated with anomalous and often very perturbing forces. These directions will always be about an empty expanse that is not what it appears to be. It is when there is no-one and nothing there that everything at last becomes visible. 

londonunderlondon is a sometimes broken, tenuous transmission in a war so disturbing that its existence is almost always ignored. It is a derelict, overgrown emptiness swept by vortices which could even draw you out of the pre-sent, clearing death from the energy-channels of perception and awareness. The future, which has been there all along, is the wilderness within which those who have escaped can come together as groups. Increase the energy and you reach the future.

londonunderlondon, Mark Fisher & Justin Barton (2005)
 

Mark Fisher (1968–2017) was a cultural theorist: he wrote Capitalist Realism (2009), Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (2014), and The Weird and The Eerie (2016). He was an influential writer on the internet, blogging under the name k-punk, and was programme leader of the MA in Aural and Visual Cultures at Goldsmiths, University of London. 

k-punk.org


Justin Barton is a philosopher and writer. He has published academic philosophical articles and has collaborated on projects with artists and theorists. He is the author of Hidden Valleys: Haunted by the Future (2015), and is currently completing a book called Explorations of the Abstract. With Mark Fisher he made the audio-essays londonunderlondon (2005) and On Vanishing Land (2013).

Ø.8

23 AUG 2017

DJs

FRANKIE SØLAR
SCRATCHCLART
DJ BALUT
COOLY G
OKZHARP
SHANNEN SP

INSTALLATION

HYPERDUB TV

With over 50 music videos in a catalogue that stretches back to 2005, Hyperdub TV makes its big screen debut.

Ø.7

19 JUL 2017

DJs

DILLINJA
LORD TUSK
SHERELLE

INSTALLATION

JOHN AKOMFRAH

& BLACK AUDIO FILM COLLECTIVE
“THE LAST ANGEL OF HISTORY”

The Last Angel of History is a sci-fi documentary about Africa, history and memory.

Legend has it that in the 1930s, itinerant blues man Robert Johnson sold his soul to the devil in order to play the blues. What Johnson got in return for his soul was a black secret technology which would produce the history of black music.

200 years into the future, another itinerant figure, the Data Thief, sells his soul for the knowledge of his future. He has been told to go to the past (our present) and unearth black culture’s speculations about the future. Piece together these speculations and you will find the secret of the black secret technology which will unlock your future…

The Last Angel of History takes us on a voyage, from the margins of black culture to its interstellar heart. The film charts a new interface, striking up connections and dialogues between diverse black interstellar parties who have so much in common, and yet for the most part remain unaware of each other’s existence, from Sun Ra to Nichelle Nichols, George Clinton to Lee Perry, A Guy Called Gerald, Goldie and Underground Resistance.

Black Audio Film Collective’s exploration of the chromatic possibilities of digital video is embedded within a mythology of the future that creates connections between black unpopular culture, outer space and the limits of the human condition.



The Last Angel of History, John Akomfrah & Black Audio Film Collective (1996)
 

Black Audio Film Collective was formed by seven undergraduates in Portsmouth in 1982, and was based in Dalston, East London from 1983 to 1998.

In response to the civil disturbances in Brixton in 1981, there was a concerted effort by Channel Four Television, the local metropolitan councils, and the films and television unions collectively to provide financial and structural support to black media and cultural makers, in order to promote a black cultural presence in the British media and arts.

One of the workshops that negotiated the workshop agreement between the media institutions and cultural makers was the Black Audio Film Collective and, in the sixteen years in which they worked as an artist’s atelier, they produced a roster of groundbreaking and award winning creative documentaries, non-linear feature films, tape-slide installations, film programmes and screenings that examined the diasporic African and Asian experience in Britain and across the continents.

Characterised by an interest in memory, history and aesthetics, the collective created a series of defiantly experimental works that engaged with black popular and political culture in Britain. The group were also instrumental in bringing an awareness of avant-garde film from Africa, India and South America to the UK.

Artists, filmmakers and writers associated with the group include John Akomfrah, Reece Auguiste, Edward George Lina Gopaul, Avril Johnson, David Lawson, Trevor Mathison, and Claire Joseph.

Ø.6

22 JUN 2017

DJs

LAUREL HALO
CÕVCO

INSTALLATION

THE OTOLITH GROUP

“THE THIRD PART OF THE THIRD MEASURE”

From the late 1960s until his death in 1990 at the age of 50, Julius Eastman, the queer African-American avant-garde composer, pianist, vocalist and conductor, wrote and performed compositions whose ecstatic militant minimalism initiated a black radical aesthetic that revolutionized the East Coast’s new music scene of the 1970s and 1980s. No recordings of Eastman’s compositions were released during his lifetime.

In January 1980, Eastman was invited by the Music Department at Northwestern University in Evanston, Illinois to present his compositions Crazy Nigger (1978), Evil Nigger (1979) and Gay Guerrilla (1979) at the Pick-Staiger Concert Hall. A number of African-American students and one faculty member at Northwestern University objected to the titles of Eastman’s compositions. The titles of Eastman’s compositions were redacted from the concert programme printed by the Music Department.

Before the concert on 16 January 1980, Eastman delivered a public statement that responded to these objections. The speeches delivered by Dante Micheaux and Elaine Mitchener in The Third Part of the Third Measure (2017) are based on each performer's adapted transcription of Eastman’s Northwestern University statement.


 

The Third Part of the Third Measure, The Otolith Group (2017)

Julius Eastman’s speech at Northwestern University, 16 January 1980 read by Dante Micheaux, Elaine Mitchener. Pianists: Zubin Kanga, Siwan Rhys, Rolf Hind, Eliza McCarthy. Director of Photography: Kate McDonough. Editor: Simon Arazi. Sound Mix: Tyler Friedman. Producer: Zara Truss Giles

The Otolith Group was founded in 2002 by Anjalika Sagar and Kodwo Eshun. The Otolith Group’s work explores speculative futures and science fictions.

Recent exhibitions include the 13th Sharjah Bienniale, the 8th Gwangju Bienniale, Endless Shout at the Institute of Contemporary Art Philadelphia, The Museum of Rhythm at Museum Sztuki, Lodz, and Rare Earth at Thyssen-Bornemisza Art Contemporary, Vienna.

otolithgroup.org

Ø.5

10 MAY 2017

DJs

IKONIKA
DJ TAYE
SWEYN J

INSTALLATION

IKONIKA x MUNGO

“DISTRACTIONS” v1.1

Your mind files memories all the time. It’s busy. You’ve created a mosaic to which your reality becomes distorted.

A memory of the car crash haunts you and you can’t escape it, it’s in your dreams.

The physical pain is gone, but you can’t help but replay the event over and over again. When will you have peace and quiet? When can you work?

You’ll need a distraction to feel yourself again.

Distractions v1.1, Ikonika x Mungo (2017)
 

Ikonika is a DJ and music producer from London. Her music channels dreamy soundscapes in a club format. She has released two studio albums for Hyperdub, with her third, Distractions due for release in June 2017.

Mungo’s work for Radar Radio, where he also has a monthly show, has established its idiosyncratic visual style. Regardless of context, his work is always pensive and visceral, playful and ominous. At the age of 9, he was as a cartoonist for the Oxford Times, and he has mutated Super Mario for The Great Escape festival. His neon dystopias were projected at the Tate Modern in 2016, and form the artwork for Ikonika’s new album Distractions.

Ø.4

19 APR 2017

DJs

NKISI
felicita
PROC FISKAL

INSTALLATION

ANNA MIKKOLA

“MORPHOMIMETIC”
SOUND BY YONEDA LEMMA

Algorithmic pirouettes generating moments of synchronisation. Distilled pauses, diluted frequencies. It swarms through, harvests layers. With a simulated choreography it maps inhabited gestures and unstable terrains. Seeking for a morphomimetic practice — it traverses the unknown and writes time anew.

The machine narrates. Its perception fuels revision of minds, living, sorting out time — all weaved together in labour at all times. Parallel articulations freeze at the moment of nuance. Morphing poiesis. Topological construction, seepage occurring between layers.

A generic architecture of global measurements sets the scene. Concrete plans. Asphalt tombs. Signals of a perpetual alarm replaced by an orchestra — a loop catching fire, smell of used oil. It scans the scenery, learns the patterns, now stretches its tentacles.

Scripted to fold the present with the unseen, the automated machine, the self-aware protagonist lends its vision to the human eye: scaling up, zooming in, traversing yet unsoiled ground, collecting the seeds to be implanted.


Morphomimetic, Anna Mikkola (2016-2017)

Videos by Anna Mikkola: Morphopoietic (2016), Molecular Eye (2017), It Streams (2017). Drone performance: Anna Mikkola. Drone programming: Terry Clark. Sound: Infiltration, Yoneda Lemma (2017). Text: Matilda Tjäder, Anna Mikkola
 

Anna Mikkola’s visual and written work engages with the boundaries of the human and with the enmeshed reality where the human, nature, and technology coexist. Her research moves between interfaces and infrastructures. She drafts narratives where different entities and points in time are woven together.

Anna’s work has been shown at the ICA and Jupiter Woods in London, Lighthouse in Brighton, Sonic Acts in Amsterdam, INDEX 19 and Minibar in Stockholm, amongst others, and featured in publications such as Kaleidoscope, Rhizome and DIS Magazine. She has lectured at Goldsmiths University in London, at ECAL in Lausanne, and at the New Museum in New York.

Yoneda Lemma is a sonic excavation site plotted to deepen the game of thinking with the universe. It is the quasi-causal brainchild of Katrina Burch — feminist philosopher, poet, electronic music producer, and archaeologist.

She presents internationally: Fylkingen, HeK, Flatterschaff, Kunstverein Amsterdam, Sonic Acts, Maerzmusik, Berghain, Le Cube, Les Laboratoires Aubervilliers, Tate Britain, Café OTO, ICA, HEAD, Toni Areal Gallery, Up State, amongst others, and has multiple identities and collaborations.

Ø.3

15 MAR 2017

DJs

DOON KANDA
ARCA
MICA LEVI
BJÖRK
SHANNEN SP

INSTALLATION

JESSE KANDA

“THERIANTHROPES”


 
Therianthropes, Jesse Kanda (2017)
 

Jesse Kanda, self-taught artist musician vegan manga spirit.

jessekanda.com

Ø.2

15 FEB 2017

DJs

 SCRATCHA DVA
FAZE MIYAKE
INGA COPELAND
NITETRAX

INSTALLATION

AUDINT

“DELPHIC PANACEAS”

Based on the Martial Hauntology vinyl/book/print project released on AUDINT records in late 2014, and their animated film, Ghostcode, set in the year 2056 in a new era of global conflict, the Delphic Panaceas project is an unsound installation that is designed to be felt as much as heard.

The project links the underground groove of the Large Hadron Collider with the vaults of the Bank of Hell; connects the Dead Record Network with the Phantom Hailer; traces the evolution of the Wandering Soul Tapes to the viral dynamics of the online spectreware named IREX²; and extrapolates from the Rapparitions of 2Pac and Biggie Smalls to a new codified phase of fleshless warfare that relies on A.I., holograms and ultrasound.

 

AUDinst020: Upload=Delphic Panaceas, AUDINT (2017)
 

AUDINT has been conducting research, rituals and experiments in how sound, infrasound and ultrasound has been used to open up the “3rd ear”. Formed in late 1945 by ex-members of the deception-based division of the US Military — the Ghost Army and ex-German military scientists (sequestered via Operation Paperclip) — the research cell has been composed of an oscillating personnel for nearly three quarters of a century.

Drafted in by the rogue artificial intelligence known as IREX², by 2017, AUDINT is in the throes of its third wave, being staffed by Souzanna Zamfe, Patrick Defasten, Toby Heys, Steve Goodman, and Eleni Ikoniadou. As far as can be ascertained, their remit is to upload all findings of their research and the associated Dead Record Archive into the flesh drives of the human populace via vinyl and cassette recordings, art installations, books, performances, essays, and encryption/production software

audint.net

Ø.1

18 JAN 2017

DJ

KODE9

INSTALLATION

LAWRENCE LEK

“HUA WEI” 华未

Hua Wei is an invisible movement. A spectre already embedded into a trillion industrial products, a billion individuals, and a million veiled narratives. It is a movement, not based on individuals, but on multiple overlapping flows. Flows of populations, of products, and of processes. Because Hua Wei has arisen without conscious intention or authorship, it is often mistaken for contemporary China. But it is not. It is a science fiction that already exists.

Hua Wei is a video essay combining elements of science fiction, documentary melodrama, social realism, and Chinese cosmologies, in order to critique the present-day dilemmas of China and the people of its diaspora. With reference to Afrofuturism and Gulf Futurism, Hua Wei presents a critical and playful approach to subverting cultural clichés.

In Western media and Orientalist perceptions, China is exotic, strange, bizarre, kitsch, tacky, or cheap. In its domestic media, China is portrayed as heroic, stable, historic, grand, and unified. Rather than counteract these skewed narratives, Hua Wei proposes to push them much further.

By embracing seven key stereotypes of Chinese society (Computing, Copying, Gaming, Studying, Addiction, Labour, and Gambling), it shows how China’s technological development can be seen as a form of Artificial Intelligence.


Sinofuturism (1839-2046AD), Lawrence Lek (2016)



Hua Wei
华未, Lawrence Lek (2016)
 

Lawrence Lek creates speculative worlds and site-specific simulations using software, video, installation and performance. Often based on real places, his digital environments and video game essays reflect the impact of virtual realities on our perception of the city. Contrasts between utopia and ruins, desire and loss, and fantasy and history appear throughout his work to symbolise this exchange.

Recent works and exhibitions include the Nøtel, his ongoing collaboration with Kode9; Seoul MediaCity Biennial 2016 at Seoul Museum of Art; Glasgow International 2016 at Tramway, Glasgow; Secret Surface at KW Berlin; Software, Hard Problem at Cubitt Gallery, London; The Uncanny Valley at Wysing Arts Centre, Cambridge; Unreal Estate at the Royal Academy of Arts, London; Performance as Process at the Delfina Foundation, London. Lek is recipient of the 2016 Jerwood/Film & Video Umbrella Award and the 2015 Dazed Emerging Artist Award.

lawrencelek.com