On the cusp between free improvisation and visual art, the collaboration between Roger Redgate and Emmanuel Spinneli explores a complex relationship between sound-objects, installations, and music and often incorporates movement (with dancer Susanna Recchia) and performance-painting (with artist Mark Rowan Hull). At a time when non-idiomatic music has now developed its own aesthetic and tradition, Redgate and Spinelli seek to adopt a different approach to the improvisatory mode of production and challenge the boundaries between sonic art, installation, and performance.

Emmanuel Spinelli is a sound artist and music lecturer who has been involved in electro-acoustic composition, live electronics and free improvisation since 1998. His work has been presented around Europe, the US and Canada. His Footsteps in the Wind – a soundscape study of Krakow and Auschwitz – won the C.C.P. and the George Blunden travel awards. Spinelli completed a PhD in Sonic Arts at Goldsmiths in 2015. Through the years, he has developed an interest in issues related to soundscape transformation, psycho-geographies, manipulations of historical data, sonic remains and memory, particularly in relation to post-war Europe. His research revolves around the notion of acoustic phenotypology, that is to say the perception of individual identities through sound. All his work, at one level or another, explores human presence and history, through the cognition of the disembodied voice and the sonic environment.

Roger Redgate is a composer, conductor and performer whose work focuses on the complex relationship between notation, improvisation and the physicality of performance. Exploring the boundaries of what can or can’t be notated as possible forms of material, his work combines both aspects of complex notational strategies (complexity) and extended playing techniques with various approaches to improvisation in a wide range contexts. His compositions have been performed extensively throughout Europe, Australia and the USA, and he has received commissions from the BBC, the French Ministry of Culture, the Darmstädter Ferienkurse für Neue Musik, the European Commission, Fondation Royaumont, the Huddersfield Festival, the Venice Biennale and Ensemble 21 New York. He has published articles on music and culture, the music of Brian Ferneyhough and Michael Finnissy, including a chapter in the book Uncommon Ground: The Music of Michael Finnissy.

http://www.rogerredgate.com/
http://emalorienweb.webs.com/