Tuesday 7 August 2018, 7.30pm
In 2000, Kawaguchi started thinking about field recordings. His interest lies not in the kind of field recordings that focus on sound tones obtained in the field, but on the configuration of sound in a specific space. He creates recorded works using sound-making objects, presents installations, and is active in the field of improvised music.
For live performances, he uses instruments and implements for playing and composing, which he makes by everyday materials.
He plays solo performance, installations, and the member of The Great Triangle with Makoto Oshiro and Satoshi Yashiro.
The objects used in Kawaguchi’s performances and installations apparently seems strange, but most of them are the emsemble of phenomena which surface by liberating the daily goods from their uses or definition. Kawaguchi uses things anyone can get; converted everyday materials, and so on, but the effects are far more extended from their original potencial ones. Works made of them are shown with it’s most suitable formats; performances, installations, and CDs. All of them are site-specific, and makes the audience realize the time strongly. He focuses not only playing sound, but on composing the whole space by arranging sound and light.
Seymour Wright is a saxophonist. His work is about the creative, situated friction of learning, ideas, people and the saxophone – music, history and technique – actual and potential.
Seymour's solo music is documented on three widely-acclaimed collections - Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).
Current projects include: @xcrswx with Crystabel Riley; abaria with Ute Kanngiesser; [Ahmed] with Antonin Gerbal, Joel Grip and Pat Thomas; GUO with Daniel Blumberg; XT with Paul Abbott; The Creaking Breeze Ensemble; a trans-atlantic duet with Andy Guthrie, and, with Jean-luc Guionnet a project addressing an imaginary lacunae in Aby Warburg's Atlas Mnemosyne.
@xcrswx
David Toop has been developing a practice that crosses boundaries of sound, listening, music and materials since 1970. This encompasses improvised music performance, writing, electronic sound, field recording, exhibition curating, sound art installations and opera. It includes eight acclaimed books, including Rap Attack (1984), Ocean of Sound (1995), Sinister Resonance (2010), Into the Maelstrom (2016), Flutter Echo (2019) and Inflamed Invisible: Writing On Art and Sound 1976-2018 (2019). Briefly a member of David Cunningham’s pop project The Flying Lizards in 1979, he has released fourteen solo albums, from New and Rediscovered Musical Instruments on Brian Eno’s Obscure label (1975) and Sound Body on David Sylvian’s Samadhisound label (2006) to Entities Inertias Faint Beings (2016) and Apparition Paintings (2021). His 1978 Amazonas recordings of Yanomami shamanism and ritual were released on Sub Rosa as Lost Shadows (2016). In recent years his collaborations include Rie Nakajima, Akio Suzuki, Tania Caroline Chen, John Butcher, Ken Ikeda, Elaine Mitchener, Henry Grimes, Sharon Gal, Camille Norment, Sidsel Endresen, Alasdair Roberts, Lucie Stepankova, Fred Frith, Thurston Moore, Ryuichi Sakamoto. Curator of sound art exhibitions including Sonic Boom at the Hayward Gallery (2000), his opera – Star-shaped Biscuit – was performed in 2012.
As a sound artist and performer Lia Mazzari’s practice is often collaborative, engaging new audiences through encounters with art in non-conventional spaces, physical and virtual. She likes to explore the divisions of site and non-site, private and public through live performance, sound installation and urban intervention. Lia creates recorded and live events that embrace the broader sense of sound in space. This fluid relationship with her environment and towards sonic activism as well as developing an extended technique with cello and whips form the crux of her practice.
https://liamazzari.com/
