May 15th, 2015
Two of my favourite people to play with and collaborate with! Here’s what we’re up to:
Performing with radiophonic instruments, unique homemade electronics, micro-watt transmitters, and re-purposed objects, Anna Friz, Jeff Kolar and Eric Leonardson create intimate atmospheres traversing acoustic and electrode-magnetic space. Together their work can be characterized as a mindful collaboration with vibrational surfaces and unstable circuits; and with subtle treatments of potentially noisy, often lo-fi materials from which highly detailed landscapes emerge. Though all three artists have worked with one another in various constellations in Chicago and internationally, this concert is their premiere outing as a trio.
In addition to Eric’s Springboard instrument, Jeff’s panoply of open circuit micro-transmitters, and my little table full of feedback oddities, I’ll be bringing along an old friend to make some noise:
April 12th, 2015
April 12th, 2015, 23:03 CET (GMT +2)
Kunstradio LIVE on air and on line — podcast of the program continues to be available here at lower resolution
on air: Ö1 Kunstradio in Austria, http://oe1.orf.at
on line: http://kunstradio.at/2015A/12_04_15.html
Telefunken Twins is a suite of pieces departing from a duet between two vintage Telefunken Bajazzo radio/cassette decks. Using radio as instrument and as system exciter, the pieces also utilize micro-FM transmission, low fidelity electronic instruments, analogue tape, dictaphones, walkie talkies, spectral monitoring, and intricate feedback systems to craft and expressive and intimate world from the sensuality of signal and noise. By working with small circuits of transmission live in the radio studio of Ö1 Kunstradio, Telefunken Twins seeks to transform radio away from its everyday role as an apparatus of entertainment or information diffusion, instead proposing radio as instrument, as landscape, and as a poetic space of reverie.
Telefunken Twins is commissioned by Kunstradio and supported by Danish Arts Foundation.
Tuesday April 14, Anna Friz and Konrad Korabiewski at brutto, Vienna.
BRUTTO meets Ö1 Kunstradio
Featuring live sets by Anna Friz & Konrad Korabiewski + Broken Heart Collector
on site: Brut Künstlerhaus, Vienna, Austria. Entrance 3.-/5.- Euro
April 7th, 2015
Wednesday April 8, 2015: performing a new work with Maja Osojnik at Kino Šiška in Ljubljana, Slovenia, as part of a short residency with CONA Institute for Contemporary Arts Processing as part of their ZVO.ČI.TI so.und.ing Duo series.
We were initially planning to each perform a solo, then a new duo, but we so love playing together that we combined our concepts into a single full set with accompanying slideshow/video by yours truly. So the piece moves from whiteout to blackout, with field recordings, electronics, and instruments, to explore the landscape of built infrastructure (“under lines”) and eventually plunge into the dark for some “Cinema for the Ears”.
Sunday April 12 11pm brings me to Vienna, Austria and ORF Kunstradio, to do a live in-studio radio art piece with Konrad Korabiewski based on our performance Telefunken Twins for the Austrian national radio, followed by a live show with projection on Tuesday April 14 at Brutto Vienna, sharing the bill with Maja Osojnik‘s excellent band broken.heart.collector.
And what exactly is the aftergrain? If the afterglow is the light or luminance left in the sky after sundown, the aftergrain is the sonic and visual grit that remains after most other frequencies are subtracted. For these two live performances with Maja and Konrad, I’ve developed accompanying slideshow/videos based on my photography in Iceland, Chile, and Slovenia, where many of the images eventually decompose from blown-out white to black with just some distorted visual morsels left behind. Aftergrain in sound and signal.
February 25th, 2015
Winter returns, which was a bit of a shock when I encountered it in the Toronto airport, traveling from midsummer in Chile to land in -22 celcius in Toronto. Now a month later, my tan is pretty much gone, and wearing long johns every day just seems normal again. The winter gusts blew me further north, even, to a work/retreat period back in Iceland, in Seydisfjördur, on the far east coast. Here I’m back at Skálar | Sound Art | Experimental Music HQ, to develop some exciting new work which involves field recording, pinhole cameras, turning a small empty house into a sound sculpture and/or radio station, and (tangentially) knitting a lot. Many thanks to the Canada Council for the Arts for sending me here and funding the research and preliminary production!
It may be dark and cold, but radio continues. ZimaFM/radioCONA Ljubljana broadcast my five-hour Uncoordinated Universal Time (2014) piece, an exercise in suspending time by manipulating the zero hour of the atomic clock, designed for overnight listening; Radiophrenia will be broadcasting the piece as well in April 2015 from the Centre for Contemporary Arts, Glasgow. Mobile Radio did a retrospective of their Mobile Radio Bienniale Sao Paulo programming as part of the 12 Days of Radio Art on London’s Resonance FM, which included some back episodes of my M.O.L.E.C.A.S.T. BSP series.
framework radio episode 496 incorporated a number of tracks from Somewhere a Voice is Calling — a piece about early radio and the first transAtlantic broadcast of the human voice by Reginald Fessenden in 1906, by myself, Absolute Value of Noise, and Glenn Gear. Listen to the whole show and also catch some other choice bits of phonography and experimental music, mixed by host Patrick McGinley.
You can also listen to (and buy your very own copy!) of Somewhere a Voice is Calling online here.
Coming up you can catch me and Konrad Korabiewski performing Telefunken Twins live in the ORF Kunstradio studios on April 12, 2015, featuring, among many other sounds and instruments, two particularly stylish Telefunken Bajazzo transistor radio/cassette machines.
Finally, I’ve just completed a new commissioned work for Radio Arts on the topic Dreamlands. My piece is called Two Sleeps, a work about dreams of air and water, rising and falling. It premieres on Resonance FM in London on April 15, 2015, 9pm GMT. It will stream from the Radio Arts website after that.
Happy winter from the slopes of the morse mountain!
December 15th, 2014
This week is the premiere of the first part of The Remote Series, produced by Skálar FM and commissioned by the Creative Audio Unit of ABC Radio National, Australia for their weekly radio art program Soundproof.
Listen on air, online or download the series prologue Trilogy for Night and Radio: Radiotelegraph/Night Fall/Relay, a three-part sound work by Anna Friz and Konrad Korabiewski.
Autumn in the far north is characterized by a dramatic loss of daylight. In Seyðisfjörður, a small village on the far eastern edge of Iceland just below the Arctic Circle, each day in October has eight minutes less daylight than the one before. The sun is slower each day to crest the mountains which ring the fjord, until mid-November when it no longer rises above the mountains, and the town experiences only indirect light until February.
Trilogy for Night and Radio is a radio art work in three parts that explores remoteness, the descent into darkness and the long Northern winter night. Trilogy is a collaborative exchange between two traveling sound artists – Anna Friz and Konrad Korabiewski – that meditates on feelings of place using the materiality of signals, overlapping remote geographical spaces. As part of the work, we recorded, performed, re-recorded, and composed with sounds and signals from Iceland and Slovenia, with a relay broadcast to Chicago.
Radiotelegraph, is a beacon in spoken morse code, designed by Anna for unlicensed radio simulcast in Seysdisfjördur, Iceland, and in Chicago, U.S.A on the Radius platform in October 2013. Incorporating performed morse code, electronics, and sampled radio signals, Radiotelegraph reflects Seyðisfjörður’s remote location in a deep fjord off the Atlantic Ocean, which was also the site of the first telegraph cable connection between Iceland and Europe in 1906.
Night Fall is an improvised live performance by Anna and Konrad for unlicensed low-watt transmission in Seyðisfjörður to accompany the shift from sundown into full night time darkness. Night Fall elaborates on the sonic palate created in part one, with a soundscape that contemplates the acoustic and electro-magnetic landscape of Seyðisfjörður in the disappearing light of dusk and the feeling of suspended or expanded time that strongly characterizes this village in east Iceland. The performance was recorded live from a small transistor radio receiver, and edited.
The final segment, Relay, is built from recordings made by Anna and Konrad around the winter solstice (December 21-22) in the empty post-industrial spaces in which they were working–Anna in a former tobacco factory in Ljubljana, Slovenia; Konrad in an empty herring factory in Seydisfjördur. They intertwined these traces and signals from distant spaces, using the architecture and landscape as a filter for their signals. Anna took elements from Radiotelegraph and replayed them into the iron bannisters and wooden walls of the tobacco factory using tactile transducers, or speakers which transmit vibrations into surfaces. These signals were re-recorded using contact microphones, and sent to Konrad, who mixed them together with field recordings from different houses and the empty herring factory.
Trilogy for Night and Radio is the prologue to the four part Remote Series, which will air on Soundproof in early 2015 and will feature artists Tumi Magnússon (Iceland), Fernando Godoy M (Chile), Jana Winderen (Norway) and Christina Kubisch (Germany).
Trilogy for Night and Radio was produced for the Creative Audio Unit with additional support from the Danish Arts Foundation, the Danish Composer’s Society, radioCONA, Kultural Center Tobačna 001, Skaftfell Center for Visual Arts, and Radius.
December 1st, 2014
Lately there’s been so much cross-continental traveling and work that I’m utterly behind on the updates here. So let’s begin with where I am now: back in one of my favourite places in the world, Valparaíso, Chile for the 2014 edition of the Tsonami Festival de Arte Sonoro. It’s my great pleasure to be invited for the second time (the first time was 2012, catch up on the fun in photos here and here)!
This year at Tsonami Festival I have a full plate of activities: a three-day workshop on expanded radio practice, a lecture with Konrad Korabiewski on our activities as the collective Skálar | Sound Art | Experimental Music, and a concert together. See full descriptions below. Tsonami Festival has also branched out to include two days of programming in nearby Santiago de Chile, where I will reprise my workshop as a two-day affair.
Konrad and I are staying in Chile for a while after the festival to gather audio visual material on urban infrastructure, post-industrial and industrial landscapes for a couple of projects in the works. We feel there is an interesting I will also be working on a new commission for U.K.-based Radio Arts on the theme of Dreamlands–my concept involves dreams of flying.
Workshop: Radio is not at container
2-4. December, 2014 10:00-14:00 Balmaceda Arte Joven Valparaíso;
and 9-10. December 2014 10:00-14:00 Centro Culural de Espana de Santiago
Pull the radio out of the studio, off the tower and out of its black box! Radio is much more than the broadcast of information and entertainment. Radio can be an instrument, a landscape, and a meeting between real and imaginary space. This workshop uses micro-radio transmission, small circuits and radio instruments to explore the huge potential for radio art. Participants will be introduced to and listen to some of the diverse art works made by artists working across the electro-magnetic spectrum, and take part in a series of field exercises and improvisations in order to expand their experience with all aspects of creative radio practice, from laying hands on radio circuits to listening to waves in the city, from making ‘instant’ radio theatre to artistic interventions into the spectrum and the city. The workshop can include a public presentation or intervention.
Performance with Konrad Korabiewski: Magnetic Meridian
Thursday 4. December 2014, 19:30 Teatro PCdV
Imaginary lines connect magnetic south and north poles. Friz and Korabiewski begin to describe one such line, crooked and meandering, from a point on the far east coast of Iceland moving south and west. The material of one place listens to another, and the particular presence of one space affects another. Magnetic Meridian is an improvised concert reflecting upon the conditions of geographic and communicative remoteness, and the fragility of unstable human signals. Using field recordings, small electronics, radiophonic and acoustic instruments, and electro-magnetic tape, the two artists evoke an audible landscape, actual and imagined; a northern landscape experienced and transformed, through drone, signal, and dictaphone.
Lecture with Konrad Korabiewski: The Feeling of North
Thursday 4. December, 2014 17:00 hrs Biblioteca PCdV
Friz and Korabiewski are currently curators and practicing members of Skálar | Sound Art | Experimental Music based in Iceland and Berlin. The organization is both an artist collective and a mobile curatorial platform, focused on creating site-specific sonic-based interactions with landscapes, both geographical or built. Skálar is particularly interested to generate and support artistic practices which highlight unstable systems, open spaces to new interpretations and use, and which engage in perceptual feedback and affect between site and subject. The artists will discuss Skálar’s activities in remote landscapes in Iceland, as well as examples of their own work, such as the audio-visual collaboration NS-12 and the radio art intervention Radiotelegraph.
November 6th, 2014
September 23rd, 2014
Drone Wedding is up for the next 3 months, a new work by Public Studio, commissioned for the Ryerson University Image Centre Media Wall in Toronto, Canada. Public Studio is an artist collective founded by film director Elle Flanders and architect Tamira Sawatzky, and includes other collaborators as the projects require. I have been the composer/sound designer for 3 multi-channel film installation works with Public Studio so far: Road Movie (2011), What Isn’t There (2014), and now Drone Wedding.
Drone Wedding is a multi-channel video installation which reflects on pervasive contemporary surveillance society against the frame of drone reconnaissance and targeted strikes. Cameras collect a tremendous amount of data in all aspects of daily public and private life; Drone Wedding considers the more ominous element in this flow of images– who’s watching, who is being watched, and how comfortable or knowledgeable is Canadian society with this growing surveillance infrastructure and how it is being used, who is being targeted, at home and abroad?
I crafted the sound from a number of radiophonic sources–encrypted radio communications (including numbers stations), military ground-air talk, ambient radiation from electronic devices via induction coils and VLF antennas, video documents made public by various watchdog organizations, misfiring AM radio transmitters, etc. It’s in the air all around us–devices and people, recording everything.
August 20th, 2014
I’ve been here in Vienna the past weeks, in residence at quartier21 and working on some new multi-channel performance pieces for TONSPUR für einen öffentlichen raum, which I performed outdoors last weekend (16-17. August, 2014) in a special TONSPUR live_open_air event in the courtyard of the MuseumsQuartier, as part of the MuseumsQuartier Summer of Sounds.
That’s the thing about doing outdoor shows… It starts of a bit chilly or windy, with intermittent sun, but you really abandon control in favour of improvisation with the present elements and the whims of weather… I was interviewed in advance by the Summer of Sounds blog, and I guess I shouldn’t have been so quick to talk about the inherant instability of the outdoor situation, as we were quite thoroughly rained upon on saturday.
But Sunday was gloriously sunny, and a wonderfully chilled-out listening vibe pervaded the museum courtyard.
The programming was a mix of composed pieces chosen by Darren Copeland of NAISA Toronto, hence the theme for the event A Gathering of Canadian Sounds. In addition, I played some composed multi-channel pieces of my own, including Collecting Clocks and Losing Time, and performed a new piece called Breakwater live. We ended with a little piece for the pool we’d been stationed around, that I put together with the help of a volunteer ‘wineglass choir’, to play with the pool in the courtyard through the pitchy resonance of wineglasses.
There’s a little video taste of the wineglass piece, called Half Full, Half Empty, posted HERE.
Many thanks to all who came out to play, including all the TONSPUR folk, Elisabeth and Roland, Jeanette and Jonathan and friends, Moritz and friends, Magda, our MQ assistants, and the sounds stars on the hydrophone, Norbert and Andrea! Thanks also to Sabine Groschup for the photos!