Echophone


Echophone

Installation consisting of four parts (2017)

Commissioned by the mighty Radius for the Museum of Arts and Design, for the exhibition Sonic Arcade: Shaping Space with Sound
September 14, 2017 – February 25, 2018
2 Columbus Circle, New York, NY, 10019

Echophone is the first of a new Radius series entitled BEACON. BEACON invites commissioned artists to investigate the idea of radio as a signal from afar.

Two women rent a room in the Pabst Grand Circle Hotel in New York City in late 1947. Their belongings seem to be comprised entirely of a large number of aluminum postal boxes of the sort used to mail laundry; three bellhops are needed to transport it all up to their room. The women stay for one week, pay in advance, and are not seen during their stay. Over several nights the neighboring rooms complain of strange hums and sounds heard through the walls, disturbing their sleep. Three hotel guests complain of the sudden onset of severe migraine headaches, and request a doctor. The dumbwaiter in the hotel breaks down and is stuck between two floors.

After one week, the hotel staff find the room unlocked and empty. The women are gone, as are their boxes, and the maids discover wires and electronic components on the table and the floor of the room. The dumbwaiter is never repaired.

Four aluminum boxes re-appear at MAD this year. Careful inspection reveals that they are radiophonic, each transmitting a single signal to either AM or FM bands. Perhaps they were sent out as probes, recording what they encounter, and then transmitting their findings. The probes have returned as beacons, measuring distance and indicating time passed or times parallel. Four presents from the past.

Responding to the idea that radio measures and allows for relationships over distance and time, Echophone is a radio based installation that reveals itself to visitors as they explore the Museum of Arts and Design, searching for and tuning into transmissions from beacons which are placed throughout its interior. Radios and headphones can be checked out from the admissions desk to experience this piece. Each individual beacon can only be heard in close proximity to its physical location, and are tuned variably to 107.9FM, 1600AM, or 1620AM.

The installation consists of four beacons and two vintage radios with headsets.

Custom electronics for the project by Ryan Page.

Echophone was developed with support from the Canada Council for the Arts, and the Arts Research Institute of the University of California, Santa Cruz.



Radiation Day at Ars Electronica


Performing Radiation Day at Ars Electronica, Big Concert Night 08.10.2017

I had a world premiere of new work at the Big Concert Night of Ars Electronica Festival at PostCity in Linz Austria this past weekend on 10 September 2017. Radiation Day was created during my research residency in Chile this summer, in collaboration with artist Rodrigo Ríos Zunino. This is the first of what will be a series of audio/visual works for performance and installation. Many thanks to Canada Council for the Arts for supporting the work, and for the Arts Research Institute of the University of California Santa Cruz for flying me over to perform!
The live concert was curated by Elisabeth Zimmermann for the 30th Anniversary of ORF Kunstradio, and broadcast live to national public radio Ö1 in Austria the same evening as part of a special program entitled Different Places.
Radiation Day

This is the metamorphosis of Earth being: in the desert, around open-cast mines loom massively heaped and compacted slagheaps; evaporation ponds spread across the salt flats, and pipelines and power lines run alongside roads punctuated by truck transports and blowing dust. Copper, lithium, rare earths; mining the ingredients for wireless communication devices. Ancient geoglyphic inscriptions on the desert are dwarfed by deep industrial scars visible from satellites. But environments are also media, and bodies are recording devices. For days under the sun at high altitudes in northern Chile, we sought elemental media amidst the industrial continuum. A performance devised of infrastructural sounds, atmospheric signals and live electronics.

Video by Rodrigo Rios Zunino (CL/EC)


Sonic Saturday at Ars Electronica


XRRB: Radio Tsonami edition


This week, tune in to Radio Tsonami for three live radio mixes of audible materials gathered on a recent trip to the altiplano and salt flats of northern Chile. XRRB returns July 12, 14, and 16, at 21:30-23:00 GMT -4; live from CASAPLAN‘s artist residency space, where I’m staying here in Valparaíso, Chile. Tune in here.

XRRB
Nocturnal outpost, distance monitoring, and experimental radio beacon. Night time respirations after days spent staring into the sun. Featuring journeys over the Flatlands of Patience and through the Ruins of the Future. Live radio by Anna Friz with special guest Rodrigo Ríos Zunino for Radio Tsonami.

Anna is supported by the Canada Council for the Arts and University of California, Santa Cruz.



My Sounds Travel Without Me: June 2017 edition


While working away at home and in studio, I’ve sent my sounds on the road with these recent and current presentations abroad:

The Envelope of the Hour originally commissioned for Radio Revolten International Radio Art Festival in Halle/Saale Germany in October 2016 was re-mounted for Il suono in mostra sound art festival, curated by the Spazzioersetti Gallery in Udine, Italy, June 3-11, 2017. The work was adapted to 7 channels and installed in the old Clock Tower in Piazza Libertà in Udine.

The Joy Channel (created with Emmanuel Madan) was presented on Radio RE:FLUX on CKUM Moncton, as part of RE:FLUX 12 Festival, Moncton New Brunswick, June 1-4, 2017.

Radiotelegraph will be presented on June 20, 2017 in the Theatr Studio in Plac Defilad, Warsaw, Poland as part of the Do usłyszenia na Placu Defilad – festiwal słuchowisk, vol. 2, or To hear at Defilad Square – festival of listeners, vol. 2. 



Ground Control


Ground Control, an instrumental remixed from How To Pack A Whale (2016), will premiere at Noise Box, an evening of live performance and composed sound art curated and hosted by Bunker 2 in Toronto. Artists include Marco D’Andrea, Daniel Griffin, Kristina Guison, Robert Anthony O’Halloran, Lucille Kim, Neven Lochhead, and yours truly.

Saturday February 4, 2017, 7-10pm

Bunker 2  a contemporary art center based out of a repurposed shipping container. Located at 450 Dufferin Street, Toronto ON, Canada. Bunker 2 is an artist-run space exploring 21st century modes of cultural exchange.

Meanwhile, How To Pack A Whale, originally commissioned by Radiophrenia Scotland in 2016, will air on Radio Space, the 24 hour experimental radio platform of the Borealis Festival for Experimental Music in Bergen, Norway in March 2017.



FJARÐARHEIÐI at Tsonami Festival de Arte Sonoro


We are super pleased to be back in Valparaíso, Chile, for the Xth edition of Tsonami Festival de Arte Sonoro. Konrad Korabiewski and I are performing FJARÐARHEIÐI, our multi-channel audio-visual piece concerning the expressiveness of low-visibility and low-fidelity landscapes. The piece is conceived in East Iceland as a project of Skálar | Sound Art | Experimental Music.  

Concerts take place on Thursday December 8, 2016 in the Teatro Parque Cultural de Valparaíso, and on Wednesday December 14, 2016 at the Centre Cultural de España.



Sonic Astigmatism


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On November 2, 2016, I had the pleasure of taking part in unschärfen: eine art konferenz, a performative conference convened by Andrea Sodomka and Doris Ingrisch of the Institut für Kulturmanagement und Gender Studies. The conference explored the fuzzy or blurred areas between the production of knowldege in art and science; the expressivity and activity in ambiguous, noisy, unsharp relations and the ways in which such blurring might also be understood as a feminist strategy.

Other participants included Norbert Math, Elisabeth Zimmermann, and Reinhold Bertlmann.

This afternoon event of lecture/performance, demonstration, and dialogue has now been turned into a radio program, airing this Sunday December 4, 2016 on ORF Kunstradio, the radio art program of Ö1, the cultural channel of the national public radio of Austria.

Tune in here.

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A quick gear plug: the lovely retro mic I used was the Copperphone Mini, independently designed and built by Placid Audio.



Radio Revolten


rr_logo_etcOpening this weekend: the largest radio art festival in the world!! I am one of the five curators for the Radio Revolten International Radio Art Festival in Halle (Saale) Germany, running for the month of October 2016. Together with artistic director Knut Aufermann, and co-curators Sarah Washington, Ralf Wendt, and Elisabeth Zimmermann, we have the pleasure of welcoming more than 70 artists from 17 countries to Halle (Saale) to present 30 days of contemporary radio art at 15 locations around the city in the form of performances, installations, concerts and live radio broadcasts. Daily events take place in the Radio Revolten Club, located close to the city market square. Next door at Radio Revolten Central, visitors will experience art installations dealing with transmission in all its guises.

I have been particularly consumed by the curation and installation of the contemporary art exhibit Das Grosse Rauschen: The Metamorphosis of Radio Art, which features Steve Bates (ca/qc), DinahBird and Jean-Philippe Renoult (fr), Golo Föllmer and friends (de), Fernando Godoy M and Rodrigo Ríos Zunino (cl), Jeff Kolar (us), Emmanuel Madan (ca/qc), Sally Ann McIntyre (nz), Kristen Roos (ca), with Maia Urstad (no) installed in the Stadtmuseum Halle as part of the “Unsichtbar Welle” historical installation. These artists are working across the electro-magnetic spectrum with ultra-high frequency transmissions, with baby monitors, with radio silences or repurposing razor wire as antenna, creating in kinetic sculpture, exploded radio art, and site-specific interventions.

We are also transmitting 24 hours a day on Radio Revolten Radio, on the FM frequency 99.3 MHz in Halle, reaching further afield on the AM (middlewave) frequency 1575 kHz, and serving a worldwide audience via the festival livestream. 35 radio stations around the world will integrate parts of Radio Revolten Radio into their own programming, including Resonance FM, Radio Zero, members of the Radia network, and Wave Farm/WGXC Hudson Valley NY. Remarkable events will surprise Halle throughout the month of October 2016: from towers to castles to gardens, radio will blossom into art.

Finally, I am presenting a new piece of my own entitled The Envelope of the Hour in the Roter Turm. This location is a jewel of the a site, being a 600-year-old clock tower in the market square here in Halle, which is the crossroads of farmer’s market, Oktoberfest, and the streetcar exchange. At night it feels like being inside of a microphone, and during the day the wind and city rushes through the windows. The piece is from my atomic clock series, and is a multi-channel sound installation made from audio manipulations of the radio broadcast of the atomic clock and sounds of the bells, exploring the sonic resonance, suspension, drift and decay of atomic and mechanical clock time. The work was supported by the Arts Research Institute of the University of California, Santa Cruz.

Radio Revolten would be nothing without the incredible rock-solid base of organizing, blood, sweat, and glee embodied by Radio Corax, a free-radio station and the pride of Halle.

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Clock Tower, Radio Towers, Signal Structures


Friz_Halle_RT_bwThe clock tower in the Rote Turm, Halle (Saale), Germany.
Site of my upcoming installation “The Envelope of the Hour”, Radio Revolten, October 2016.

The summer solstice has just passed here in the northern hemisphere, so pale evenings abound. This year I’ll be sticking close to the west coast, and preparing for autumn transmissions.

First up, I’m finishing a little piece for the Radio Studies conference Transnational Radio Encounters, in Utrecht, Netherlands from July 5-7, 2016. I’m not able to attend in person, so I’ve sent a little Nocturne in my stead, a short podcost for the late night listening comfort (or dis-ease) of conference attendees, about signal infrastructures and experiencing distance. Featuring distant listening outpost XRRB.

Together with Toronto-based collective Public Studio we are finishing up our commissioned public art work 120 Mirrors, to be unveiled this summer in the new Lee-Lifeson Arts Park in North York, Greater Toronto Area. The piece involves 3 different sculptural parts including submarine-inspired speaking tubes, and a collection of horns modeled on hearing trumpets and megaphones which can be manipulated to acoustically amplify the surrounding sound space or amplify one’s own voice.

I’m also working on a commission entitled How to Pack a Whale for the second edition of Radiophrenia, a temporary radio art festival and station broadcasting on-air, online, and on-site from August 29- September 11, 2016 from the Glasgow Center for Contemporary Arts. Subject matter still under great secrecy–but I can reveal that it involves dreams about packing.

Most of all, I’m preparing for the sprawling Radio Revolten International Festival of Radio Art which will take place in Halle (Saale) Germany from October 1-30, 2016. I’m one of five co-curators, together with Knut Aufermann and Sarah Washington of Mobile Radio, Ralf Wendt of Radio Corax, and Elisabeth Zimmermann of Kunstradio Austria. My area of concern is the contemporary transmission art exhibition entitled Das Grosse Rauschen: The Metamorphosis of Radio, which will feature artists from all over the world considering transmission ecologies, and re-framing radio and other forms of wireless communication. We are also hosting more than 60 artists to perform, install, engage in public actions and radio activity as well as hosting a symposium entitled Radio Space is the Place (with nods to both Sun Ra and Robert Adrian X), and running a round-the-clock city-wide radio art station.

In addition to curating at Radio Revolten, I’ll be presenting a new work there funded by the Arts Research Institute at the University of California, Santa Cruz, entitled The Envelope of the Hour. This piece reflects on time obedience and standardization, as measured by the public clock tower and the broadcast atomic clock on shortwave radio channels internationally. Towers of power, recuperated into instruments.

Signing off for now… until next time, stay detuned….

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