New Ear Festival 2018
Friday, February 2 – Thursday, February 8
Friday, February 2
Nadja Verena Marcin, OPHELIA
OPHELIA is an architectural, interdisciplinary live performance incorporating sculpture, sound and text by Nadja Verena Marcin. The piece will draw on masterworks from art history—such as John Everett Millais’s painting of the same name, “Three Ball Total Equilibrium Tank” (Jeff Koons, 1985), and “The Werld” (Daniil Kharms, 1939). Floating in a salt-water solution in a life-size stainless steel sarcophagus, wearing a breathing mask and Ophelia’s dress, the artist Nadja Verena Marcin will quote text from Daniil Kharms’ "The Werld" about our limited human subjective perception.
Jakob Kudsk Steensen, AQUAPHOBIA
AQUAPHOBIA uses VR to connect inner psychological landscapes with exterior ecosystems. The work is inspired by studies of the treatment of aquaphobia – fear of water – as an entry point to transform perceptions of our relationship to future water levels and climates. AQUAPHOBIA is a full-scale replica of Louis Valentino Jr. Park and Pier in Redhook, Brooklyn, an area greatly compromised by climate change with hurricanes and rising sea levels.
Saturday, February 3
Stephen Vitiello | Taylor Deupree
As a duo, Taylor Deupree and Stephen Vitiello released the double 10" LP, Captiva on 12k; May 18/Loops To Clouds on Champion Version; and a digital release with Ryuichi Sakamoto for Kizuna World. They performed last at PS 1/MoMA as part of Semiotext(e) presents The Return of Schizo-Culture.
Gust Burns | The Rhythm Method, String Quartet Obstructions
String Quartet Obstructions is a performance by a string quartet with recordings.
Gust Burns composes performances of music. Drawing on his experience as a pianist, contemporary art practices, and 20th century composition, Burns’ works blur differentiations between performance, score, recording, and text.
The Rhythm Method strives to reimagine the string quartet in a contemporary context.
Sunday, February 4
Charmaine Lee is a New York based vocalist. Her music is predominantly improvised, favoring a uniquely personal approach concerned with spontaneity, playfulness, and risk-taking. Beyond extended vocal technique, Charmaine uses amplification and microphones to augment and distort the human voice. She has performed with leading improvisers Nate Wooley, id m theft able, and Joe Morris, and maintains ongoing collaborations with contemporaries Conrad Tao, Zach Rowden, Lester St. Louis, Leila Bordreuil, and Ben Bennett.
Katherine Liberovskaya | Tim Shaw
Katherine Liberovskaya is an intermedia artist based in New York City and Montreal, Canada. Involved in experimental video since the 80s, she has produced many single-channel videos, video installation works and video and music performances which have been presented at a wide variety of events and venues around the world.
Tim Shaw is an artist interested in the relationship between site and technology. Presenting work through musical performances, installations and site-responsive interventions his practice attempts to expose the mechanics of systems and to reveal the hidden aspects of machines.
Monday, February 5
POETIC X | JASON LUCAS
Poetic X is a native of Shreveport, LA. He is a poet/author/recording artist with a sincere passion and appreciation for arts and education. Audiences across the United States have taken a liking to his subtle style and delivery. His ability to draw a person, place, or object into a poetic setting with metaphysical attachments is what sets Poetic X in a different culture than most poets. He has an absolute love for nature and the many hidden subjects, matters, properties, and particulars within.
Yvette Janine Jackson, Destination Freedom
Destination Freedom begins in the cargo hold of a tall ship transporting Africans to the Americas and traverses time in search of freedom. It is a radio opera - a meditative electroacoustic experience. Destination Freedom is a fixed media, multichannel composition. It features members of the Invisible People ensemble: Judith Hamann (‘cello), Tommy Babin (double bass), Nick Lesley (drums), Malesha Jessie Taylor (voice), and Yvette Janine Jackson (piano).
Yvette Janine Jackson is a composer and sound installation artist who combines electroacoustic music, improvisation, and voice to focus on historical events and contemporary social issues.
Tuesday, February 6
Carver Audain is a multi-disciplinary artist whose practice has centered around immersive environments for nearly a decade. Audain's media works are the result of multiple rigorous digital signal processes and editing techniques on a variety of aural and visual stimuli. By contrast, Audain's physical and object based works often align common materials with metaphor and narrative, underscoring authorship and semiotical relationships between the viewer, the work, and the subject of the work.
Wednesday, February 7
Kara Rooney and Collaborators, But For What's My Axis? Part 2. Desire
'Desire' calls into question the physical, emotional, and linguistic conditions that frame our meeting with self/other—of the socially constructed paradigms that determine and define our sense of longing, taste, and sexual expression, articulate our relationship to success, to language and each other, as well as informs notions of class, gender, geography, even time.
Brian Chase, Drums and Drones / Ursula Scherrer
Drums & Drones, an approach to listening/viewing as an experiential process, began as Brian's solo venture and has since expanded to include the video projection of Ursula as a key component of the experience. The project takes its initial inspiration from La Monte Young and Marian Zazeela's Dream House, a legendary on-going sound and light installation in TriBeCa, NYC. With this, the notion came to investigate the more subtle acoustic properties of drums and percussion as a medium for 'going inside the sound:' expansive soundscapes are constructed, like aural snapshots of tone, uncovering the richness of sonic depth hidden within the resonance of these instruments.
Thursday, February 8
Lesley Flanigan, Subtones and Voice
Lesley Flanigan presents a special preview of an upcoming project for subtonal frequencies and solo voice for the final evening of Fridman Gallery's New Ear Festival. In her first performance with synthesized sound, Flanigan steps back from the timbral complexity of her work with speaker feedback instruments. Paring her sound material down to the bare elements of tone, she layers clusters of pitch from her voice alongside pure sine wave tones from dual oscillators (output through panned subwoofers).
Jacob Kirkegaard, Thrum
Thrum is a sound portrait of an industrial section within Africa’s largest outdoor market, Merkato, in Addis Ababa, Ethiopia. While being an essential hub for trading, a significant part of Merkato is also based on recycling. This piece is composed of nearby field recordings, extracted from the thrumming ‘iron and metal section,’ where hundreds of men spend all day reshaping oil drums by hammering on them with all their might.
Katinka Fogh Vindelev, a voice in a voice in a voice in a voice
The piece consists of a handful of voice compositions capturing a voice’s multifaceted sound quality as well as textual potential. Through repetitions, patterns and multiplications, the voice resolves into new forms. The work is composed with samples of Katinka’s own voice and four speakers. Katinka will performe in a mix of both playing her sampled voice, as well as singing live on top.