Day Four: Sunday 10 November

TV Studio, Stockwell Street Academic Building

4-6pm: Concert 8 – Live

Rosario Grieco – Data Shapes

Live audio visual performance using real-time generative elements. An imaginary space populated with data, where you can see and listen to it, observe its movements: groups of information that aggregate and disperse, pushing into the mass until you can focus on specific elements. A sensorial experience: an open window onto a hypothetical point of exchange, like observing an object through a magnifying glass, being able to define its details and see them in their essence.

Rosario Grieco is an audiovisual artist, working with generative video environments and abstract soundscapes. His work focuses on the ways in which sound, light and space can intersect to create live visual music experiences. He began his artistic experience by attending an artistic group, where he created projects, installations and performances in the field of contemporary art using audiovisual tools. He subsequently moved to Milan, where he established exchange relationships and collaborations with artists who deal with computer music and then subsequently graduated in Electronic Music at the G. Verdi Conservatory of Music in Milan. He participates with audio / video performances in events in galleries and festivals, the main ones being: Live Cinema Festival, Palazzo delle Esposizioni, Rome; Milan Music | Il Teatro della Voce, Teatro Gerolamo, Milan; Frischzelle Festival, Kunsthochschule für Medien Köln, Cologne (de).

Holly Gowland – Skew

This piece was written specifically for violist, Ynyr Pritchard. Ynyr has always had a fascination for circular bowing, so this idea is broken down into individual gestures with the static bow turning and 45-degree bowing.

Drawing inspiration from David Fennessy’s Panopticon, this piece gradually transitions from somewhat obscure, unpitched material into a swarm of harmonics. Based on the harmonic profile of the cimbalom in Panopticon, the harmonics of this piece are centred around a C7 chord with interchangeable B/B-flats and E/E-flats (C, E, E-flat, G, B, B-flat). These harmonics are gradually introduced throughout the piece.

The addition of the motion sensor reacts to the angle of the bow of the performer, tracking the movement of the hand.

Holly Gowland originates from Manchester, UK and currently is studying at the University of Oxford for her Master’s in Composition. Gowland studied BMus (Hons) Composition at Royal Birmingham Conservatoire supervised by Andrew Hamilton, Emma Margetson, Seán Clancy and Joe Wright. Within her compositions, she focuses on new ways of combining real and virtual elements; she often builds new technologies to facilitate harmonic blending. Her work usually consists of field recordings and draws special attention to spatial aspects. Holly was commissioned by NMC (New Music Cassette) in 2022. She has been award Peter Redfearn Prize for Composition (2019), the Royal Birmingham Conservatoire Composition Prize (2023), John Mayer Prize (2023), Musicians’ Union Bill Warman Award for the most promising music creator (2023), Henfrey Prize for Composition (2024), McQueen bursary, Carole Emery Scholarship, and Ida Carroll Scholarship. Her pieces have been played internationally at the 2023 International Electroacoustic Music Exhibition at Anthropological Museum of Contemporary Art, Ecuador; Colaboradio in Berlin, Germany; and in Milwaukee, US. During her undergraduate studies, her pieces have been premiered at The Hippodrome, Centrala, and Bradshaw Hall. She has received commissions including from Molly Welling in partnership with the University of Birmingham, and Naomi Sullivan in partnership with Yamaha for the International Saxophone Festival. Holly is the co-founder of Electra Music, which promotes electronic music and production for women. Electra Music has communicated and worked with people such as Linda Buckley, Natalie Holt, and Sarah Belle Reid.

Haedong Lee & Yidan Kim – ‘Ecology of Death and Annihilation: A Ceremony for Things that Wither’

Since ancient times, humanity has engaged in acts of worship and sought redemption through playing instruments, chanting, letting out a cry, or burning plants to make smoke, among other things. The materials that comprised such rituals included scent, light, movement, and sound, which developed into what we today understand as art.

‘Ecology of Death and Annihilation’ delves into the ritualistic origins of art by staging a contemporary form of ritual. In this time-space, one is immersed in a sublime ecology of death, annihilation and things that wither, where sounds reverberate and eventually dissipate into silence, as if simulating incense smoke that withers away. Sound and scent are utilized in this performance not only to reflect on the possibility of contemporary ritual—which is motivated by private experience to a certain extent—but also to explore the relationship between auditory and olfactory stimulation and formation of consciousness.

Haedong Lee has explored the answer to the origin of sound through the work of collecting and structuring the material of sound. Utilizing metals, wood, and various Anthropocene by-products, he actively engages in interdisciplinary works such as sound performance, records, video, and installation. A critical discourse in Haedong’s artistic practice is the approaching Sixth Mass extinction on Earth, caused by diverse man-made problems. Viewing sound as a significant factor in humans becoming the devastating top predator and leading to the Anthropocene, he has explored the context in which sound has been used politically and economically throughout the history of civilization. Recently, through the series “The Sound of Restriction,” inspired by cowbells, the shackles of sound trapping the bodies of non-human beings who were relegated from animals to livestock and sacrificed by humans for a long time, he is developing a structure for his sound objects. Furthermore, he constructs a distinctive ‘Sound Ecosystem’ using various sound objects and electronic instruments, integrating this with his practice of asceticism and meditation. This serves as a primary means of eliciting intellectual engagement and emotional responses from the audience.

chr_zmp – IN.SIDE.OUT.SIDE.IN

 . is a transdisciplinary somatic performance, including projections, fog, movement sensors, music, scent diffusors and a performer.
 . is exploring and shining a light on membranes, borders, their permeability and ambiguity.

 . The me, the other, the shared space.
 . The where I end and you begin.
 . The where all ends and all begins.

Christian Zemp (*1992) is a versatile musician, performer and Feldenkrais practitioner. After finishing high school and extensive travelling, including two months in Mongolia, he studied human medicine for a year before devoting himself to the Feldenkrais method and his music studies. His interests are wide-ranging and extend from all facets of experimental and improvised music to anatomy, neurology and systemic contexts. What drives him is a deep curiosity for new and unheard things. He endeavours to be creative and to create something that touches and enriches both himself and others. Christian is currently engaged in his artistic research, enrolled at RMC Copenhagen to work on the development of a contemporary, transdisciplinary performance format that reconciles his diverse interests and values he wants to share. As a musician and performer, he works continuously with the band Sc’ööf, the collective Club Denmark and the duo kontrollør.