Solo performance of four soundtracks for a video by Latvian artist Linda Konone, Private Time: 4 Episodes, curated by Zane Datava at LACE. Also performing: Infinite Body, Yann Novak, and Steve Roden accompanying a video program including work by Krišs Salmanis, Kate Krolle, and Linda Konone. Wednesday, 7 November 2012, 7-9 PM, Los Angeles Contemporary Exhibitions (LACE), 6522 Hollywood Blvd, Los Angeles, CA 90028. $10 general admission, $5 students, free for LACE members.
Southern California Sound Ecology presents The Urban Soundscape Revealed: Listening to the City, a salon/workshop on Acoustic Ecology and mindful listening, followed by a live, improvised performance by the Southern California Soundscape Ensemble, Expo Arts Center, Back Room Theater, 4321 Atlantic Ave, Long Beach, Saturday, 20 October 2012, 8 PM.
I will perform a solo improvised soundscape, along with Robert Crouch, Marcus Fischer, and Yann Novak, Re:Sound, Human Resources, 410 Cottage Home Street (Chinatown), Los Angeles, Tuesday, 16 October 2012, 8 PM.
I will give a talk about my work for the Composition Colloquium directed by Dr. Alan Shockley, Composition and Theory, Bob Cole Conservatory of Music, CSULB, Wednesday, 19 September 2012.
I will perform a live, improvised soundscape with Tchaikovsky’s 1812 Overture as source material (among others), La Mer de Glace: 2012 Overture, with Dominique Kippelen, Lothar Schmitz, and Oguri (curated by Kio Griffith), West Los Angeles College Art Gallery, 9000 Overland Ave. Culver City, CA 90230, 6-9 PM, 6 September 2012.
I will be leading a docent tour of selected installations at Soundwalk 2012 (8 PM), and I will participate in a panel discussion on Sound Art (7 PM), moderated by Marc Weidenbaum, Saturday, 1 September 2012, East Village Arts District, downtown Long Beach. The event is free. Here is a description of the panel (with Inouk Demers and Marco Schindelmann):
“Performed Art: The Fluid Roles of Spectator and Artist in Sound Art.” We’ll be discussing the concept of “performance” and how it relates to sound art. To take just two examples among many: What makes a concert a work of sound art, and what are the roles of the “audience” and “performer” in installation art? We’ll draw examples from the works at SoundWalk, notably those produced this year by the panelists, among other pieces. The goal is to illuminate telling parallels and resonant dissonances between the various participants’ conception of matters of performance in sound art.”
–Marc Weidenbaum
Here is a blog post from Grand Central Art Center, along with a paragraph on the performance from CSUF Professor Joanna Roach:
“It is with great intention and little pretension that Yann Marussich chooses blue for his performance. In Bleu Remix, Marussich reclines motionless within his heated box, sometimes staring, sometimes with eyes closed, exuding blue. Steve Roden and Glenn Bach’s sound performance Friday night at the Grand Central Art Center was the aural partner to Marussich’s body. Roden and Bach’s sound activates us within the space of the gallery, moving with us around the clear box that contains the artist. But the sound, like the artist’s body, takes us to another place. I’m not sure where it is, but it’s an intense, yet deeply still dimension. I guess it’s a blue place…”
— Joanna Roach, 24 August 2012
Steve Roden and I will provide the live sound design for Bleu Remix, a performance by Yann Marrusich, Grand Central Art Center, 125 N. Broadway, Santa Ana, 7 PM, 24 August 2012.
Dispersal Patterns, a duo project with John Kannenberg, has been officially released from UK label Entr’acte, 30 July 2012.
Five tracks from Radia appeared on Framework Radio regular edition #384, as a broadcast on Resonance FM along with other stations in the UK and in Belgium, Slovenia, Portugal, and NYC, and as an archived podcast, 22 July 2012.
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