Spandril/Core of the Coalman/Exhibition Opening at Fuse Gallery in Bradford/Picture of Someone in a Blue Suit
This Saturday evening, March 28th join us at Fuse Art Space in sunny Bradford for an evening of solo performances by sound artists Spandril (Mark Hadman) and Core of the Coalman (Jorge Boehringer), and to celebrate the opening of the new exhibition in Fuse, Canvas.
The exhibition and concert are free, and everything starts at 8, but with a degree of elasticity. There will be a selection of delicious craft beers on sale, some from local Yorkshire breweries.
Encyclopedic information regarding the performances and the exhibition is to be found below the picture of the bear, however, expect wooden and handmade instruments, hoursehair, electronic circuits, sonic geology, negative space, patterns and interruptions, branching and vortex sheets. I hope it works this time.
5-7 Rawson Place, BD1 3QQ City of Bradford
Spandril / Core Of The Coalman
CONCERT / SATURDAY 28TH MARCH, 20:00 / FREE ENTRY
Spandril’s cyclic controlled chaos is created by one Mark Hadman, self appointed resident lab technician since April 2011 at the UK’s premier experimental loading bay, The Audacious Art Experiment. Complementing his immersive and minimally lit live sets, he’s chalked up two TAAE catalogue numbers with the release of ‘22/7’ (AUD021) on cassette in 2013 and more recently, the epic interstellar voyage of ‘Sagan’ (AUD029), recorded live at the label’s tenth birthday party. Using a mix of customised and handbuilt analogue machines gilded with handcoded digital manipulations, Sagan’s blackened zones of sonic encryption created an unforgettable night for those who were there.
“Perhaps 22/7 is the last thing I’m ever going to hear? I can’t quite identify why this tape makes me feel this way, but the silence that follows its conclusion feels eerily absolute; I’m left with the embers of the melody that has just mournfully dipped out of physical space, tracing the memory as it withers and fades, feeling as though the last sparks of the universe have just dimmed into dust. The mortality of these pieces was forewarned though, and the quiver of analogue capture is prominent – textures are coated in the coarse pockets of a deep and deathly erosion, with microdips in volume implanting the initial impact of a patient, mournful degeneration. 22/7 is a swan song for sound itself, crackling on the perimeter, delaying the onset of silence for just half an hour more.” (Jack Chuter, ATTN:MAGAZINE)
Jorge Boehringer is an composer, artist, musician, and researcher exploring large scale landscapes, microscopic layers of process and form and how they interact with perceptual experience. Utilizing a protean platform for experimentation and presentation, Boehringer creates performances, recordings, music, installations, texts, three-dimensional objects, and visual phenomena. Inspired by, and at times modeled after observed environmental processes and structures, Boehringer’s work offers an experience of reality presented as a textural field. “Multiple systems of events, appearing and disappearing, and evolving at their own rates…” is a phase Boehringer uses to describe both the material world and our experiences of it. Structures and processes which, when apprehended from diverse frames of reference or differing orders of magnitude, offer the experience of multiple states of complexity, creating the presence of the world before us. Through the use of immersive sound and visual environments, as well those small, silent, and/or singular, which are only noticeable through single points of focused perception, or which may be so tentative as to barely exist at all, an opportunity to explore shifts in one’s awareness is offered. Continuous sound of long duration, changing densities across time and space, repetition and layering, and on the other hand, chaotic aperiodicity are used by Boehringer to provoke a phenomenological ripple in the moment of experience of his works. Simplicity and complexity wink and one another, and trade places. Boehringer’s work involves a variety of materials and techniques to accompany them. Some of these materials are as immaterial as light or wind, some materials, like plants or sandstones, are involved in their own processes of growth or entropy. Boehringer is also known on occasion to make drawings of alien-cyborg bunny rabbits, sculptures out of tape and light bulbs, and write songs either about animals, or with mystical texts.
Boehringer’s solo project, Core of the Coalman(US/CZ), is at once an open sketchbook, and a collection of compositions perpetually in a state of evolution. Core of the Coalman can be characterized as continuity and discontinuity for viola, voice, and circuits on the border between order and chaos. Sonically diverse and at times explosive in texture, Core of the Coalman emphasizes the physicality of sound in its synesthetic relationships between ear, mind, and environment, with the aim of hearing oneself hearing.
since last month, I have stopped using the computer as often:
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