The most curious thing about this from a visual artist’s point of view is the fact that they have turned traditional VJ and music video culture on its head – rather than the visual artist creating content based on sound, they’ve taken a more soundtrack approach to the project.
The visual artist creates a 10 second loop, which the Onomatopoeia team turn into 30 seconds and THEN pass them on to a sound artist for the mini projects to be completed. The result? A quarterly webzine of 10-15 audiovisual collaborations and a lot of fun and inspiration.
They’e just launched their first edition (6th July) with a great mix of 12 artists’ collaborations. It’s really curious way to discover new visual and sound artists, and warning, it’s quite addictive. Maybe it’s just me, but I certainly can see and hear the difference of the sound being created after the visual… can you?
Here are my faves from this month’s edition:
Check out the first edition and let us know your thoughts, and get in touch with them if you’d like to participate and have some fun, whilst meeting new artists!
Join the community and see new episodes via the Instagram channel!
From the likes of Bertie Sampson, blinkinLAB, Bob Jaroc, DDL, Delta Process, Dr and Quinch, Enjoy Kaos, Fade In Fade Out, Greenaway & Greenaway, Joëlle, Koolik, L’Aubaine (check out the our interview with her) Lazershaft, Lazersonic, LEDS Akimbo, Limbic Cinema, Matt Lee Vs The Positronic Man, More Eyes, Primary Visual Cortex, Rebel Overlay, REM Visuals, WeAreMidnight.
“Taking the Gas Tower from the fields of the festival world into a groundbreaking new reality, Creative Giants are excited to be joining the team Shangri-La on their voyage of discovery to Lost Horizon, which redefines what a festival can be, creating ways for people to come together and experience music and art in a way we never would have previously imagined.”Simon Vaughan, Creative Giants
“We are thrilled to showcase some of the world’s leading VJs and visual artists in this way. The physical structure of The Gas Tower has been recreated in exact detail in virtual reality, allowing viewers to look around in full 360 degrees to fully immerse themselves in beautiful visuals. We are proud to be leading the way into the digital domain, presenting ground-breaking artists with innovative and mind blowing visuals as part of this ambitious new form of live experience.”Pete Thornton, More Eyes
Light based minimalistic blade-runner-esque visuals that will make you feel retro futuristic, with everything from lasers to LED totems and 3D structures in the portfolio bag, all with a dash of Resolume control.
No messing about, this studio based in London have done whopping great visual productions for the likes of Coachella, Boomtown and The Human League (for those of you who are old enough to know who they are).
Interesting looking 3D abstract visuals that look like candy cane, sweet enough to hang off your Christmas tree. If you’re into 3D animation, mapping, photogrammetry, and art in general then Enjoy the Kaos should definitely be an audiovisual show on your AV hit-list.
Immersive tour visuals for Adam Beyer, and for Booka Shade, what’s not to inspire any keen audiovisual festival goer? Primarily focused on content creation, blinkinLAB is a motion graphics design studio based in London.
Their portfolio of work includes tour visual content creation, motion graphic design, music video, tv commercials, idents and title sequences, as well as live audiovisual performance, vj-ing and projection mapping installations.
The post LOST HORIZON FESTIVAL – GAS TOWER: 3 – 4th July, Online appeared first on Audiovisualcity.
Memo Akten describes himself as:
“an artist and researcher from Istanbul, Turkey. He works with emerging technologies as both a medium and subject matter, investigating their impact on society and culture – with a specific interest in the collisions between nature, science, technology, ethics, ritual and religion.”
His work goes much further your average visual artist, as he specialises in Artificial Intelligence, works with algorithms and large-scale responsive installations with image, sound and light. In AV culture’s layman terms he’s an audiovisual jack-of-all-trades and a true techy, oh and he’s studying for a PhD in AI as if that wasn’t enough. Here you can see a selection of his work in the very accurately named video, ‘Selection of work in 3 minutes’ (2017).
Akten received the Prix Ars Electronica Golden Nica – the most prestigious award in Media Art – for his work ‘Forms’ in 2013. He has exhibited and performed internationally at exhibitions including The Grand Palais’s “Artistes & Robots” in 2018 (Paris FR), The Barbican’s “More than human” in 2017 (London UK) and the Victoria & Albert Museum’s landmark “Decode” exhibition in 2009 (London UK). He has shown work at venues such as the Moscow Museum of Modern Art (Moscow RU), Shanghai Ming Contemporary Art Museum (Shanghai CN), Mori Art Museum (Tokyo JP), Royal Opera House (London UK), Lisbon Architecture Triennale (Lisbon PT), Itaú Cultural (Sao Paulo BR) and many others.
He has collaborated with celebrities such as Lenny Kravitz, U2, Depeche Mode and Professor Richard Dawkins, and brands including Google, Twitter, Deutsche Bank, Coca Cola and Sony PlayStation. Akten’s work is in numerous public and private collections around the world.
Alongside his practice, Akten is currently working towards a PhD at Goldsmiths University of London in artificial intelligence and expressive human-machine interaction, to deepen collaborative creativity between humans and machines and augment human creative expression. Fascinated by trying to understand the world and human nature, he draws inspiration from fields such as physics, molecular & evolutionary biology, ecology, abiogenesis, neuroscience, anthropology, sociology and philosophy.
Memo hasn’t just emerged on the scene by any means. In 2007 Akten founded The Mega Super Awesome Visuals Company (MSA Visuals), an art and tech creative studio. For some of those who have been following audiovisual culture since before even Audiovisual City was born, then they’ll recognise the name Marshmallow Laser Feast (MLF) – the evolution of MSA Visuals in 2011. In more recent years and a lot of success, Akten is now focusing on his own work and research, though his contribution to audiovisual culture and performance, must not go unmentioned. I strongly recommend that you explore his exceptionally wide and varied body of artwork and scientific investigations, as it takes you on a socia cultural journey that goes beyond audiovisual art.BUY US A COFFEE?
She has performed live VJ sets, for example at Mira Festival, and has also been known to dabble in sound for her digital art pieces (see the ‘Visitor’ project below).
In her more recent work, she took her fantasy world to a physical space in the form of an installation at Galeria Melissa in New York City for her project ‘Paradise’. You can hear her talk about the whole project here.
Her latest project can be found on Vimeo (below).BUY US A COFFEE?
Time in quarantine seems to have developed into a huge focus on creative minds, with more online festivals and artistic projects than you can shake a stick at. At Audiovisual City, we’ve been taking advantage of the time to network with artists and discover more projects than ever. We got in touch with Miguel and Rodrigo AKA Boris Chimp 504 through the audiovisual network #supportvisualists, and were particularly keen to learn more about their experiences, experimentations and creations during the quarantine so far…
1. You guys are based in Portugal. How is the situation there at the moment and how have you been affected professionally, as audiovisual artists?
We had some shows and projects cancelled or postponed, not only with Boris Chimp 504 as with other parallel projects. In the case of Boris Chimp 504 we started presenting a new AV Show – Vanishing Quasars – last September and had some nice shows in the end of 2019 Electro Alternative (Toulouse), Fotonica (Roma), Criatek (Aveiro), 948 Merkatua (Pamplona) and we were hoping to tour the show around in 2020. But now with these situation, everything is on standby, and we are unsure about when we’ll be able to get back on stage.
R: In my particular case I also teach at the university (and are running the classes on videoconference), so I am able to have a fixed income. But many Portuguese artists/technicians/AV/…. who work as freelancers or project based in the cultural, events, music and AV scene are struggling as everything has stopped right now, and many are left with zero income for an unpredictable amount of time.
M: Luckily I have some savings (ah ah) and the government gives some financial help to “independent workers” [autónomos in Spanish] but I’m still working (at a much lower rhythm) on projects that hopefully will happen when this situation ends.
2. As an audiovisual collective, you usually collaborate together in a physical space. How has your way of working changed in the current situation?
In our case, our way of working has not changed much, as we live in different cities (Porto, Faro). So working remotely is our normal way of working: making video calls, changing emails with ideas, sending audio/video files back and forth, etc… The project started when we were both living in Barcelona, and then we were working in the same physical space and developed some nice working and communication skills between us. When eventually we came back to our hometowns, we managed to change that on a virtual basis, although we frequently travel between Faro and Porto, and also so every time we have any kind of presentation we use that time fully for rehearsing, test stuff, etc… Right now it looks like we won’t be travelling soon, so this gives us more time to work on audiovisual content, than when we are touring.
3. What things have you learned as a result of the quarantine and what would be your message to other AV artists around the world about how to manage the situation in order to prepare for the future?
R: In the beginning I thought that I would be super-productive during these days, and spend days coding and creating visuals, learning new stuff, but in fact it is super difficult to concentrate, as I am constantly checking the Covid19-news social media etc. So my artistic productivity is really low. Also I ended spending even more time in front of the computer, which is not good, as after some hours I start to get dizzy, tired and without patience to create anything. On the other hand I have been really enjoying cooking, speeding time in the kitchen and try new dishes (maybe because I am not looking at screens.). So my advices would be: low your productivity expectations, avoid check the news all the time (maybe only 1 time a day to keep track of the situation). And manage your screen time, avoid spend all day in front of the computer.
M: In my case I have a small toddler home to keep me busy, so soon I realised it would be much more difficult to work (at home) than before. After accepting the facts, I work with a different pace now, enjoy time with my family and try to watch the minimum news possible about Covid-19. I’m still aware and not disconnected of all around but I think it’s wise to try to keep a “safety distance” from getting overwhelmed. I would say that more than trying this moment to work more (and get stressed about it), maybe this is a time to slow down and accept it. Sooner or later we’ll all gonna go back to crazy schedules so we better enjoy while we can.
To find out more about Boris Chimp 504, see their artist page
Boris Chimp 504 – Miguel Neto (Sound) and Rodrigo Carvalho (Visuals & Interactive Systems) – tells the tale of Boris 504, a chimpanzee sent to the moon by the soviets in 1969 getting stuck in space forever. Since then he has been exploring the space-time continuum, jumping between several dimensions of the universe. With this starting point, Miguel & Rodrigo have been exploring the relation between sound & image since 2010 mixing techno, psychedelia and noise, along with audio-reactive visuals generated in real time, creating an immersive voyage strongly influenced by science fiction, interspersing with the most current scientific discoveries and merging reality and fiction into a narrative of its own.
Boris Chimp 504 has presented both av performance & interactive installations on festivals such as Sonar (Barcelona), Mutek.Es (Barcelona), ADAF (Athens), BAM (Liège), ECHO (Dubai), Stereolux (Nantes), Iminente (Lisbon) among many others.
Feature image and hero image photo credit: Ariel Martini, for Sònar 2017
These days AV artists are hiding out all over the place, this time curiosity didn’t kill the cat, as I stumbled upon the work of Cinema.AV on Instagram. it’s amazing where a hashtag can take you… #videosynth. I was keen to find out how someone so visually analog ends up that way, and how they manage in an ever expanding digital world (at the time of writing more so than ever).
1.Tell us about your first ever live gig? When was it and how did it go?
For years, I used to play a kind of ambient, soundscape style of music, and for live performance, I would put whatever found vhs tape behind me for visuals. Often without a screen. It often just turned into lighting for my performance, instead of clearcut visuals.
Fast-forward to a couple years later, in summer 2015, where I started buying jvc video mixers, archer and vidicraft boxes. It was here where I took it upon myself to do visuals for a show I had booked. Sadly, I didn’t realize, the projector couldn’t handle the distorted signals I was throwing at it. Luckily though, someone at the last moment, let me borrow theirs. It was total godsend. The result was this hyper-distorted cross between national geographic videotapes. It worked for the more abstract, psychedelia I had booked for the evening,
Later down the line, I found the need for time base correctors in live performance, and mixers equipped with such. To evenly blend, rather an abruptly with one of those RCA Y splitter cables turned on end. Which is actually the same as the classic Klomp dirty mixer. It was all stuff I got for free, or nearly no money. Never top of the line. Always the most difficult, least practical solutions. But the result was always unique to the moment, to the performance; endlessly fleeting.
2.We discovered your work on Instagram. How do you usually connect with the AV community online? Does social media play a big role for you?
Strangely, yeah. I hardly ever go out locally, unless of course I’m playing a show. So beyond that setting, you’ll never find me in the wild. Even before this quarantine action, I was a total homebody. Staying in whenever possible to work on art and infinitely explore the machines. So having access to social media platforms is actually key to the whole system. I can actively gauge what pieces people actually like, what ideas stick and in turn, get shared with a larger audience.
Its those posts that snowball into bigger and better gigs. As the recognition on a global scale is significantly more gratifying than just the local efforts I receive so often. In fact, for the better part of 2019, I was very busy with live video work. Having nearly no time off, I accepted this as a lifestyle, rather than just hobby. And in the social media zone, I’ve been able to publicly beta-test things like the Erogenous Tones Structure module, Phil Baljeu’s custom vector graphics system and as of late Andrei Jay’s latest raspberry pi video synth and feedback algorithms as hardware devices. The curiosity the results generated have in turn, sold modules and made the manufactures money to sustain their efforts.
…having access to social media platforms is actually key to the whole system. I can actively gauge what pieces people actually like, what ideas stick and in turn, get shared with a larger audience.
To be fair though, I’m not sure how much of this actually real. If it’s all made up, or the reactions are fabricated. It’s a fine silver-lining we’re all walking along. One day, a post could generate hundreds of interactions, while the next day, nothing. I think alot of that could actually be the option for folks to drift between realities, between the physical and the cyberspace. It’s in this cyberspace, that I do often connect with other artists, say for example my bud Konopka and has online video painting series. To watch him create something entirely from scratch, in real time, thousands of miles away is a true head-spin if you think about it. But not even 5 years ago would have been possible.
3. It’s fascinating to how analog and digital worlds inspire AV artists. What’s your take on the two and how do you find working with analog systems for live visuals?
Truly. When I first got started, it was all analog, all found devices. Though in time, I’ve found the whole LZX modular zone, which started analog and now has drifted into this wild digital hardware dimension that has opened up all kinds doors. The obvious attraction to the large analog modular is the physicality and pure intuitive nature of the whole thing. As in a live setting, there is nothing more fun and unpredictable than a hand-wired mess of cables and devices to create this ever-fleeting dialogue, never again to be replicated. For ambient, for house, for techno and literally everything in between, there’s this infinite body that just works, and often never crashes or fails.
If anything, it’s always the digital component that freezes or fails first. I’ve done shows with computer artists that for some reason or another, who just can’t make it work that particular night.
If anything, it’s always the digital component that freezes or fails first. I’ve done shows with computer artists that for some reason or another, who just can’t make it work that particular night. So just step in and end up taking over the evening with my system. However, I’ve had my fair share of venues tell me their systems are HDMI only. So learned to convert the analog composite outputs of the modular to the HDMI with aid of things like Ambery converters and scalers, Extron scalers, and even the silly Blackmagic shuttle, that has it’s own share of issues. It wasn’t until last summer that I realized the Roland V4-EX had a very effective means of conversion and scaling to HDMI, VGA, and back down again. The result was a total game-changer. So I sold my other mixers, and devices to scale up to HDMI and hadn’t looked back. This meant I could seamlessly work with digital projection systems and streaming processes. And from the get-go, it’s been used in every performance effort since. It’s even let me collaborate with both digital and analog artists alike. To fade and key between all manner of artists and ideas.
So little things like that make the whole system go, which leads me into the question…
4.What’s your basic setup when do performance live AV shows? (If you have one)
I am constantly pushing myself as an artist. So every year or so, I’ll experience this major creative shift around winter time, when my job at the photo lab temporarily shutters for winter break on campus. It is is then where I have about a month to chill and regroup my mind. This generally means some new gear enters the studio, and in turn the dirty warehouses they get thrown into for live work.
In 2019, I saw my modular system grow from a single 6U, two row case that could fly on any airline, to a larger 12U, four row system, that for the majority, made it’s way into every gig. In tandem with the V4-EX, the two were all I needed to do 8-10 hours of a rave whatever else I was getting booked for. However, the few time I flew out for one-offs, I brought it back down to 6U. Which was a lot of fun and lent itself to collaboration with other artists. It was in this time though, away from gigs and rather chill moments at the lab, where I began to experiment with the virtual dimension of VSynth, the Max/Msp visual extension. The result was very reminiscent of my larger modular system. Though at the time, my computer could only handle small patches. Anything big would see my computer begin to overheat and grind to a halt.
This got me looking at computers, seriously. As a video generation and manipulation tool, much in the same way the dedicated hardware was, but a larger, more sophisticated, and recallable level. It was months of research and a very generous donation within the family that lead me onto a gaming-oriented laptop, complete with a dedicated graphics card, that in it’s day was considered high-spec, and miles beyond my aging macbook. From the moment I lifted open the box and got it booted, I went straight into complex Max patches and dense 3D structures with the aid of Resolume Arena. When I realized I could save, and recall every motion, I started plotting how to gig with it. To layer to pieces together and to treat Resolume as a video sampler of my analog devices. What began to happen was a meshing of dimensions. No longer was one any better than the other. They were one of the same. It was with this entry that live performance physically became less stressful and far more manageable. No longer did have to carry this unwieldy modular system on a train or a bus. I could now discreetly carry the common laptop computer, just as everyone else.
Setting up and breaking down, with the projector, is a two cable, two power supply motion. So quick and so light. With the aid of a midi controller, all the tactility remains, and nothing changes. The digital results do look incredible though. I cannot deny that. No matter what I have though, I make the best of all of it. For touring, in 2020, my setup is just that. I did some dates with Steve Hauschildt and Telefon Tel Aviv across Texas and the process was so smooth. Same for the brief efforts with LLORA and BATHHOUSE, just weeks ago. So much less to think about, all with the same manipulations and motions.
5. What would be your dream AV gig?
Currently speaking, the dream is still to tour, to travel and do large scale art installations with my video work. I had things lined up, but those have all fallen in favor of the current pandemic. But that’s honestly not going to hold anyone for long. These things will all still happen, just not soon as I had anticipated. I was truthfully hoping to break into the festival dimension; Mutek, Movement, Sonar, Aurora, as from a live scale, that feels like the next big move, amidst touring through the theaters and dedicated art spaces. I’ve had tastes of all those, but like anyone serious about their craft, I want to further and really make a name for myself, as truly, I don’t know what else to do.
Find out more about Cinema.AV on his artist page
The post We pick the brains of Cinema.AV on his beautiful video synth work appeared first on Audiovisualcity.
Evan Henry, from Dallas, Texas, is a truly multidisciplinary AV artist, who primarily works visually under the artistic name Cinema AV, but who is also known to write ambient music scores with both analog and digital synthesizers. His work embraces both analog and digital set ups, with his main interest visually representing sound.
What began as a love of photography, cinema and found footage grew into something much greater when in 2015, Evan was introduced to video circuit-bending and once-obsolete video electronics. Using these pieces in a live performance setting was always his goal, and from the get-go, tachyons boxes, vcrs, and video mixers turned into buying used Gieskes 3trinsrgb+1c standalone video synthesizer, building its expanders and just over a year later, the LZX cadet and castle line of DIY eurorack modules.
From there, video art went from beyond a hobby, to a complete way of life. Reliant on live performance, he plays at gigs relentlessly for both local, and touring artists alike. In 2018, he joined Ghostly Intl.’s Steve Hauschildt on a tour through the East Coast and Canada. He became the resident visual artist for Proton Limited in Dallas, Texas in 2019. These motions set the stage for a constantly evolving motion in the live visual dimension.
Cinema AV’s work extends itself to instant and 35mm film renderings and has appeared in galleries and pop-up’s throughout North Texas. But when not playing live, or coordinating visuals for Dallas Ambient Music Nights, Evan is occasionally writing or building a set of modules for fellow artists.
The result is an infinitely growing body of work, that in the last few years has expanded itself into largely digital dimensions in Resolume Arena and Max/Msp.
I have been exceptionally lucky to be able to pick Overlap’s Michael Denton’s brains with all of those nitty gritty questions about their career that every visual artist wonders about. How did they get to be where they are? What was the VJ scene like in the nineties? How is their relationship with technology and whose work inspires them?
Overlap are true veterans and represent original artists on the audiovisual live performance scene, not only have they experienced more changes in performance technology than I’ve had hot dinners, they’ve been up there with some of the most popular artists of our time, performing with the likes of Chemical Brothers and have animated artwork by Damien Hirst.
You have presented your work in some of the most prestigious international galleries around the world, including the Pompidou in Paris, Tate Modern, and the Victoria and Albert Museum as well as done a VJ set with the Chemical Brothers. What is the project that you are most proud of?
Remixing and VJing The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art was a highlight.
We’re pleased with the editions on SeditionArt. They incorporate a lot of ideas from the past and are also feeding into some future shows. Musically, Greylight Green is something that works when you’re in the right mood. As these recent editions highlight, we’ve always been at the more arty end of the Vjing/music industry, and the more musical end of the art world. The music industry and the fine art worlds attribute value in such different ways. But twenty years ago, we were lucky to stumble into a certain era of EDM culture, it was like the early days of flying’s uncharted freedoms. In Turnmills nightclub in Holborn, I remember one of the guys from Reality Check, (the house VJ and AV team, for nights, including The Gallery and Trade etc), saying they showed art to thousands of clubbers every week – and they did. Hopefully for an audience the circling and repeating imagery of VJ-ing done well can create a kind of memory image burn effect – they go home with a ‘memory painting’
Fine art galleries and big projects have not necessarily been the most rewarding – the really interesting moment for us was being at clubs and festivals with a large amount of freedom, developing a style of imagery and delivery without record companies and DJ Managers controlling what we did. It was genuinely creative and new, yet fulfilling a need. This for any artist is a luxury.
Early on we’d be flown out to Creamfields in Andalucia with Microchunk, or wherever, and literally be immediately on stage with a 50k audience and the DJ, no pre planning or rehearsing, ” 5 mins guys”, maybe an artist logo at the beginning, then mix.
As Overlap you have experimented with the majority of the audiovisual art formats. Is there one in particular that you enjoy?
Long VJ sets are a nice journey, in medium sized venues with a few different feeds going into multiple screens and low lighting. AV sets are always a bit more stressy – as doing the visual/music/sound for maybe 40 mins, feels more contrived/pre planned and edgy. Multi screens can make things a lot more architectural/sculptural, with 3d projections on objects etc, and simpler more graphic imagery. So a mixture of graphic and more pictorial screens is a nice balance. Again we tend towards a more art bias, whereas a lot of club imagery is a fairly bombastic extension of the lighting show – think rising chevrons. Equally a very simple installation/projection on a gallery wall can be really satisfying. For AV sets, good acoustics and smaller venues suit the minimal music we make.
I’m sure you have collaborated and met with many of the world’s most famous audiovisual and new media artists on the scene. Who particularly inspires you?
Loads of things inspire me, from motorcycling to design and architecture. More recently though works/gigs by Ryoichi Kurokawa, Fuse, some of the things AntiVJ have done, Davide Quayola. Nils Frahm, Biosphere, through to more obscure music form France Jobin to gallery based artist like Mat Collishaw. But also painters like Nigel Cooke, with his circuitous multi picture planes that create a pictorial balance that your eye follows round and around – comparable to good VJ mixing. We were lucky to be part of a talented group of VJs represented by Microchunk in our VJing hey day – unique underground artists. I think we all inspired and motivated each other to push further artistically. Lady Pat and Grand Dame are two of Anna’s favourite, similarly self taught, audiovisual artists.
The art of VJing is a relatively new term for the art of live video mixing. When did you first become aware of the term and how has it changed for you over the years?
Firstly it was the definitive move away from the pop video, which had been: point camera at people singing the song, illustrate/narrative/advertise – ie. TV. So the culture of EDM remixing, had the authority to legitimize its visual equivalent and create the context for VJing. It’s a term I’m not overly fond of, but it does put you on the stage side of technician, ie you make and shape content – not to demean the amazing art, that is light mixing, house sound, etc. VJ content is a form of visual serialism, like music about patterns, removing the asymmetry of drama, its infinitely more complex in its potential multi layer/screen applications than linear media, maybe more so than music.
When I was at Chelsea art school, there was Glitch (first time around, VHS crash editing, late 80’s), video artist lecturers talked derogatorily of ‘club wallpaper’,meaning all things shallow. But I was interested in this form, that had a use and the public liked – unlike so much video art of the era.
The first time I got paid to show images in a bar – also in Holborn, was in 1985. The fee, one bottle of wine.
The first time I thought about something like VJing was as a very young kid, around the time the Beatles released The White album, in the back of my dad’s car one evening, driving along country roads in Dorset and thinking about ‘films’ that would be like the trees sliding past the windows. Non narrative loop structures – I certainly didn’t know what narrative meant at the time, but I did have this strange certainty of there being a future for this sensory/sensual idea. The first time I got paid to show images in a bar – also in Holborn, was in 1985. The fee, one bottle of wine. Then I showed an AV Album work called Open at Megatripolis, Heaven, Charing Cross around 1994. I met Anna in the late nineties we got invited to do stuff at the ICA and bars in Shoreditch etc. We formed Overlap and she learned a lot of the Adobe programmes very fast and we started to get paid to VJ, both loving the visual depth, luminosity and surprises that multilayering and keying threw up.
How would you define the difference between an AV set and a VJ set? Could you describe one of your set ups to us?
People I know who travel the world for major DJ acts are operating in a different world from small AV acts. There’s’ a big difference between doing multi screen VJing, with pre programmed triggered clips via midi, osc etc and mixing live on the fly, by feel. Ben Francis who does visuals for Calvin Harris, for example is taking code with BPM info etc, from the CDJ’s, but is also live mixing. Keeping the audio and imagery separate still seems to be an industry standard. The music driving the imagery, which makes sense in some ways, but is also strangely anachronistic. When we do an AV set we have married imagery to 8 bar loops, some elements are locked with time code if we’re using a separate music source, CDJ’s etc and some not, to make it more organic. Most AV performers drive Resolume with Ableton or code, or at least lock them. Unusually, we use Resolume a lot for sound.
AV shows can be done in so many ways. In the end it seems the content and the feel of what you’re doing is probably more important than how you’re doing it. How much do you want to do live – how much does the audience care how dexterous you are? DJ’s spend a lot of time dramatically illustrating that they’re turning a mixer knob, that appears to have the equivalent friction of pulling a ship back up a launching ramp, they haven’t got anything else visually to do. Where as, if you’re doing a multi 4 Bar loop AV set, five layers deep and you’re triggering them live, you’re busy with no time for the high friction mixer antics.
Recently we’ve been using performance tools like Resolume to create on as well as a performance tool. I tend to pick it up like a guitar and mess around, sometimes its a really useful ‘writing’ instrument too.
As a Barcelona resident, I can’t help but notice that you once had regular visual slots at Razzmatazz. Tell me more about that! How was the VJ scene in Barcelona back then? How is the scene in the UK these days?
This was VJ-ing with visual specialists/agency Microchunk , who were represented by William Morris, which meant we were well looked after. There was a core group of artists including Lady Pat, Mischa Ying, Ben Francis, Muthabored, Todd Graft and ourselves and we were lucky to perform and make installations everywhere from Norway’sHove festival, to Glastonbury. In Barcelona, we’d perform two nights, mainly at The Loft, Friday and Saturday from around 11pm till 6.30 in the morning, sometimes just Anna and I, but often other VJ’s. The local VJs were very gracious about us filling their slots. It was always full on at Razzmatazz, a really intense atmosphere. The club was always packed.We’re not really involved with the UK club scene at the moment, but friends who work for major acts seem to be far more controlled by a corporate plan.
You have both lived through a plethora of technological developments throughout your careers, starting with the use of VHS in your installations. What is your relationship with technology? Is it one of love and hate or it is a match made in heaven?
Anna and I are different generations – before I met Anna, I spent a lot of time blagging my way into analogue beta edit suites in Soho to make material – it was tricky, but looking back people were incredibly kind and helped me realise effecting footage shot on motorcycle trips with a clockwork Bolex. Anna and I started at the point of very low resolution VJ software – so we used hybrid mixtures of micro chapter DVD loops and Flash loops mixed with V4’s. I like the things that technology makes possible, but get frustrated with the art world tendency to think if you ‘paint ‘ with technology, that you should necessarily be using the very latest tech and trend. I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary. Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.
I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary. Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.
I notice that landscapes have been a recurring theme in your work, right up to your most recent project of Transitional Landscapes. What is it about landscapes as a subject that inspires you?
We all project memories and feelings onto our immediate surroundings. Landscape is a good genre to play with the relationship between still and moving imagery, the romantic v the analytical, the unveiling of narrative contrasted by the implicit ambiguities of painting (movies v fine art).
Mixing trees from around the world is strangely satisfying, they’re overlaying branches having a legitimacy. English copses with New World deserts keyed through wallpaper and fabric’s repeated motifs reference Richard Dadd’s The Fairy Feller’s Master-Stroke’s, heightened stillness, petrified trees and flattened nature, more tapestry than living environment. Then we can add other man made impositions, ghosts of utilities, power lines, imagined data paths, architectural plans, wiring diagrams and intimate blinking status LEDs. It seems to suite a first person view, apart from narrative.
What would be your advice be to young audiovisual enthusiasts who are keen to develop their careers in the industry?
Like the fine art world there are so many different strands of audiovisual arts. It will keep changing, entertainment will morph. How and what ‘artists’ do v creatives and ‘technicians’ etc is complicated. The EDM model was that music was the most important element – but now with performance more of an earner than record sales – maybe the creatives/technicians/, (not the artists) are the main act. To further confuse it all, AV is crossing over with fine art and stage design etc. So maybe listen to everyone and ignore them all.
Find out more about Overlap on their artist page
Born in the heart of the VJ boom in the 90s, after their own artistic experimentation, and Michael’s first ever (what we would call now) VJ gig in 1985, Michael Denton and Anna McCrickard formed Overlap in 1998. They are based in Hastings in the UK. Unlike some VJs, who purely focus on the visual side of the art form, Overlap are a an AV collaborative duo in the purest sense of the concept, who also produce minimalist music in parallel with their exploration of both moving and still image. They’ve also performed at many a festival, forming part of a collective of VJs represented by Microchunk.
Their work takes the form of live audiovisual performances, exhibitions, transitional paintings, installations, VJ sets and even prints, and takes on audiovisual culture from a fine art perspective, which makes their work both fascinating and unique in a wide variety of different contexts.
Overlap started VJ-ing and performing AV sets as regular guests of resident VJs Reality Check at Turnmill’s club (The Gallery, London Calling) in 1998, guesting with Reality Check at The Chemical Brothers’ headline set at Turnmill’s Millenium gig in London’s Docklands. The next decade saw Overlap’s visuals splashed across screens at major international festivals including Creamfields, Andalucia, Electric Picnic Ireland, Glastonbury’s Glade stage, Pete Tong’s Wonderland in Ibiza and Glastonbury’s Glade, as part of the Microchunk visuals boutique. They created visuals for for the Industrial Resolution installation at the first Manchester International Festival: performed live on the largest indoor screen in Europe, accompanying the world’s leading DJs including Carl Cox, Fatboy Slim, Laurent Garnier, Layo, Pete Tong and Sasha. Overlap also played regular VJ slots at Razzmatazz (Loft), Barcelona and Pete Tong’s Wonderland, Eden, Ibiza (Deadmau5, Groove Armada). Overlap were commissioned by Microchunk to animate Damien Hirst artwork for Pete Tong’s Ushuaia at Le Grand Bazaar, Ibiza in 2013.
Overlap also work with the Noise of Art collective as resident VJ-s and moving image artists. Their fine art single screen video works have been screened at the ICA, BFI and Tate Modern. Recent projects include:- a celebration of 100 Years of Electronic Music at the National Portrait Gallery London; Forest Tree limited edition for Sedition Art; audiovisual “painting” installations for the National Trust’s Fenton House and Calke Abbey; opening the Arquiteturas Film Festival in Lisbon with their Places that Dance AV set; short films “Returning” and “Switch” awarded special mentions at the Avanca and EMAF film festivals; an audiovisual performance in the British Ambassador’s Residence in Beijing. Recent art screenings/performances of their works have included Aquatint at Riders on the Mall/ROM, MUSZI, Budapest and Digital Graffiti, Florida, Forest Tree at STRP Biennale at Strijp S in Eindhoven and Cloud Edged at Light Fantastic, House of Nobleman, Frieze.
Perhaps one of the most poignant aspects of their audiovisual artwork is its accessibility and ability to be embraced and engaging in such an extensive mixture of spaces, including performances and installations everywhere from music festivals (Creamfields, Splice festival, Madatac, Fiber, Generate, Big Chill, STRP Biennale); and night clubs (Razzamatazz, Barcelona, Wonderland – Eden, Ibiza), to prestigious galleries (Tate Modern, Pompidou, National Portrait Gallery, the Victoria and Albert Museum), as well as being featured in some important publications on VJ culture, such as Audio – Visual Art and VJ Culture (2006) They even remixed and VJed The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art at London’s BFI.
Their working process involves adding and removing layers, degrees of opportunism and systematised chance, creating generative combinations ranging from slow transitional paintings, to fast flowing AV performances.
Their most recent work includes Transitional Landscape, designed for exhibition and art installation, ‘Rooms’, which explores the relationship between indoors and outdoors, combining and fusing luscious wallpaper motifs with beautiful organic landscape scenes. It juxtaposes man-made life with that of the wonders of the natural world.
Find out more about their work here:
Next edition expected September.
Light Move Festival is now in its 10th year in Łódź, Poland. It started back in 2010 with the idea of changing the way the city of Łódź is viewed, but painting its buildings with colourful light. Now it is a well-developed festival of light putting Poland on the map, which includes installations, projections, spatial light shows, 2D/3D mapping, and conferences.
Light.Move.Festival. combines sound, color, light and movement. In 9th edition in 2019 it developed into an international, anticipated event with a recognizable brand promoting Łódź as an innovative, multicultural, friendly and open city. Its ever-growing popularity contributes to the formation of a positive image of the city and gives reason to visit Łódź in late autumn, outside the tourist season. In 2019 alone, the festival gathered 850,000 guests, and all its previous editions – over 4 million!
On Instagram, #lightmovefestival, has an impressive rate of publication, where you can really see the success of the festival and its colourful installations and 3D mapping of buildings.
For more information:
Madrid, 16th April – 3rd May, 2020
Madatac is a new media art, video art and audiovisual technology focused festival based in Madrid, Spain. It’s a veteran in the industry, celebrating it’s 10th year this year. The 2020 edition MadatacX will be celebrated 16th April – 3rd May and will include AV performances from the likes of Kenta Nakagawa, Franck Vigroux & Antoine Schmitt and the great Ryoji Ikeda.
Rather than following the common one price for all festival format, events take place over a longer period of time with various viewings and performances spread in nice little doses, great for busy audiences who are only able to attend a little at a time.
With an open philosophy, framed within a universalist, pedagogical and free access commitment, which places special emphasis on the innovation, originality, risk and poetics of audiovisual projects focused on the experimental art of new media, it has the aim to serve as a real, virtual and itinerant laboratory where artists can present their latest creations.
Eufònic is a sound, visual and digital-performing arts festival held in Sant Carles de la Ràpita about an hour South of Barcelona. As an extension of this annual festival, Eufònic Urbà, provides a city-based version of the festival, which sees exhibitions and installations at the Arts Santa Mònica, right in the very heart of Barcelona. Eufònic experiences can be found in, and not limited to; museum spaces, sound actions, activities for the family audience, and concerts in unique spaces.
This year, we will have the pleasure to explore the urban festival for an entire month – leaving us with no excuse for not absorbing some audiovisual culture this winter. From February 1 to 29, 2020, we can expect to enjoy artistic presentations, audiovisual performances and experimental proposals some of which have already been presented at the summer version of the festival on the mediterranean coast, as well as some new exclusive features, as well as presentation of the creative residences.
The festival is organised in two different phases.
The most punctual of the two being 7th–8th February with more one-off performances and timed events, such as AV performances and project presentations, with artists such as NSDOS, Sam Aaron, Balfa, Clara Brea, dvdv, William Luke Valerio, Jordi Salvadó and Tim Cowlishaw & Jakub Fiala.
“where the human presence is diluted in the responsibility of being cause or effect”
The longer duration part of the festival offerings involves Tonalitats afectives (Affective Tones in Catalan), an exhibition on the 2nd floor of Arts Santa Mònica, on Las Ramblas. It can be visited for a month (until February 29) and entrance is completely free. It focuses on the visions of six artists linked to the liquid gesture, the indeterminate process and involuntary creative will as tools of work and processes of reflection. Amongst the huge variety of installations, you will be able to find everything from changes in subject matter, algorithmic creations, and neobiological worlds, creating a discourse about a variety of scientific observations, such as memory of space and context, and objectivity and physicality.
Work includes projects by artists such as Navid Navab and Michael Montanaro, Kathy Hinde, Óscar de la Fuente, Sofia Crespo, Marc Vilanova and Raquel Meyers).
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After seeing Shoeg’s project Infiltrate at LEV Matadero, we decided to catch up with him in Barcelona to find out more about his work, and to try and decipher the fascinating performance we saw that intrigued us to discover what technologies he uses to create his live AV shows.
Primarily I understand, you would consider yourself to be a musician, am I right? Or how would you label yourself? When did you decide to experiment with the A/V side of your show?
In the last years I’ve changed that way of seeing myself, so I would say I’m an artist. It’s not only sound anymore, I feel really that I am trying to express myself also through my code, my visual stuff, even my movements. I’m also collaborating with dance companies, where it is quite important to know how you move on stage, and this made me aware of that. So, for example I try to play without the table and computer blocking the visual line to the audience. I have also changed my relationship with sound, focusing more on textured layers instead of pitch.
I started as a “musician”, but my visual side has been always there. I’ve been working for 15 years as a video editor, and I always had this fascination about image and sound synchronicity and feedback.
Have you created the visual part of the show yourself or collaborated with a visual artist? (If so, who and why?) If not, tell us about how you developed the project and any challenges you faced in dealing with both elements of the performance.
I almost always create my own stuff. I’m not closed to collaborating with other people, but I tried to involve other artists in the past and for a reason it almost never happened, except for when I worked at the very beginning on the project with Ana Drucker, but after that I spent 2-3 years without a visual show, and I was really missing it. At some point, I wanted it back and I decided I had to refresh my coding knowledge to achieve what I wanted. I studied Computer Science for a couple of years, so at least I had a starting point – more or less.
I wanted to build a real time reactive visual system, that could be completely autonomous in a live set. The idea was to set up a bunch of rules, and do something sound reactive that could last 45 minutes in a live set without getting boring. So first challenge in this process was choosing which tools suited my needs the better. I tried, for example, Open Frameworks, which was a bit too complicated for my coding skills. Later, I knew about game engines like Unreal or Unity, which are free and you can do a lot of things scripting, easier to code. It’s also great to have this good amount of documentation and works done by other people online. I’m curious now about what Touch Designer can do, but for the moment Unity allows me to have a precise control of what I need.
On the other hand, I wanted to work with objects from the real world in 3D aesthetics. I could model them with Blender, but I have no idea. So I learned some 3D techniques, like photogrammetry or 3D scanning. I remember wanting something more “perfect”, but discovered almost by accident the beautiful imperfections this techniques introduce in the models.
We recently saw your performance of your latest project ‘Infiltrate’ at LEV Matadero. What tools and set up are you using for the show?
All the sound was generated using a couple of Etee sensors that the guys at Tangi0 lent me for a couple of months. These devices capture my hand and finger motion, as well as pressure data, and that is converted into MIDI signal through a Max MSP patch. Finally, MIDI is sent to the Virus and Digitakt. I had to bring hardware synths to the live sets, because I need a lot of polyphony to build these big layers of sound, and I couldn’t achieve it in virtual synths. Then, the visual stuff is a Unity app reacts to the sound mix.
How does the use of this technology improve, or add to the quality and experience of your show for you, as an artist?
It allows to express myself in ways I could’ve never imagined. I’ve never performed as comfortable and with wide palette of possibilities with an instrument until I discovered motion sensors combined with the computer. The ability to map any behaviour to any response allows you to optimize your abilities in order to get what you want. This can’t ever happen with “traditional” instruments, you have to adapt to the instrument rigidness and background. I also see the coding process as a prosthesis, an extension able to repeat mechanical operations while you pierce through them.
What does the future hold for Shoeg in the world of live performance?
In the near future, I have to improve a lot of things: I want to make my hands more prominent on stage and be less computer dependent. People keep asking what is happening with the sensors, and I want to make it a bit more understandable. I also have this long list of ideas to code which don’t have time to make, and I would also like to collaborate with other people. But before that, I want to record a new album. I hope I’ll be able to work on it in the next months.
You can find out more about Shoeg’s work through his artist page.
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Carlos Martorell is a sound and visual artist based in a small Catalan town called Torelló, near Girona. His work focuses on the symbiotic relationship between humans and technology. He uses his programming skills and knowledge of new technologies to explore the visual and audio through the creation of experimental music and live AV.
He creates sumptious virtual worlds through programming language such as Unity, as well as with 3D scans. It’s not uncommon to see him performing with non-traditional MIDI equipment, using apparatus such as gloves and hand-held technology, which as an adds a peculiar physical dimension to his live shows.
Header photo © Hayley Cantor
Earlier this month, we met with Marta Verde to find out about her performance with Tensal at LEV Matadero, and to pick her brains about all those niggling little questions we had after following her career for the last few years.
Who are the artists that you are most looking forward to seeing at LEV Matadero?
Myriam Bleau and Ryoichi Kurokawa.
How were you contacted about the project at LEV Festival?
They called me and proposed that I collaborate with Tensal for their edition at Matadero in Madrid. I had never worked with him before.
Do you ever find that some genres of music just don’t inspire your work?
Absolutely. In general I don’t work on the clubbing, or nightlife scene, so related styles of music wouldn’t be my first choice of project. I actually started doing visuals with traditional Galician music.
Do friends often come to see your performances?
Yes, it depends on the performance. These days they tend to film me in vertical, so I rarely have content that I can use other than for Instagram [she laughs]
How do you feel about being on stage as a visual artist?
I don’t really like that part at all, but of course it’s part of the job. I’m quit shy, really. My show at LEV Matadero is quite different from what I usually do – in terms of music genre, as well as the time of the performance – pretty late, since I’m on at 1am.
What is the most unusual project are you’ve worked on in your career so far?
A few years ago I worked on a project with a musician called Julián Elvira who built a flute that played different frequencies (I had no idea that this wasn’t already the case with flutes!) It was really interesting, because I learnt a lot about music and we were able to work very closely together for the collaboration. We premiered the show in Martin E. Segal Theatre, New York.
What are you working on at the moment?
Right now, I’m working on a live performance with Madrid-based composer, José Venditti. He plays saxophone, and works on deconstructing sound through classical patterns.
What set-up will you be using for your performance tonight?
A couple of months ago I bought an analogue video synthesizer from LZX Industries. It’s really fun. There’s no preview, so anything can happen, and I also can’t save any presets. I also won’t be using any code for this show, which is very unusual for me. I’ve always been fascinated with the idea of analogue video techniques, and don’t really understand why people go to great lengths to copy the aesthetic digitally, when they could just try to get a real one.
Do you use social media a lot to promote your work?
You can follow me if you like, my instagram account is mainly dominated by photos of my cat and screenshots of my work. I don’t really get work through social media channels, people tend to contact me directly. The work is really interesting and every project is completely different. Usually I’m presented with some kind of problem and I find ways to solve it.
Apart from doing visual performances, you are currently working at a Fab Lab, right?
It’s very common for freelancers to supplement their work through teaching, which I love. I find it really motivational and inspiring to work with young people and their ideas. I used to work as a coordinator in a Fab Lab, and I still give classes on programming and digital manufacturing there, but not on a regular basis anymore. I tend to work in different locations and on a more ad-hoc basis, that way I can combine teaching with my own projects.
If you want to read more about Marta’s work, you can check her artist profile page here.
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Marta is a Creative Coder and Digital Artists from Galicia, based in Madrid.
Originally, she studied Fine Arts, and now she is specialised in new media arts and digital technologies applied to the performance arts. She also teaches at the Fab Academy, as an expert in digital fabrication.
Marta develops visuals, interactive and generative graphics, as well as dynamic/interactive content for lighting design, custom electronic devices and wearables, interactive installations for musicians, dance and theatre companies, artists, designers and arts institutions.
Her work is constructed through the use of custom built software and hardware specific to each visual set, allowing her to manipulate all the content in real time and to explore the limits of visual noise, repetition and the link between the organic and the electronic.
She works primarily in Spain and Portugal on a wide variety of projects, from theatre to festivals. Marta has also performed at festivals such as Primavera Sound, LEV Matadero, Sonic Arts Festival, MIRA and WOS Festival.
She also has taught about technology and interactivity at: IED Madrid, Ephemereal Architecture Masters Degree at ETSAM Madrid, Medialab-Prado, La Casa Encendida ,Fundación Telefónica, BAU, UOC, and has mentored Hackatons at Makers of Barcelona with Ciclo.io.
This week, we caught up with Huma about his most recent project ‘Eva,’ to find out a little more about how his musical project developed into a live AV show. Huma is Andrés Satué’s personal project, an evolution from his early musical days in a rock band to his more recent progression into the world of electronic music. He’ll be performing ‘Eva’ at Mira Festival, Fabra i Coats, Barcelona, Thursday 7th November
Tell us a bit about the visual side of your show. What can the audience expect in terms of live A/V performance?
The idea is to treat light from a 3D environment by making the light beams coincide, forming geometric figures in motion in the air.
Have your created the visual part of the show yourself or collaborated with a visual artist? (If so, who and why?) If not, tell us about how you developed the project and any challenges you faced in dealing with both elements of the performance.
I’m working with Jose Vaaliña from Eyesberg studio. It was a very natural collaboration, we met after finishing two gigs I did in Barcelona and we talked about the possibility of working together as we have very similar ideas about the relation between music and visuals, now it’s happening and I can say we are both really happy with the results.
What tools and set up are you using for the show?
We are using 5 powerful projectors, various smoke machines (fog and hazer) and also some visuals. The beams of light will react to sound to create a symbiosis between both. Also we will use some lights and strobes for punctual moments.
How do you feel about the importance of the visual experience in your projects past and present?
It is something I have always thought about as a very important element. Even when I played in rock bands lots of years ago we always carried a few lights to add impact to the final part of the show.
Since I’m working as Huma, I collaborated with Drömnu using visuals at the very beginning, then moved to colorful L.E.D.s, smoke and strobes working with Juan Pablo Larrazabal and now I wanted to try new things and Jose appeared. I like the idea of doing something immersive, not something that you have to look at the detail or that can distract the public but something that will enhance the music.
You’ve been making music for more than 10 years now. What is the project that you are most proud of, or have the most attachment to so far?
Well, I’m always more attached to the last thing I’ve ever done. Even though I really think that ‘Eva’ and this show is the project in which I have worked the most on and the project I’m the proudest of to date.
Got any questions for Andrés, Eyesberg, or just want to share anything with us? Jot down your thoughts below
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This year is a pivotal year for L.E.V. Festival as they take residence in Madrid for the first time. When we attended L.E.V. way back in 2014, we were astounded by the potential of this seemingly small festival in Gijón. It inspired us with its delicate combination of musical and audio-visual performance, its variation between genres and the balance between sit-down performances and exceptionally well-curated concerts. We loved the daytime with the change of venue to the botanical gardens, and ending the day in a church.
As LEV themselves state on their website, Plaid is able to fill venues as diverse as the Sydney Opera House, right through to Berghain.
On Warp Records, as they approach their 30th anniversary, Plaid are a clear reference to the industry.
“The problems and benefits of Polymers felt like good themes for this album, their repetitious strength, endurance and troubling persistence, the natural versus the synthetic, silk and silicone, the significant effect they have on our lives.” – Plaid
Dancers, inspired by the colossal quantities of plastic in our oceans, shows that Polymer is much more than just a musical performance, but an artistic reference to the world context in which their creation has been made. The official music video, whilst quite surrealist, and disturbing, is strangely beautiful. We’re really excited to see how this can translate to a live visual performance.
This seems to be the technological performance of the festival. With growing exploration into the world of virtual and digital technologies, new media art really is at the cutting edge of what’s to come and is an exhilirating way to be introduced to new world contexts.
EXALAND is an AV performance using ‘wearable controllers,’ which we imagine to be a development on what we saw with Chagall’s performance using the mi.mu gloves at Sonar Festival some years back http://www.audiovisualcity.org/avcity/2016/05/23/sonarplusd-chagall-mi-mu-gloves/
These guys have got all of the buzz words Audioreactive Video Projection and an Audioreactive Video in VR/360°, as well as 3D art and electronic music, not forgetting of course, immersive.
We’re interested to see this interactive performance for the visual aesthetic and graphics, and of course, one of the audiovisual artist’s favourite topics: audio-reactivity.
We’re always intrigued by a write-up that focuses a lot on the visual aspect of the performance, particularly as this isn’t always common practice in the industry, and the description of Mathias Gmaci, triggers a lot of intrigue.
As director of the studio, Loop, who create ‘experiences and environments that radically rethink the future’, we get the impression that this will be yet another audiovisual performance to remember.
‘Mathias Gmachl is a trans-disciplinary artist, researcher and design thinker. He is director of studio Loop.pH founded in 2003 to form an entirely new creative practice that reaches beyond specialist boundaries by facilitating collaborative spaces, mediating between digital & biological media and intervening at an urban scale to re-imagine life in the city.’ -L.E.V.
4. Nkisi: Initiation Live AV
Based in London, and coming to L.E.V with a new live AV format in collaboration with artist Charlie Hope, Nkisi promises ‘African rhythms, uncompromising European hard dance tropes, foreboding synth melodies and a relentless, galvanising energy, as harnessed for her increasingly kinetic live performances.’
If that isn’t a description to get the juices going, we don’t know what is. Unable to find any link to Charlie Hope’s previous work, we decided we’d leave this one as a surprise (although we did catch a few exciting sneaky glimpses on Instagram of a performance at Kraftwerk, Berlin…shhhh).
It’s always good to leave a performance for surprise, we think.
Volume Massimo debuted at Berlin Atonal just a few days ago and will tour all the way to the Barbican in London. Like Plaid, the visual aesthetic is photographic, and is said to take the audience on an emotional journey, using music as a map for life’s journey. It tells the story via footage from the family archives.
Synthesizers, combined with memory, this will be another piece to make us think. Oh, and did we forget to mention that he’s best known as the keyboard for Nine Inch Nails, not to mention has collaborated with the likes of Ladytron and is now member of Los Angeles alternative electronic band, SONOIO.
So, what are you waiting for? If you’re planning on attending the event, get in touch and we’ll see you there!
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